Our laboratories are not directed to teach a technique or a pedagogical idea for which, for example, “if you do A get B to get to C”. We propose, moreover, a way of opening up concretely and in the present moment to questions about universal and immutable principles that invite everyone to take a personal path in the study and understanding of the Art of the Actor and of the theater in general.
“We aspire to what I call The Ancient Actor. That is someone who has a conscious relationship with his own body. This mastery gives him a special quality of the presence that make him able to reach the audience through physical actions that live in each movement, word, and even in each one of his thoughts on the scene. Such an actor knows what he says and what he does, in the sense that he grasps profoundly its meaning, but he remains open with every part of himself to a constant listening to physically rediscover, every time he play, what his mind has already perfectly assimilated.
This actor feels the rhythm, each time different, of the audience in front of him, takes it by the hand and leads it gently to the journey that the play proposes and evokes to the imagination. He never speaks directly to the spectator’s mind, but knowledgeably uses every vibration of the body, to which the audience respond organically. So he communicates before and beyond the “said” word, that’s why he can capture our attention.
This actor, dancer, singer, musician, is open to all influences, seeks and feeds on the most diverse traditions and extends his study to multiple fields of knowledge.”