Credo
Life is theatre.
All the world is, in fact, a stage.
Everyone, at heart, is an actor.
Theatre is of, and for, the people.
Life is theatre.
All the world is, in fact, a stage.
Everyone, at heart, is an actor.
Theatre is of, and for, the people.
“All human beings are Actors (they act!) and Spectators (they observe!)
I believe in democracy, but in real democracy,
not a phony democracy in which just powerful people can speak.”
- Augusto Boal
I believe in democracy, but in real democracy,
not a phony democracy in which just powerful people can speak.”
- Augusto Boal
There are many practical and viable methodologies available to hone the theatre craft and apply it to life.
Among them, one of the most inspiring is the integration of Stanislavsky’s System with the Technique devised by the extraordinary Michael Chekhov. Add to that the pioneering work in the creative universes radiating out from Peter Brook, Augusto Boal and pedagogical luminaries Kristin Linklater and Bella Merlin and you have the six pillars of theatreology.
Theatreology is infused with the conviction that the actor’s craft is an empowering one, fueled as it is by recognizing the positive forces of Creative Individuality.
There are five guiding principles from Michael Chekhov which theatreology upholds:
Michael Chekhov believed, however, that not only does the Technique come fully alive when it is assimilated in a unique way by each individual, but that for it to come to life fully, it must emerge differently in the hands of each practitioner.
What if (the most empowering of all questions) we used these principles to explore how we act in all areas of our lives?
What if we had access to workshops and seminars that train and cultivate these creative powers, just like we can regularly go to a gym to strengthen our bodies?
What if people from all walks of life met regularly to rehearse and perform?
What if the artificial border between life and theatre (and the other arts) became just a bit more porous?
What if we could break out of the rigid bounds imposed on us by society and the workplace and view our roles more as rôles?
This is theatreology.
Among them, one of the most inspiring is the integration of Stanislavsky’s System with the Technique devised by the extraordinary Michael Chekhov. Add to that the pioneering work in the creative universes radiating out from Peter Brook, Augusto Boal and pedagogical luminaries Kristin Linklater and Bella Merlin and you have the six pillars of theatreology.
Theatreology is infused with the conviction that the actor’s craft is an empowering one, fueled as it is by recognizing the positive forces of Creative Individuality.
There are five guiding principles from Michael Chekhov which theatreology upholds:
- Mind/Body integration
- Expression through the Intangible
- The Higher Self + Creative Spirit
- Technique is about awakening the Creative State
- Artistic Freedom
Michael Chekhov believed, however, that not only does the Technique come fully alive when it is assimilated in a unique way by each individual, but that for it to come to life fully, it must emerge differently in the hands of each practitioner.
What if (the most empowering of all questions) we used these principles to explore how we act in all areas of our lives?
What if we had access to workshops and seminars that train and cultivate these creative powers, just like we can regularly go to a gym to strengthen our bodies?
What if people from all walks of life met regularly to rehearse and perform?
What if the artificial border between life and theatre (and the other arts) became just a bit more porous?
What if we could break out of the rigid bounds imposed on us by society and the workplace and view our roles more as rôles?
This is theatreology.