Interplay 2014. pub

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Interplay XIX-2014
Tonia Pinheiro lives near Boston MA and has been a member of True Story Theater
 since 2003
. Tonia (tone-ya) is a diverse and dynamic 
improvisational actor, singer, and sound healer and is the founder of Wake Up! Works and ISEEU Theater. She’s committed to social change 
and social healing by engaging and empowering people through Playback and other creative expressions 
to shift the world’s operating para-
digm from fear to love
. Contact: 
Page 25 
Musician’s Muse 
Endnotes, cont (Romanelli) 
- - - - - - 
Assael Romanelli, MSW, is a couple and family therapist, process workshop facilitator and a PT conductor and teacher. He is the artistic 
director and conductor of the PT ensemble “Or Chozer” in Jerusalem, bringing PT to the religious and ultra-orthodox Jewish communities in 
Israel. For more about his work, check out his website: / 

Playback Theatre Conductor Workshop
Bakó Tihamér

In this section, Bakó Tihamér carefully sets out his recent work toward developing and supporting the role of the 
Conductor. His piece brings together over 10 years work within the Hungarian context. Organised in three sections, the 
article initial reports on the structure and progress of conductor workshops for those new to conducting, but familiar to 
playback. In the second section, he follows this up with a discussion on the place of supervision within a playback 
progressive learning framework, and in the final section he turns his attention to the demands of building a Playback 
Theatre Company. 
In the spring of 2009 I decided to set up a conductor workshop for my students who have performed as actors and sought
to become playmasters or at least to try their hands at the role. The idea was to arrange a retreat from the world more or
less once every 3 months in some beautiful natural environment so as to have an opportunity to discuss the role of the con-
ductor and shape it in the framework of a workshop. The cooperative work was planned to take place in three sections..
In the irst section I had two goals in mind. First of all I wished to offer each participant occasion to focus on their conduct-
ing with respect to group leadership and the feedback received. During those weekends I planned to contemplate topics
both highly relevant for the participants and also closely connected to conducting. The second section was planned to allow
for conducting in a real environment. Anyone would be allowed to host a workshop in their own setting, possibly even to
conduct a performance during this time and in that place. The irst day of the workshop would include joint work and an
evening performance. The next day would be assigned to analysis of the event and feedback on the conducting. The third
section would be assigned to watching the playmasters conduct in their own environment and followed by feedback during
the workshop.

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