Workshops for Actors, Directors and Theatre Makers. Recognising the enormity of the challenges emerging artists face, The Liminal Space is dedicated to providing affordable and expert workshops to Actors and Directors internationally.
Workshops for Actors, Directors and Theatre Makers. Recognising the enormity of the challenges emerging artists face, The Liminal Space is dedicated to providing affordable and expert workshops to Actors and Directors internationally.
Harry Haynes
Founder and Artistic Director
Harry Haynes
Founder and Artistic Director
Workshop
Crossing Thresholds Series: From page to stage in 1 week
Come together, create an ensemble, explore ritual, tell a story.
With limited places this one week intensive is open to all performance levels where the actor is challenged to realise a group response to an existing play in the western repertoire, by use of their connection to story and their fellow actors in 7 days with a performance on the final night, anything and everything can happen.
Workshop
The Way of Transformation: Character Analysis and Movement Psychology
Joaquin Phoenix, Meryl Streep, Daniel Day-Lewis, Tom Hardy, Charlize Theron the list of actors who have transformed in from of our very eyes to inhabit the body and psychology of the character they play often grabs the culture (and awards circuit) by the scruff of the neck and doesn’t let us go. Often these actors are accused of ‘going method’ with full immersion into their roles to achieve these dazzling heights. However, it is their shared commitment to a unity of inner and outer character attitudes either consciously or unconsciously speaks to us a art.
Workshop
Scene Study: A Place To Discover
Do you have a scene in your back pocket you are desperate to explore? Come and join us for a 7 week deep dive under the shroud of night where you bring your theatrical ghosts to life. Develop a process that is active, spontaneous and autonomous while connecting with an exciting community and learning skills to put into your artistic toolbox that will last you a life time!
With the call to diversify and decolonise mainstage theatres around the world never louder, the existing repertoire is being challenged to prove its relevance.
Artistic Directors are being called upon to include greater representation of gender expression, race and sexual orientation in their company of actors. As such, contemporary theatre continues to move away from the dramaturgical realism that had been so popular in the 20th and early 21st centuries.
This in turn affects the pedagogy of actor training, as well as contemporary rehearsal practice. We have noted a desire from actors to move away from the pedagogy that accompanied ‘the old school’ (namely the actor training model put forward by Constantine Stanislavsky and later by his American followers Hagen, Adler, Strasberg and Meisner). As actors yearn for new approaches, I too question whether these methods, once revolutionary and now often regarded as conservative, still hold relevance to the actors of 2021 and beyond.
As both theatre practice and actor training pedagogy face this call to evolve, this research has never been more necessary. We are actively contributing across the affected areas and are experiencing the challenges the ‘process’ faces. Our continuing research will benefit practitioners, actors and directors working both pedagogically and within the performing arts industry and seeks to uncover a contemporary ‘process’ that empowers the 21st century actor.
This research is ongoing and developed in conjunction with Deakin University, Melbourne.
With the call to diversify and decolonise mainstage theatres around the world never louder, the existing repertoire is being challenged to prove its relevance.
Artistic Directors are being called upon to include greater representation of gender expression, race and sexual orientation in their company of actors. As such, contemporary theatre continues to move away from the dramaturgical realism that had been so popular in the 20th and early 21st centuries.
This in turn affects the pedagogy of actor training, as well as contemporary rehearsal practice. We have noted a desire from actors to move away from the pedagogy that accompanied ‘the old school’ (namely the actor training model put forward by Constantine Stanislavsky and later by his American followers Hagen, Adler, Strasberg and Meisner). As actors yearn for new approaches, I too question whether these methods, once revolutionary and now often regarded as conservative, still hold relevance to the actors of 2021 and beyond.
As both theatre practice and actor training pedagogy face this call to evolve, this research has never been more necessary. We are actively contributing across the affected areas and are experiencing the challenges the ‘process’ faces. Our continuing research will benefit practitioners, actors and directors working both pedagogically and within the performing arts industry and seeks to uncover a contemporary ‘process’ that empowers the 21st century actor.
This research is ongoing and developed in conjunction with Deakin University, Melbourne.
