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    Text, Rhythm, Action!
    New Priorities in Historically Informed Performance
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    Research Findings

    

    Download "Text Rhythm Action" research poster here

    or contact us to order a free high-resolution version
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    Research Questions here​

    

    More about "Text, Rhythm, Action!" projects here

    

    

    ​Research Findings

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    Renaissance courtiers spent several hours each day training as swordsmen: to perform the emotions of early opera and Shakespeare’s theatre, we should experience the physical and mental conditioning that such training brings. More
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    ​​The recitative of the first operas was not ‘free’ but rhythmic and dramatic, with a certain cool nonchalance: think of Ella Fitzgerald singing Shakespeare. More
    
     
    ​Historical stagecraft is much more than just Baroque Gesture: it is full-body Action with the poise of a painting, the flow of a dancer and the power of a swordsman. More
    
    
    Through collaboratories with historical dancers, swordmasters, performers, and experts in Alexander and Feldenkrais techniques, we are on the brink of establishing what might be quite a new connection, uniting the period concept of Pneuma - the mystic breath of passionate performance, and the divine breath of creation( think of Michelangelo’s “God creating Adam”) - with pneuma as the active substance in a body-network of proprioception, communication and energy. The concept could be compared to oriental Chi, but we are assembling evidence for it in Early Modern western Europe.

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