And also….

ARIA – 2022

Actor training workshops and theatrical techniques scheduled every week from July 18 till August 13, 2022.
65 professional and amateur trainees.

How can we make the multiform space and stage polyphony heard in the artist’s body and voice? How many voices does each voice hold? This workshop offers a choral and musical approach to the actor training and artistry. The rhythm, harmony and counterpoint notions will guide our research and daily exercises, aiming to develop keen and multidimensional listening to the present, as well as a concrete reactivity to the moment and to the playing instinct. Experiences will highlight the stage’s musical dimension when it comes to the text approach and to movement and space as well. The dramatization within the song and musicality of the text will subsequently oppose and converge whether in individual bodies or in the collective body. The active awareness of the artist’s polyphonic potential, alone or in a group, creates, transforms and sets moving complex and poetic spaces open to perception and reception.

Sorbonne Nouvelle University, Institute of Theater Studies, 2019 and 2020

Authors in the program: Marcus Borja, Victor Hugo, William Inge, Patrick Kermann, Dea Loher, Fausto Paravidino, Joël Pommerat, Jean Racine, Jacques Rebotier and Jean Tardieu

Intensive practical workshop for students in their last-year bachelors and professional bachelor’s programs. This course offers a musical approach to the techniques of the stage and the text. The aim is to explore and put into practice the key notion of musicality in the vocalization of a text, and in the perception and organization of time and space in theater. The question begins above all with the vocality and the embodiment of the actor-performer. We are interested in listening, rhythm, phrasing, harmony, counterpoint, polyphony, in both our approach to the text and in the dynamics and movements on stage. Texts by different authors – dramatic as well as poetic or fictional – are part of the curriculum. Improvisation also plays an important role in this journey, as a valuable tool for training the act of listening and reactivity on stage. 

Intensive 60-hour workshop, from October 21st till October 31st, 2019, to the Classe Libre
Cours Florent Paris, promotion 39.

We explored in depth in depth the bases of the stage artist’s work (voice, breathing, bodily expression, time and space perception, etc.) using two main tools: text and technique. As for the first, we worked on stories inspired from ancient tragedies (Aeschylus, Sophocles, Euripides and Seneca). Whereas the second tool consisted of the discovery and application of Viewpoints, developed by the American director Anne Bogart (SITI Company). Those viewpoints considerably sharpen and amplify the spectrum of attention, thus, the artist’s innovative performance.

Cours Florent Paris, March-April 2019

Training specially designed for acting teachers at Cours Florent Paris. In-depth work on voice, listening, rhythm, breath, reactivity and movement of the text.

Association de Recherche des traditions de l’acteur (ARTA), Paris, 2017.

To find out more

This professional workshop (60 hours) gave rise to a show with 60 performers (the participants and several actors who acted in Théâtre and The Bacchae. Notre-Dame du Silence (Our Lady of Silence), after Fernando Pessoa’s Book of Disquiet, was presented on June 13 at the Théâtre du Soleil during the Day of Silence at the Cartoucherie.

University of Paris 8 Vincennes Saint-Denis, since 2016.

Weekly practical-technical course (first semester) for students registered in the third-year of the Theater program. Between 20 and 35 students per semester.

Cours Florent Paris, 2019-2020

In-depth vocal technique course for the 4th year students. Group of 25 student actors/actresses selected on audition.

Cours Florent Paris, Acting in English section, since 2014.

Weekly course in spoken and sung vocal technique and improvisation (in English). Around 25 student actors.

Cours Florent Paris, Acting in English section, 2016-2018.

This is a brand-new module that I designed and proposed, based on theatrical improvisation through listening and responsiveness (in English). Around 20 student actors.

Universidade Fedral de São João del Rey (UFSJ), Brazil, 2016 and 2017.

Intensive classes (30 hours) in theatrical techniques for undergraduate and graduate students (30 student actors).

École du jeu, Pairs, 2017.

Series of professional classes given as part of the intensive cycle designed for professional artists. 14 student actors.

Théâtre de la Cité internationale, Paris, 2017.

To find out more

Workshop offered to the general public (mainly actors or student-actors) as part of the programming of Théâtre in April 2017. 20 participants.

University of Paris 8 Vincennes Saint-Denis, course offered by the CNSAD, 2016.

I taught one group from 10 a.m. to 2 p.m. and Sylvie Deguy taught the other from 4 p.m. to 8 p.m. From 2 p.m. to 4 p.m., we all worked together on polyphonies. 30 student-actors.

Universidade de São Paulo (USP), 2012.

Head of a weekly workshop on performative research in chorality, intended for undergraduate students (acting, staging and dramaturgy) on chorality and Jacques Rancière’s concept of “dissensus”. 25 students.

Various locations in Paris, Brasilia, São Paulo and Rio de Janeiro, 2009 to 2012.

Conception and direction of a cycle of professional workshops in three independent and complementary modules.