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Coming Soon...
South korea - Directing a performance & conducting a workshop - Auguast & September 2008
Iran - Tehran - Suddaliaydi (A collaboration with Indian traditional dancers) July 2008
unfortunately, I should inform to"Oriantheatre"`s audiences that "Suddalaiyadi" could not take permission to perform in Iran. |
Poland (Making a physical performance in collaboration with polish performers) End of summer 2008
France - paris - collaboration project on Antonin Artuad`s poems. 2008 - 2009
News
Public Invitation
Hereby, the “Orian Theatre – Performance Arts Group” that is a young and Experimental group, would like to invite physical dramatic artistic from all over the world, to be as a membership in different countries.
All candidates after introduce own resume and interview, can cooperative with our group at international projects.
The “Orian Theatre – Performance Arts Group” is Focused on physical theatre , contemporary dance, performance art, hatha yoga, mime and think that they can be same in different cultures.
For more introducing and information, please look at
www.Oriantheatre.com
Or mail to:
contact@Oriantheatre.com
Manager
Mehdi Farajpour
To me the climax of the play of a performer is when who dances own role. The goal of this book is to help the player to reach a physical position and concentration for approaching a high level of physical and mental consciousness on the stage. But this doesn't mean that this book only addresses the dancers.
This book addresses are all people who are connected to art of playing in a way.
Those who are more familiar with the word of movement in the theater art perhaps can make more connection to this book.
where does movement start in theater ? I say from winking, sitting and even consciously breathing. there is no need for extraordinary movements on the stage.walking, sitting and lying down are the sort of movement which could be done in a dancing mode.
We shouldn't forget that dancing is not regular movement and it could also be irregular.
According to sonia moor : " a players's control over his body should be as much as a dancer's control over his body. "
therefore my goal for determining and defining movement is to help reaching a level of understanding of physical and mental consciousness on the stage to not move with out order. and also to be conscious for the slightest movements for precisely playing on the stage and reducing irregular movements on the stage. I believe that this order and precise showing of the body could be reached with Yoga.
Introduction of " Monk performer " by Mehdi Farajpour
