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THEATRE sattwa

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Sattwa Theatre believes that every individual is a potential actor, you just have to learn to develop it.
is working with the actor's body as a physical instrument, emotional and mental, which is dominated by different levels of Pamper and tension.
is intended that the plaintiff can meet its zero point, know how to get there and start your search from it creative. Point
zero means conscious area of \u200b\u200bthe body (mind-emotion-physical) in the here and now, available sensitive and creativity to deliver any dramatic situation.
The zero point represents the territory in which the actor should be placed to begin their work.

theater training Sattwa zero point as well as actor:

expressive synthesis: Compact to promote. No stress. Do not underline
sensations, feelings, actions. If anything left over, if more, must be removed. Do not underestimate the public, they understand. No display with magnifying glasses, being spied upon, invaded. Be just what they happen to be. Do not try to show more of what they requested. The actor is only a part. Indispensable. But only a part within a whole.
Synthesis in action: precise movements, possible to repeat, particularized. Performing a read and a motion analysis finding poles of opposition forces, condensing the action and let the forces fight denote states, physical sensations. Do not work from the mind but from the body, if there is the thought that accrues from the action itself. There is no a priori mental work. Synthesize the resulting gesture, work as if it were a camera filming in the foreground.
Synthesis in thinking: an analysis of what happens in the here and now and learn how to handle precise lines and synthetic thinking, straight and particularized, not history, no argument. Differentiate story line of thought, images of lines of thought. The thinking is something very precise, it is generally not is an argument may be simply a word (not that it is tied to a story), can be a sound. Working with images, create situations, using music as a stimulus and propose contradictions between the lines of thought. This will result in an active player mentally, let that thought pass through the body into action. Synthesize the resulting gesture. Daily work and organic: the search for truth itself.

acting in speed Cyclothymia: Looking to move from one emotion to another quickly
true. Working with intense emotions. Deeper. Working on the edge. Be involved in an emotional but cyclothymia vent, learn to handle it. Do not allow emotion to overcome them, master.
Learn to make these changes without needing to state a storyline to sustain them, without need of a character that allows them to justify it from a psychological side. Have the tools to move from one state to another arbitrary and illogical argument.

Schizophrenia argument: That the argument, invented by the director or
created by the actor, is a creative release. Not bind them. Be free to act different works within a single, different stories in a monologue, in a sequence of movements. Using history as a tool acting, inventing many stories as the actor needs both within of a proposal as a logical argument without logical reasoning.

The choreographic element become dramatic element: That the motion
, if you like "abstract" is not a mere choreography in which physical skill is the main objective. The actor must be able to flow organically into a heavy structure of choreographic elements in the same way that manages to flow naturally in a realistic dramatic structure.
is looking for an actor with good physical performance, with a conscience and responsibility of their element of artistic creation. A working actor for greater physical and emotional performance. Convert
choreographic movement in dramatic actions with emotional content. Having the freedom to do this alone. Why yes, because they ask me, no matter the reasons. Convert your body and mind in one unit. Simultaneizar feeling and action.
action must always be on hand with excitement. The scores of motion, ie, actions must be built on foundations sensitive.

creation logic states: It seeks to create a logic state is
say, build bridges linking sensitive emotional state to another, creating their own universe, creating organic bridges between situations requiring different emotional states. Power
do so without logical reasoning. Without a story set in advance. Not knowing what will be the end product of experimentation.
There is a logic that allows energy model, this logic is the basis of the work. Energy means the mobilization of our physical, mental and intellectual, as he has Eugenio Barba in Beyond the Floating Islands. Enérgeia Greek word means: get ready for action, ready to produce work. That logic is one of the pillars of this search. Locate a definite starting point, it becomes physical action and be completed by a clear emotional state. When made aware how the material is arbitrary. When there is a text that allows the actor to know what to do and what will make over the work. When actors do not even have a character to protect them. What can you do? Through training is proposed to create a logic of states. The logic that an emotional state to another building bridges between the different scores sensitive work is what gives them the opportunity to deepen the situations created by the director-playwright without having to know what's next to do.

Sattwa Theatre believes that the actor must be trained to consciously and responsibly maintained daily away from excesses and bad habits. The actor's body is his instrument of work that is why we must care and training.
believe in a sensible and creative training having as a premise number one observation of the body, as if it were a map, then learn to read and ultimately use, improved with each practice and work that is undertaken. We
acting autonomy, ie to be actors capable of generating creative proposals significantly in different directions without needing a guide to educational level. This requires first and foremost an actor, an actor who can identify what is the aesthetic in which is immersed in order to to experience in the proposed code. Then you need a trained actor able to use his body as a malleable instrument and creative.
An autonomous actor has the ability to inquire into management proposals closer to the dance, driven by the logic of state as well as proposals embedded within the logic of argument. Information independent actors in the creative process, understood it as characters, text, history, etc.
actor should know that as proposed but not decided and must be willing to both proposals as its director constantly mutate and even when the show is mounted. The actor works for the product, is an element within it. Neither more nor less important than other components of the work.
An autonomous actor is an actor with an opinion, critical thinkers, able to propose not just to repeat.

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Genesis

Sattwa Theatre was created by the BA in Dramatic Arts Luz Maria Quinn.
Born in Buenos Aires in 1978, began his art studies in 1991 as an actress.
studied acting at the National School of Dramatic Arts (ENAD) and then held at the National Institute of Arts (ex ENAD) degree in Drama.
Its core training is an actress. He worked in theater with Javier Daulte, José María Muscari and Mariela Goycoechea Martin Asensio, among others. He was a founding member of experimental theater group "Insomnia." Did some work in film, television and advertising.
As a teacher working since 2004 dictating acting training workshops and individual coachings. Is assistant professor of the art "Text Analysis" at the National Institute of Arts and was a member of the group of theoretical research of the university for three years.

"The training of certain questions that arise as an actress since transit time. On the one hand to work with Goycoechea Martin felt that in their process of creative experimentation had penned a potential training and I was interested in unveiling. On the other hand when working with different directors and witness various processes of theatrical experimentation began to walk a need to generate a new actor training that was being sued in the middle.
The first step was to discover what were the concepts related to these requirements, I was interested in a possible experience in training. Characterize the "actor model, list the tools that it needs and so then formulate functional exercises that search.
During the first months of practical research I had the help of Juliet Petruchio, Soledad and Martin Goycoechea Cagnoni (founding member of the group "Insomnia"). The work done throughout those months was aimed at the creation of model exercises. An exercise worked, when he could find all possible variants, is archived and continue with the investigation. My intention at this stage of work was not teaching in relation to the actors involved.
From this research I began to try and reformulate these group exercises and individual teaching classes for professional actors and amateurs. Fortunately
training is a living organ, is constantly modified, enriched with experiences that bring new students and with my personal growth. "(Luz Maria Quinn)

Theoretical Framework

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Theoretical Framework Courses 2008

acting workshop

The Love Part I

Over a year live a process of experimentation to produce a play, with the trigger creative

The Love Work Methodology:

Part I: Acting training: acquiring tools to generate material from the role of actors and to carry out the resulting product.
Part II: Process mount the work.

As part of the search for material for the stage show we will:

1. Urban interventions.
2. Collection of material: photographic film, narrative, sound.

Registration is open to those who want to be part of this project, regardless of profession or art history. The diversity will enrich us all. I


Course Start: February 2008
Close: December 08
Days and Hours: Wednesdays from 18:00 am to 22:00 pm Course II


Home: March 2008
Close: December 08
Date and Time: Tuesday from 09:00 pm to 13:00 pm

Coordination dramaturgical level and Director: Martin Goycoechea.
Teacher: Luz Quinn
Contact: entrenamientolq@yahoo.com.ar . 1541959530

• Project Urban intervention

An experiment on love
Through eight games
work to build, taking Love as trigger creative urban intervention. An artistic event held in an unconventional space.

Work Methodology: Approaching
different theatrical technique.
decision of what and how of intervention. European
material: film, sound, photographs, narrative, etc.
Armed and implementation of urban intervention. Course I



Home: March 2008
Close: April 08
Day and Time: Thursday from 09:30 am to 12:30 pm

Teacher: Luz Quinn
Coordinator: Martin Goycoechea

Contact: entrenamientolq @ yahoo.com.ar . 1541959530

· Workshop Theatre Acting training



Objectives: To work in a sensitive, creative and independent in different direction or design proposals. Search
zero point, rather than optimal availability to address a tragic situation. Cyclothymia
acting in speed, it can happen an emotional state to its opposite quickly.
Working for schizophrenia acting, ie it can create micro-stories within the macro-history without altering the total content required. Synthesis
expressive condensed to strengthen. Create
logic states, which acquire the ability to create organic bridges between situations that require emotional states within pose any aesthetic.


Home: March 2008
Close: December 08
Day and Time: Saturday 10:00 am to 12:30 pm.

Teacher: Luz Quinn

Contact: entrenamientolq@yahoo.com.ar . 1541959530


· Individual coachings

Objectives: The course has several levels, not in order of importance:
1.Nivel "teaching" - in this instance we do is work on specific problems that the student knows a priori and which appear in the course work.
2. Thematic level-eg you're working in a particular work and you want to deepen certain lines of your character. In this case, we analyze the material and an approach taking into account your interests and patterns of your principal.
3. The training itself, I am convinced that the actor must train continuously, the instrument (physical, sensitive, emotional, etc) should be tuned, at its zero, always ready to any proposal to deepen, whatever it is (aesthetics, gender, etc.).

hours: 1:30 am by
Class Day and Time: Negotiable

Teacher: Luz Quinn.

Contact: entrenamientolq@yahoo.com.ar . 1541959530

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1 - Catch. Script and direction: José María Muscari.Luz Quinn was part of this show in the role of actress.
2 - Small daily torture. Script and direction: Martin Goycoechea. Light
Quinn was part of this show in the role of actress.

3 - Sisters because they sink. Direction and dramaturgy: Goycoechea.Luz Martin Quinn was part of this show in the role of actress.
4 - Translation in a large space. Script and direction: Goycoechea.Luz Martin Quinn was part of this show in the role of actress.

5 - Executor 14. Dramaturgy: Adel Hakim. Address: Goycoechea.Luz Martin Quinn was part of the work in progress of this show in the role of actress.

6 - The Flight of the Dragon. Direction and Dramaturgy: Javier Daulte.Luz Quinn was part of this show in the role of actress.

7 - Cool. Direction and Dramaturgy: Goycoechea.Luz Quinn Martin was the acting coach of the group. Embracing

in a cool place. Dramaturgy: Martin Goycoechea. Address: Mariela Asensio. Light
Quinn was part of this show in the role of actress.