Stacie asked Paul Allain and Frank Camilleri to answer 4 quick questions related to their training and teaching approaches.
1. Can you describe your work in a less than 100 words?
P: Exploring ways of engaging the performer through physical movement and vocal exercises in order to be more energised, receptive, flexible and ready.
F: ‘Very physical’ and ‘auto-didact’ are the phrases I would use. I am the Artistic Director of Icarus Performance Project (www.icarusproject.info) – a theatre laboratory practice that investigates the space between training and performance processes. In the course of my activity in theatre I have developed a way of relating to the work of the actor based on a study of elaboration of acrobatics, plastiques, martial arts, dance, and mime. I have also developed a vocal training process which evolved from the work on physical actions.
2. Can you describe each others work in less than 100 words?
P: Exploring precision in movement and actor training to focus and release the performer’s full physical and creative potential.
F: My impression of Paul’s work is that it is more contact-based and ensemble than mine; this includes also vocal work.
3. Can you describe your style of facilitation?
P: I like the work to be precise but playful, fun and energising and to be rooted in shared common objectives and practices from which individual creativity and embodied understanding can grow.
F: I have to be there, physically, with students/actors, doing the work with them, intervening on any individual obstacles/hinderances by bringing my skills to bear on the particular difficulty. (That is, I do not lead from outside or through words.)
4. Can you explain – in your opinion – the importance of video as a resource for research in the area of Physical Acting?
P: Video is the future as it allows us to see, hear and understand principles of actor training in a embodied way and without the mediation of words alone.
F: Video provides an immediate ‘how to’ that is more effective (and affective) than text or even images. (On a personal note, the turning point in my personal training was watching the video of Cieslak’s plastiques — I used to watch it almost daily for around six months, sometimes focusing his use of balance, sometimes of his arms, sometimes his stomach to see his breathing patterns, etc.)