Embodiment in Acting Practice

23-24 October CISPA Copenhagen, Denmark

Organised by Dr Kiki Selioni Post-doc Researcher Royal Central School of Speech and Drama, Artistic director of The Makings of the Actor, CISPA (Copenhagen International School of Performing Arts), Labanarium, and hosted by CISPA.

Conference Venue: CISPA – Copenhagen International School of Performing Arts, Thoravej 35, 2400 København, Denmark

Following the successful conferences ( 2018 in Athens, in 2019 at Cispa Copenhagen, Berthelot Theatre Paris, MCF Athens, LMTA Vilnius, 2020 in Athens, and in 2021 two livestreamed Conferences), Post-doctoral Researcher Dr Kiki Selioni, Royal Central School of Speech and Drama, The Makings of the Actor, CISPA, Labanarium have taken the initiative to organize a second event in Copenhagen. The aim is to create a series of international events to meet colleagues, practitioners and researchers, to share experiences, knowledge and current research practices in the field of actor-training and performance practices. The final goal is to create an international network to exchange dialogues of the arising challenges of the 21st century academies, institutions, as well as the arts industry.

In recognition of both the global reach of this theme and the expansive network of interested practitioners and scholars, as well as the impact of the current pandemic, participants are invited to take part either in person or virtually. Conference proceedings will be live-streamed; papers, and where appropriate workshops and demonstrations, can be presented remotely.

Embodiment in Acting Practice

Acting is a living, breathing craft. No matter the technique, no matter the preparation, performance culminates in the act of presence before the audience. Whether considering an individual actor or the ensemble as a whole, the theatrical event ultimately revolves around the performative manifestation of lived experience: embodiment.

In the actor’s and actors’ bodies, in their mindbody presence as beings on a stage before an audience, all of the theatre-makers’ craft must find its home. Our bodies house the internal world being lived and experienced, our bodies shape and frame the external representation of that experience, and our bodies unite with all of the elements of the psyche to give form to impulse, voice to desire, and action to instinct. Thus it is this ongoing union of inner with outer, of self with the role, which can bring a theatrical moment to life: embodiment.

Lived experience, embodied experience, defines the substance with which we build a breathing, moving theatre. The mindbody experience, the Self and the Other, must all be united within ourselves the performers, so that the artistic and creative elements which inspire our theatre-making may take voice in their fullest form. Alive, active, interactive and impulsive, an embodied moment can shape the face of time as narrative comes into tangible existence.

What characteristics of this onstage embodiment are worth our creative attention? Which approaches, which trainings, which mindsets and which psychophysical practices can hone the embodied self, even the embodied whole and discovery of an embodied Other? How do actors, ensembles, directors and pedagogues relate to the many facets of embodiment? And which elements of embodiment are essential onstage, which preferential, and which beneficial or not?

With the task and challenge of psychophysical embodiment set before us, as part of any role, any performance, and any collaborative creation, how can we conceive of the many elements which define it, approaching our work with a deliberate ability to utilise embodiment to its fullest?

PROGRAM

Call for Papers, Teaching Demonstrations and Performances

We welcome submissions from acting/voice/movement teachers, actor coaches, theatre practitioners, actors, directors, training practitioners, theatre researchers, practice and academic researchers within varying aspects of practice.

For papers please send your abstract of 200 words for your oral presentation (20 min) in a Word doc form, including title, institutional affiliation, your brief CV and email address. The paper presentations will be 20 min, followed by a 10 min discussion with the audience/participants.We accept submissions for online paper presentation.

Submissions of teaching demonstration must be in English and can be up to 4 pages (including references and figures) in a Word doc form, including title, institutional affiliation, your brief CV and email address. The first 2 pages are expected to describe your system. The third and fourth pages are expected to be used for images, references, and technical requirements. You should expect wireless network access. A number of 15-25 students will be provided for all accepted demonstrations. The Demonstration allows practitioners/researchers to demonstrate their works in teaching in a dedicated session of 60-70 min. they are followed by a 20 min discussion with the audience/participants.

Performances will take place in CISPA’s BlackBox. Proposals must outline the planned work accurately in 2 pages in a Word doc form and must include title, brief CV, technical requirements, images and video. Performances running must be 20-90 min. and they are followed by a 20 min discussion with the audience/participants.

Please send your submission until 29^thSeptember to: kiki.selioni@cssd.ac.uk
Acceptance Notification: 30^th September 2021

If an official invitation is required earlier for research funding purposes, please contact kiki.selioni@cssd.ac.uk and ensure that you submit your abstract as early as possible.

Submissions based on an innovative and tested system or approaches related to the conference’s areas of interest, (including but not limited to):
physical manifestation of psychophysical processes
body-based character development
personalized character work
embodiment and actor training
embodiment and voice training
ensemble connectivity through physical processes
collective embodiment, the embodied Other
presence in an embodiment perspective
the performer’s psychophysical awareness
internal/external ownership of a role
physicalization of internal action
psychophysical union of self with character

Keynote Speakers

Prof. Vladimir Mirodan FRSA, Emeritus Professor of Theatre
Jake Harders BA,MA, MFA Actor, Director, Diploma Manager Royal Central School of Speech and Dram

Registration Fees

Paper presentations: 150€
Teaching demonstration 250 €
Attendants fees: 100€
Student & unwaged fees: 50 €

Workshops

Saturday 23 October

16.30-18.00 Juliet Chambers-Coe Director of Labanarium; Laban tutor Drama Studio London; Accosiate Artistic director of The Makings of the Actor,PhD researcher University of Surrey www.labanarium.com
18.30-20.00 Jake Harders BA,MA, MFA Actor,Director,Diploma Manager Royal Central School of Speech and Drama

Sunday 24 October

16.30-18.00 Olu TaiwoSenior Lecturer in Performing Arts University of Winchester.
16.30-18.00 Kasper Ravnhøj Choreographer , Dancer
Important Note: Changes may occur regarding dates and hours of workshops
Registration fees for Participants: 150 € (Student & unwaged fees: 100€)
Attendants fees: 100 € (Student & unwaged fees: 50€)

Please send to:kiki.selioni@cssd.ac.uk

Granted by the Ministry of Culture and Sport