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PILLAR 2. Acting and Movement

Acting and Movement courses help students to become professional stage performers. Singers and repetiteurs develop improvising skills and get to know different acting methods; they learn to express themselves through movement and dance. At the end of the programme, students possess a range of tools to embody characters and emotions, and to communicate these to audiences. 

Movement Coaching

Movement Coaching largely consists of two parts. During the first part, students focus on the body. Subjects taught include: standing and moving in a firm, yet relaxed, manner; finding and understanding the origins of tension and how one is able to deal with this; the maintenance of the breathing structures; how to warm-up and cool-down before and after singing; moving and falling in a natural though controlled manner; space awareness; moving alone and together.  

During the second part, students inquire into the expressive possibilities of movement. Through specific research exercises, students explore and widen (a.o.) their personal scope of movement and expression; their observational and analysing capacities; how to feel and use the tension being created between all the singers on stage; how to translate a libretto or musical line into movement and spacing; how to tell a story or express thoughts and feelings without words. 

Acting Classes I

These classes focus on how the student acts on stage in different situations and exercises. Classes address monologues or scenes with partners, based on text fragments or improvisation situations. We will train to feel more at ease on stage, through working in several situations and in playing together with partners. Imagination, body posture, movement, language/speech will also be considered during this course.  

Spatial Awareness

This course aims to give opera singers acting tools to take into a rehearsal room. It focuses on acting concepts that singers may not have come across such as spatial awareness, spontaneity, interplay, text analysis, taking risks, imagination and abstraction. In this course, students will become aware of the intuitive, naturally rising and subsiding flow of drama, space, body and action. We will train the overall functioning necessary for operatic acting – which requires the singer to be real but also to transcend “everyday-ness”, to be accurate but also spontaneous and in service of drama as well as music. The course material will be chosen in the context of an IOA project directed by Stefaan Degand.   

Acting Classes II

This series of classes combines acting technique with a focus on the music of Purcell. Students will apply acquired acting methods in a process in which music and scene presence constantly challenge one another. 

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