method for improvisation & performance

The Method for Improvisation & Performance', is addressed to actors, dancers, performing arts students, but also to anyone who loves the performing arts and has a little experience in movement and speech.

Acquaintance with the method is made by taking part in the introductory workshop, lasting 6 hours and conducted in two three-hour sessions.

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Thereafter, the study of the 'Method' is 180 hours long and is divided into two annual cycles of 90 hours. At the end of each annual cycle the performer presents his/her work to an audience. In the first annual cycle the performer composes a solo by applying the tools provided as knowledge during the cycle. The second annual cycle acts as a refresher course and the performer is invited to go deeper in their knowledge with guidance to continue composing their solo and assimilate new training material.

After completing the two study cycles, the performer - if he/she wishes - can continue in the 'Atelier' and carry out the production of the desired work in solo, duet, trio, or quartet. The 'Atelier' provides the knowledge and tools needed to create a performance.

In her teaching, Marina approaches performance art as an art form and indeed as a purely physical art. She studies the living movement of the body, the intention behind the performer's action, the use of emotions and the 'here and now' as a starting point in improvisation. Synthesizing her knowledge in an original way, and not having invented the wheel, she has created a technique that uses the body as a key creative tool starting from the performer's first impulse.

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The performer is trained to produce work using the body and everything that comes from it, such as speech, movement, song and emotion as a basic tool to compose whole stories.

He/she seeks authenticity, humour, subversion and the accessible presentation of subjects that may not always be easy. He becomes familiar with the fear of ridiculousness and the humour of the moment just as it happens on stage.

Directness and communication with the audience become his/her priority.

When creating a play, she asks her performers and students to follow certain rules which they are then asked to deconstruct. After all, all games have rules, so that you can 'play'.

The rules are:

• Speech always and only arises from the body.

• Action is based on impulse and pure intention.

• Movement is produced with authenticity and genuineness.

• The work tells a story, not necessarily a narrative one.

• Action is necessary, otherwise we start from the beginning.

• The stories and the circumstances created are understandable, so they relate to the audience.

• The personal characteristics of the performers are of great importance.