- MARCO BALBI DIPALMA

FORM AND FEELING

Performer Training Workshop

FORM AND FEELING is a Performer Training Workshop based on the training of Jerzy Grotowski's Teatr Laboratorium, as transmitted by R. Mirecka in his paratheatrical research, deepened and elaborated by Marco Balbi Dipalma, with dance and visual arts. Marco Balbi Dipalma worked closely with R. Mirecka for 18 years, as participant, assistant and leader of 'The Sun - Rena Mirecka's school', at the Grotowski Institute. Since 2021, she has been offering her performance pedagogy as an independent artist.

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The training taught aims to help the performer in creating his or her own body language, which through the composition of the action, expresses deep emotions and feelings. The program includes warm-up, balance exercises, physical (corporals) exercises, plastic (plastiques), organic exercises and vocal training. All activities educate the body to create an expressive form of feeling through the processing of the form and movement of the training elements. In the workshop, the links with art are addressed: photography, painting, dance, music and singing and with video art: body-performance, video-performance and video installation.

The work is characterized by discipline and precision in performing technique, improvisation and structured performative action. One of the most important objectives is to open a relationship between external technique and internal technique, in the search for a bodily form (corporeality) of feeling, which through the reason, creates a performative action, that can be defined as ritual.

In this sense, training is defined as a job all court on itself and the total potential of the Performer.

WARM-UP

During the warm-up, preparatory exercises are performed to awaken the body and movement, expressive, communicative and relational. Stretches and jumps in space are performed in a dynamic and rhythmic way, following a metronome and progressively associating images with each element performed. For the performer it is important to rediscover the inner attitude of the child, able to lead him towards the wonder of movements and unknown associations, fundamental aspect of creation and gift.

BALANCING EXERCISES

Balance exercises are performed in pairs to make the spine flexible, cultivate balance and centering in the body, without losing contact with the partner and with outer space.

WORK FLOOR

The work floor is composed of Hatha Yoga asanas performed on the ground and in a dynamic way. In J.Grotowski’s Workshop they were called Corporals. The aim of these physical exercises is to stimulate, through the mobilization of the spine, the organic pulsation in predetermined forms (asanas) to study the transition from pulsation to voluntary impulse. The performance predisposes the dynamic structuring, through forms, of the relationship between performer and performer and space.

VOICE: RESONATORS AND ORGANICITIES

The practice of vocal resonators through the dynamics of the rhythmic body causes the voice to open up spatially. The undulatory movement of the spine and the practice of plastic and organic elements link the voice from pulsation to impulse, mutually supporting singing, text and action in rhythm and melody.

THE ORGANIC EXERCISES

The organic exercises are functional to the study of the composition of the line of individual and group dance. They are a tool to discover the organic pulsation, release it and recompose it through dance steps and rhythmic structures. Both of these elements serve to create rhythmic relationships with the partner and space. They were created by Balbi Dipalma from plastic exercises.

THE PLASTIC EXERCISES

The plastic exercises are isolations of every part of the body. They are a tool to discover, investigate and create the associative flow of inner life, through the flow of movement of each element of the body. The exercises educate the body to think both through the external composition, and through the internal one with the association of images, experiences, relationships, intimacy, visions, desires, dreams with each element. As in dance there is an extra-daily application of the body, to discover new actions and relationships with space, time and partner. The transition from technical performance to technical improvisation, free composition and the composition of a performative action are ways to investigate one’s own being. Through the plastic elements, the performer tries to open his experience, update it and make it superindividual.

Plastic exercises - Technique | Academy of Theatre and Music LMTA | Vilnius (LT). 2021 | Still M. Balbi Dipalma

Plastci exercises | Technical workflow | LMTA Theatre and Music Academy | Vilnius (LT) | 2021

Plastic exercises | Workflow with music | LMTA Theatre and Music Academy | Vilnius (LT) | 2021

IMPROVISATION AND PERFORMANCE SKETCH

Students and colleagues will be guided in the acquisition of work tools that allow them to discover, compare, enhance their craft through a precise pedagogy composed of technique and tasks. Training is defined as creative training, in which, like a language, the acquisition of elements allows to express oneself through a precise body language. Through the individual and collective vision, the technique is elaborated and personalized to investigate, through the motive of the action, its inner state, so that it can be expressed in a performative action or within the character.

Sketch of an action | Academy of Theatre and Music LMTA | Vilnius (LT) | 2022

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