@2019 by Dimitra Thomaidou

 

 

“On a beautiful day, any given song may be heard, and Nature, from where it comes, will welcome it again.” — Friedrich Hölderlin

 

One of the key aspects of Freud’s psychoanalytic theory is “free association”, which is no less than a calling. A calling to open up, to break the ties that keep us bound to isolation. Hence, for when the moment comes that one cannot do otherwise but let “any given song” be heard, another sort of intention—both mental and psychological—is required; an intention relieved of conventionality, of the usual perceptions, or of the facile refuge to the “scandalous”.

 

The idea here stems directly from this psychoanalytic approach, in which people speak for themselves rather than repeating the ideas of the analyst; they work through their own material, rather than parroting another's suggestions. This kind of action is, a spontaneous action. A logically unconstrained and undirected association of memories, emotions, feelings and ideas. Ideas that take place in the very present, that have to do with a state of utterly free expression, and that are not restrained by form. 

 

What could happen if we apply this approach on stage, in an open space, in social and daily life? 

And what kind of spirit is needed in order for this to actually take place?

 

The spirit of a poet. A poet as the very subject of a delirium stemming from the discordance between reality and language. A poet that makes a tree out of old furniture. A poet that lies to formulate the truth. A poet that keeps keep thinking of something different every time. There exists no poet that is not a rebel. 

 

This work proposes going through the closet of the subconscious where feelings are in deep-storage and explores the limits of "on-stage" improvisation via a free “train-of-thought”.

It aims at generating a different “on-stage poem” each time that addresses our sentimental, and not our cognitive, core.

The work focuses on the following themes in a different frame each time:

  • Body and voice work based on Grotowski’s technique.

  • Stage improvisation exercises based on free association techniques. 

  • Use of our mind and our fantasy in the present moment.

  • Use of documentary elements, personal experiences and life stories. 

  • Space and time in performing.

  • Exploring the ''why I enjoy to be on stage'' question.

  • Breathing Techniques

  • Meditation Techniques 

  • Mythology & Archetypes

  • ASANAS-TENSEGRITY body work

  • Energy work *MOTIONS*

  • Sound healing (natural voice sound)

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