OBJECT, BODY, ESSENCE
An object speaks to us. It shows us the skein thread from where to pull. It opens the doors of creation. It takes us on a trip.
What are the multiple paths to tell, communicate and develop on the stage through Object and Visual Theater? Sometimes it is the object and material that help us discover these multiple pathways and can also help define an unique and own language.
Malgosia Szkandera proposes to learn how to develop a sensitivity that allows us to listen the chosen object, to discover what it wants to tell us, what it history is, what is it relationship with whom who breathe life into it, how this can be translate to the stage, and how can both elements; object and interpreter, come together in creation.
Participants will work in different ways of approaching the object, always starting from a fundamental physical preparation. Body training will be the key to connect with the object, using music and silence, as an invisible partners of that exploration.
She is an actress and researcher and for more than twenty years she has been teaching theater and movement to children, young people, university people and adults. She has taught seminars, intensive courses and master classes in Object Theater, Movement and Interpretation in places as diverse as the Shanghai University of Arts, the Chicago Physical Festival or the Royal School of Dramatic Arts in Madrid, RESAD, between others. She has also worked in different modules of Corrections Centers, especially in the modules of mentally and mentally disabled
She has a degree in Gestual and Movement Interpretation from Madrid Royal Drama School; RESAD and a diploma from the School of Creation and Movement of Mª del Mar Navarro and Andrés Hernández (following the pedagogy of Jacques Lecoq) both in Madrid.
She grew up in a family of Polish-Spanish actors and at age seven she set foot on stage for the first time.
Her work explores the connections between the theater of objects and the body based on training in physical theater, work with objects and body puppets, in addition to working with songs as a fundamental tool of scenic expression.