this is composed of three independent and permeable units with complementary goals: formalizing practice-based knowledge during WORKSHOPS, formalizing theoretical knowledge during LABS, experimenting alternative production models through the INCUBATOR.
We offer to actors of all disciplines an autonomous space of study, interaction and formalization of their work fundamentals.
We stand for an ongoing learning renewed throughout one’s whole professional life. We also defend horizontal exchanges of knowledge and practice, as well as transdisciplinarity as a crucible for a new pedagogy.
There is a difference between fundamental and artistic research. The latter is what every team does when working on a production. Fundamental research is something different. It starts as soon as we try to distinguish among results: on one hand, those which are of artistic nature, on the other the more universal ones. “Universal” is anything that other people can learn, because they can share your experience and learn from it, so that they don’t need to repeat your mistakes.
Acting is a trade.
However, unlike any other stage performers, actors do not share a common language or a clear definition of their tools. They seldom learn from their peers, and, unlike other performers, they do not practice everyday. These facts have important consequences on the trade itself.
Although their work is typically collective, actors, when they are not working on a production, often find themselves in a state of solitude, unable to practice and continuously refine their art day after day.
It is therefore collectively, training and learning everyday tools, that we want to rethink our trade in both practice and theory. To achieve this, a confrontation with other stage disciplines is absolutely necessary.
With the creation of an international structure dedicated to the ongoing training of actors of all disciplines, we have the ambition to reinvent and to popularize a both needed and exacting culture of the trade. We aren’t creating another school, or yet another method. We state that there is a discipline specific to actors and that we want to promote its autonomy.
The more a system is autonomous, the more it is permeable to its environment.
Real autonomy only happens in connection to others.
The borders between stage disciplines are progressively fading. Dancers, singers, circus performers… choose more and more to offer works in which the relationship with the audience is evidently more theatrical than spectacular. If there is one specific mastery that actor has, it is precisely his/her relationship to the audience. This is why we call actor any artist who performs on stage, from the moment that s/he considers this relationship determining.
Simply copy the index table of all physiology, psychology, grammar, phonetics, declaration books... There are few fields, few sciences that do not concern the actor.
This is one of the reasons why this list is not and cannot be exhaustive. A second reason is that disciplines do not have dialogues, it’s people who do.