The body, no mind
from Grotowski* to Decroux,
to you
A tale of self made up of gestures
A tale of self made up of gestures
A tale of self made up of gestures
A tale of self made up of gestures
A tale of self made up of gestures
CONSCIOUS MOVEMENT FOR WORK BETWEEN BODY, MIND AND SPIRIT
(*)
“It is not theater that is needed, but absolutely something else. To cross the frontiers between you and me: to get to meet you so that you are no longer lost in the crowd, nor in words, nor in statements, nor in gracefully specified ideas; to renounce the fear and shame to which your eyes force me as soon as I am accessible to them ‘whole.’ No longer hide myself, be what I am. At least a few minutes, ten minutes, twenty minutes, an hour. Find a place where such being in common is possible…”
(Jerzy Grotowski)
Workshops for awareness and inner growth through theatrical pedagogy. I try to observe the artistic language of the body, expressed by its gestures, to translate them into concepts of life, creating metaphors that tell with poetry and emotion about our being. A creative, playful, poetic work, suitable for everyone, that predisposes to an inner reading, of awareness of one’s way of being, tracing a path that goes “from gesture to soul”, finding oneself living an intimate space of meaning, with lightness and enthusiasm. Thinking with gestures is a methodology that initiates an unusual path of understanding, reverse in fact to the mental path we are commonly accustomed to. The workshop “The Body, No Mind” is a working process in which first the acting and then the thinking takes place, a modality that allows one to be able to observe oneself at the same time in which one acts, thus shifting the focus to the process of ‘how’ one does, rather than “what” one does, a substantial difference that helps in a more effective reflection, as it is practical and not mental. The “how” in fact expresses a way, thus emphasizes a focus and research on one’s own mode of attitude, while the “what” on the other hand is the target object, for which, precisely, it is external, thus projects the ‘attention to something outside oneself, distracting from a look at one’s own way of acting, of being. “The how I pick a flower may be worth more than the flower”, said the founder of modern mime E. Decroux, in the same way “the how I do something may be worth more than the what I’m doing,” because in that “how” are expressed looks, tones of voice, nuances in me, which allow me to express my gentleness, my kindness, nuances that caress me, the other person and life.
DISCOVER
Workshops for awareness and inner growth through theatrical pedagogy. I try to observe the artistic language of the body, expressed by its gestures, to translate them into concepts of life, creating metaphors that tell with poetry and emotion about our being. A creative, playful, poetic work, suitable for everyone, that predisposes to an inner reading, of awareness of one’s way of being, tracing a path that goes “from gesture to soul”, finding oneself living an intimate space of meaning, with lightness and enthusiasm. Thinking with gestures is a methodology that initiates an unusual path of understanding, reverse in fact to the mental path we are commonly accustomed to. The workshop “The Body, No Mind” is a working process in which first the acting and then the thinking takes place, a modality that allows one to be able to observe oneself at the same time in which one acts, thus shifting the focus to the process of ‘how’ one does, rather than “what” one does, a substantial difference that helps in a more effective reflection, as it is practical and not mental. The “how” in fact expresses a way, thus emphasizes a focus and research on one’s own mode of attitude, while the “what” on the other hand is the target object, for which, precisely, it is external, thus projects the ‘attention to something outside oneself, distracting from a look at one’s own way of acting, of being. “The how I pick a flower may be worth more than the flower”, said the founder of modern mime E. Decroux, in the same way “the how I do something may be worth more than the what I’m doing,” because in that “how” are expressed looks, tones of voice, nuances in me, which allow me to express my gentleness, my kindness, nuances that caress me, the other person and life.
DISCOVER
MEETINGS
Art as a vehicle
There, among the different forms of life
An artistic account of the everyday
An artistic account of the everyday
An artistic account of the everyday
An artistic account of the everyday
An artistic account of the everyday
A POETICS OF THE GAZE TO OBSERVE LIFE
MEETINGS
Art as a vehicle
There, among the different forms of life
I believe in “art as a vehicle,” as J. Grotwosky used to say, so I try to address cultural and everyday life issues through artistic storytelling, which is not made of words but of living, like life. The stage, sensory places in nature, museums and original art spaces, convention halls or simple meeting rooms, and any other types of environments, become metaphorical scenarios of meaning, are part of the narrative in which different areas, concerning spirituality, culture, science, nature and creativity in general, are dealt with in an experiential form, alternating doing with words, registratively devising a multidisciplinary communication, so that different perspectives of the same information can emerge and thus offer a new mode of cultural storytelling of awareness. Every theme that has to do with the everyday aspects of life holds its meanings in the nuances, in the details of its storytelling, so I find it interesting to talk about the details by bringing to life the process that constitutes each language, its “how it happens,” rather than its assumed form, because it is in this “how” that people can gradually follow what happens in the process of their emotions and in the physicality of their bodies. Relationship so to the musical, theatrical, spiritual, philosophical, scientific, nature language… that inherent to their transversality, so that it highlights the process, such as sound; the body; emotionality; sensoriality; meditation… using different disciplines, such as music therapy and singing, theatrical pedagogy and biodance, mindlfuness, enneagram, literary, poetic references, observation of nature… . A work therefore carried out together with different cultural, holistic, artistic, scientific experts relevant to the various fields. People thus participate in unusual meetings, with an original character, in which moments of conference content, artistic, spiritual, creative, etc., coexist together in a continuous mode, without intermediate introductory steps, finding themselves living it all as a single experience. A directorial work of relating languages, capable of conveying information under the mental, emotional, sensory and physical profile, thus allowing an organic knowledge of the in-form-action (an action that shapes: mind, body and soul) to take place.
DISCOVER
I believe in “art as a vehicle,” as J. Grotwosky used to say, so I try to address cultural and everyday life issues through artistic storytelling, which is not made of words but of living, like life. The stage, sensory places in nature, museums and original art spaces, convention halls or simple meeting rooms, and any other types of environments, become metaphorical scenarios of meaning, are part of the narrative in which different areas, concerning spirituality, culture, science, nature and creativity in general, are dealt with in an experiential form, alternating doing with words, registratively devising a multidisciplinary communication, so that different perspectives of the same information can emerge and thus offer a new mode of cultural storytelling of awareness. Every theme that has to do with the everyday aspects of life holds its meanings in the nuances, in the details of its storytelling, so I find it interesting to talk about the details by bringing to life the process that constitutes each language, its “how it happens,” rather than its assumed form, because it is in this “how” that people can gradually follow what happens in the process of their emotions and in the physicality of their bodies. Relationship so to the musical, theatrical, spiritual, philosophical, scientific, nature language… that inherent to their transversality, so that it highlights the process, such as sound; the body; emotionality; sensoriality; meditation… using different disciplines, such as music therapy and singing, theatrical pedagogy and biodance, mindlfuness, enneagram, literary, poetic references, observation of nature… . A work therefore carried out together with different cultural, holistic, artistic, scientific experts relevant to the various fields. People thus participate in unusual meetings, with an original character, in which moments of conference content, artistic, spiritual, creative, etc., coexist together in a continuous mode, without intermediate introductory steps, finding themselves living it all as a single experience. A directorial work of relating languages, capable of conveying information under the mental, emotional, sensory and physical profile, thus allowing an organic knowledge of the in-form-action (an action that shapes: mind, body and soul) to take place.
DISCOVER
EDUCATION
I.A. Artistic intelligence
The art of observing
one’s creative nature
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A work of interrelation of the three intelligences of which we are made up, emotional, cognitive and bodily, to bring out that Artistic Intelligence present in each of us, that is, that ability to empathize with our emotions and “e-ducere” feelings. Educating to feel is our educational nature, expressed precisely by its etymological meaning of “e-ducere” ( to bring out of oneself ), so the proposed experience is carried out through the observation of nature to observe oneself. A relationship that reveals how much the logic present in both Nature and human nature are both “creative.” A sense-oriented training in “knowledge” aimed at teachers, university students, educators, so that knowledge can be acquired not only as an expression of knowledge that already exists, but as an act toward oneself, in “learning to know oneself by creating.” Conceptualizing knowledge as the not known and not yet existed, but manifested, however, through us in the embrace of our intelligences and which can exist therefore, only after an acquisition of awareness of one’s own capacities, as recognizing oneself as a “creature stretched toward creation”
DISCOVER
A work of interrelation of the three intelligences of which we are made up, emotional, cognitive and bodily, to bring out that Artistic Intelligence present in each of us, that is, that ability to empathize with our emotions and “e-ducere” feelings. Educating to feel is our educational nature, expressed precisely by its etymological meaning of “e-ducere” ( to bring out of oneself ), so the proposed experience is carried out through the observation of nature to observe oneself. A relationship that reveals how much the logic present in both Nature and human nature are both “creative.” A sense-oriented training in “knowledge” aimed at teachers, university students, educators, so that knowledge can be acquired not only as an expression of knowledge that already exists, but as an act toward oneself, in “learning to know oneself by creating.” Conceptualizing knowledge as the not known and not yet existed, but manifested, however, through us in the embrace of our intelligences and which can exist therefore, only after an acquisition of awareness of one’s own capacities, as recognizing oneself as a “creature stretched toward creation”
DISCOVER
MICHAEL ENDE