PERFORMING ARTS AS EDUCATIONAL METHODOLOGY
Il Pubblico applies the Performing Arts as an educational methodology for embodied learning and decolonial pedagogy.
You'll learn how to pass from idea to action, how to think creatively, and how to connect critical reflection with your body.
You will interact with yourself, other people and the environment, using tools such as physical creative practice, collective creation, and contemporary artistic practice, exploring the borders between daily life and fiction.
You'll draw from Physical Theater, Performance Art, Acting, Choreography, Dance, Dramaturgy, Objects, and other games, combining them with different medias.
You'll be introduced in pedagogies and aesthetics of transformation -where you will transform yourself in another thing or person- exploring other possibility of being in material dialogue with your body.
You will activate imagination as an embodied force, and as source of critical awareness, sensitive knowledge, playful thinking, and, above all as a powerful tool for self empowerment.
PS: WTF IS PHYSICAL THEATRE? (in our experience)
Despite its great influence in most disciplines of contemporary creation, in the field of the arts it is still a little known genre in its peculiarities, although it has the most potential to revolutionize education today.
Physical theater expresses concepts, ideas, and feelings through non-verbal action. The word and the voice are included, being approached in their most emotional and visceral communicative aspects, going beyond their logical meaning. The actress is not only an interpreter, but the author of hers, her own pieces, which are born from her own body as an artistic subject.
The aesthetics of each artist derives from the peculiar characteristics of her own body that determine the uniqueness of her mode of movement and her artistic language. In this context, physical differences and non-normative bodies are seen as a source of creative, aesthetic and ethical richness. It is not a case that was born in the 1960s, artistically collecting the concerns of social movements, feminists, environmentalists and pacifists.
Developing independently of a text, physical theater adopts a variety of scenic languages -clown, mask, objects, video-art, lights, performance, puppets, sound / word- that interact at the same time and are combined according to the needs expressive of each artist, founding the character of their individual aesthetics. Freed from the dramatic repertoire, physical theater adopts collective creation as a methodology for creating new texts based on a topic of common interest. In collective creation, the functions of the theater are horizontally and flexibly distributed, and artistic decisions are negotiated between all members of the group, thus producing a negotiation of a plurality of points of view that often leads to a feature of complexity in the presentation of the staging and its substantive thesis. Independent from the literary Canon, collective creation brings to theater issues that concern us at the community level in the present, even reading the repertoire in light of them.
By putting physical perception at the center of the creative process, theater enhances the body as an autonomous creative subject, capable of expressing its own stories and imaginaries. Representing an oppressed subjectivity, the body is the appropriate place to generate discourses of decolonization, generating situated reflections, rooted in a territory and a point of view. In the educational field, physical theater has the potential to reverse the fundamental colonizing principle that establishes the hierarchical superiority of the mind over the body, promoting the creative union between thought and physical action and putting into play the felt experience as a way of thinking.
Most famous Physical Theater Schools / Referents in Europe:
Folkwang University of Arts Essen
Jacques Lecoq Paris School
Philip Gaulier School
Resad Madrid _Teatro del Gesto
Institut del Teatre_ Barcelona
PERFORMING ARTS GLOSSARY (in construction)