www.cristianabattistella.de - theater-body-conscious

CONSCIOUNS BODY

TEACHING CONCEPT

The methodologies and techniques I use in my movement and body awareness classes are primarily based on contemporary dance, Floor Work and yoga, for which I have undergone extensive training.
Nevertheless, the lessons are also inspired by somatic disciplines such as Feldenkrais, Bartenieff, Alexander, and Qi Gong, which I have practiced over the years. These provide valuable insights for enhancing the teaching and learning of movement principles.

Through the synthesis of these disciplines, the aim is to teach students to understand and enhance the diverse potential of their bodies, both physically and perceptually. Additionally, the goal is to increase their awareness that, by applying the acquired tools, it is possible to refine their stage presence, as well as their expressive and artistic qualities.

STAGE SPACE AND SCENIC BODY

The work focused on "stage space" aims to refine the gaze, perception, and intuition to capture everything that can be a source of inspiration for creation.
It seeks to expand the "point of view," the vision in which every environment can, depending on the circumstances, become stage space.

The work concerning the "scenic body" starts from the observation and work on the actor's body in relation to their character, so that there is no separation between the two dimensions, but integration and authenticity.

ACTORS' LAB - THE NARRATOR'S BODY

The work of the lab is dedicated to the preparation of the actor's body, to stage presence, to the discovery of neutrality, which then leads to a renewed physicality of the character played.

To stimulate and train a body that senses, perceives and acts authentically and not disconnected from the text.

The class consists of a physical warm-up part and a creative-expressive part designed to stimulate and refine perception and listening to oneself, others and the stage space.

During the physical training, mind and body are first freed of tensions and blockages.
Experience is made of the inner and outer space and the relationship between them.

In an organic manner, work is then done on the strengthening and stretching of muscles, the flexibility of joints. On the sense of rhythm, balance and coordination of movements.

In a second step, we move on to the creation of performance situations.
The text is integrated into the movement. The research becomes increasingly personal and aimed at the construction of an authentic character.

Observation and practice, action and reaction go together.

MOVEMENT AND VOICE

This type of work is for all those who wish to experiment and deepen their research as performers by integrating movement with voice work.
It is aimed at dancers, singers, actors, but also at the curious, who wish to explore the multiple creative potential of their own body and voice.

The movement-voice classes are mainly inspired by the principles of the Roy Hart medotode, which focuses on the research and relationship between sound, movement, vocal extension, emotion, through various forms of vocal expression independent of pre-established aesthetic norms.

Through deep work, we discover the resonators, real resonance boxes in our bodies, and experience the relationship between breath, sound and movement.

The voice thus emerges from a warmed-up and receptive body.