Seminar on 'Visual Dramaturgy'
for actors, set designers, designers, producers, Theatre and Film directors
What transforms costumes and scenery in a narrative?
concept and design:
© Cordelia Dvorák
A celebration of textures, colors and shapes!
A seduction through magic, humor, miracles and poetry on stage!
An invitation to a playful and sensual trip,
along with the characters and sets of Fellini, Ettore Scola, Luis Buñuel,
Elias Canetti, Yves Marciano, Orlando by Virginia Woolf,
Vivienne Westwood, Galliano, Moschino, Jean Paul Gaultier, Peter Greenaway
and many more...
Nothing is product of chance on stage once the play has ended! All the elements acquire a specific and decisive meaning as soon as they appear!
• But through which elements are 'characters and theatrical spaces' created? that is, how do they begin to talk on their own through their appearance even before the dramatic action begins to unfold?
• What really transforms any space into a dramatic space?
• What are the visual rules in the characterization of a personage / scenic space, what allows the viewer to get oriented immediately?
• How to display the inter-personal relationships of theatrical characters (their complicity or their implied rivalries, their differences of class, of age, etc.) Only through a strong-developed visual language?
• Through which elements can the visual tension on stage be increased to help the development of a dramatic tension?
• How to strengthen the fields of scenic tension of a character and / or a dramatic space through a wise use of dramatic colors?
• How to work guided by historical contexts without simply copying them (for productions of historical times)?
• How to translate realistic elements into a stylized and poetic scenic view?
• How to share with the public an erotic act through visual drama on stage?
The seminar on Visual Dramaturgy is an intense analytical and practical reflexion on the influence of visual language on stage. Based on a broad collection of sample material (photos, videos, films, interviews, books, fabrics and so on), the seminar is focused on a refined analysis of the possibilities and rules of the dramatic visual language. Through numerous exercises in each chapter participants can test, step by step what it's been analysed.
II: The "scenic view": Exercising the observation of everyday life
II: The theatrical erotism of colors, fabrics, materials and textures
III: The historical contexts
IV: Crucial details to round out a stage design
V: The "wink" in theatrical design:
How to create magic, humor and poetry on stage
VI: Analysis and implementation of the revieded on specific examples
This seminar has been presented (in collaboration with the Goethe Institute and other institutions) in over four countries, approximately fifteen different times, including:
1990: L’oeil de silence, Centre de Théatre et Mimodrame, Toulouse / France
1999: CAT / Centro Andaluz de Teatro / Spain
2000: Academy of Performing Arts / Hong Kong
2000: INBA / Instituto Nacional de Bellas Artes, Mexico City
2000: Casa de Teatro, Mexico City
2000: Televisa, Mexico City
2000: TV Azteca, Mexico City
2001: INBA / Instituto Nacional de Bellas Artes, Mexico City
2001: Muestra Nacional de Teatro Mexicano, Guadalajara / Mexico
2002: TEATROMEX: Asociación de Productores mexicanos de Teatro / SOGEM, Mexico City
2002: Grupo55, Mexico City
2006: CUT / Centro Universitario de Teatro, Mexico City
2007: UACM / Universidad de la Ciudad de México: Dept. de artes y patrimonio cultural
2008: Casa Azul, Mexico City
2008: Escuela de Diseño de Cine, Televisión y Moda CENTRO, Mexico City