Barth  RUSSO-  Body music and music with objects

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A very practical tool for comedians - clowns.

Another way to play with your own body, and that of others! It is to use only the body and the objects to emit sounds, rhythms and melodies and to tell stories. This universal language leads everyone to express themselves, to exchange, to develop listening skills, sensitivity and creativity. It also means having an instrument available at all times and for everyone. It is for the clown a universal tool in his Games box.

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CONTENTS :

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Games of knowledge and concentration as a pretext for warming up and laying off  in order to awaken listening to oneself and the group.

• Learning body sounds.

• Learning rhythm and polyrhythms and some theoretical bases of music. 

• Differentiate binary, ternary and other cadences, times, cycles, measures, simplified writing to allow note of the     music using a lexicon suitable for people who have no notion of music theory.

• Learning a musical repertoire.

• Availability of an educational DVD at the end of the session to promote progress.

• Work around putting it into practice on set.

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The sessions are divided into three parts:

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Warm-up: various games that combine movement, music, interaction and fantasy.

Content learning:  body and vocal percussion, the basics of the human blissful box, music with objects, Gum boots, polyphony.

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Prerequisites and Material:

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No musical level is required.

For the musicians please bring your instruments! For everyone: at least 1 sound object that you like. A pair of boots for gumboots. A notepad.

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Tayeb HASSINI -  The clown is a musical instrument

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You have to practice it regularly, do your scales but above all know what material it is made of: it can be round and deep like a double bass, have breaks and be hard-hitting like a drum set, be light and melodious like a clarinet, in short, it It is essential to know and master your clown.

Then it's up to the actor to exercise the function of conductor, that is to say, to sharpen him in the art of improvisation, to make him play different scores.

To write instantly, the actors  must be accomplices and master listening, energy, timing, falls, game ping-pong, power switches, etc.

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CONTENTS :

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The working session will be centered around a triptych  : corporeality,  energies, emotions.

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1.  The clown and the movement  :

• Gait and gait with identification of its shifts, imbalances then accentuation of defects  !

• Duo game putting the body as a writing vector.

• Preparation of a parade (musicality of the body  : time -against time.)

• Instant Parry.

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2.  starting the clown and energy level:

• Technique to activate, warm up the clown.

• Nose no nose  !

• The voice.

• Low energy, high energy.

• Clown duet  : a  soft and an angry then reverse roles

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3.  Bodies and emotions, bodies and energies:

• Clown rituals.

• The basic emotional state of the clown.

• Holding an emotion, keeping the energy.

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  Burlesque writing  :

• Improvisation as a writing medium

• Times, setbacks

• Entries, accidents, falls, exits

• The dynamics of the number

• Dramatic promises

• Dramatic irony, misunderstandings

• Writing and setting up a number by each trainee.