Bientôt dans votre langue 

 

planete-rougelogo2b

Théâtre Organic & Happy to be Happy

Present

International Workshop On Hospital Clowning

2nd Edition

     In Barcelona, From 12-24, october 2015

Directors:

Sophie GAZEL and Michael CHRISTENSEN 

 

 

Historical overview:

In 1986, Michael Christensen founded the Big Apple Circus Clown Care Unit, a program that integrates professional performing artists into leading pediatric hospitals in the United States. The program has inspired a woldwide profession, hospital clowning. In the past 28 years, the profession of Hospital Clowning has exploded. In Brazil alone there are 350 separate hospital clowning programs. At the first International Conference on Hospital Clowning  held in Jerusalem in October of 2011, over 200 professional hospital clowns from 22 countries convened to share experiences, participate in workshops and hear research studies that support the positive effects humor has on ill children, their parents and caregivers.

In 2001, Sophie Gazel and Pablo Contesabile founded Théâtre Organic, a French/Argentine theater company. As well as producing plays, Théâtre Organic also creates intensive training conferences and workshops in a variety of theatrical disciplines including acting, mask, dance, music, movement, voice, improvisation, clowning for the stage and the hospital.

The Workshop

Last October, Michael Christensen and Sophie Gazel partnered to create the first edition of their International Workshop for Hospital Clowning, in Barcelona, Spain. They selected 24 professional hospital clowns from nine countries to participate in an intensive three weeks long workshop; It was very successful.

This year, Michael and Sophie will, once again, collaborate to create the second edition of this International Workshop to be held for two weeks, October 12-24 again in Barcelona. They will select instructors from a handful of international teachers experienced in various aspects of hospital clowning.

It is fitting that the International Workshop for Hospital Clowinig be held in Barcelona ! This city embodies the dynamic energy and cultural diversity of the profession and the workshop. Cultural diversity ! Do artists from different countries perform the work differently ? Yes, they do. Each culture has its own unique sense of humour. In some cultures, music is much more integrated into the work than in other cultures. In some cultures, the approach is extraverted and energetic while in others internal and soft. In some cultures, artists rely on speech much more than in other cultures. This workshop will give artists from around the world the opportunity to learn from each other, to share and celebrate their distinct cultural differences. The participants will not only learn from the instructors but also from each other ! The finest teachers and the finest tools will result in valuable experiences and insights that will enable the artists to perform their jobs as hospital clowns better and will inspire their colleagues no matter what their country of origin.

Yes, cultures vary. Humor varies. Artists may do the work differently but we are all committed to the same purpose : to bring the very best of who we are as professional artists to the bedsides of hospitalized children, their parents and caregivers.

Teachers:

« HUMAN FIRST, EVERYTHING ELSE NEXT »

Michael Christensen

Authentic presence: Through a series of playful exercises, participants will gain confidence in their ability to simply “BE”, to be authentically present. From this place, artists can move in any direction that is required, from assisting in a medical procedure to stumbling into doors!

Medical Parody: The art of medical parody opens a world of material to the hospital clown.  The idea of a clown doctor is in itself parody. Every action that a doctor, nurse or hospital staff makes can be a delightful source of parody.

Sublime moments: Slapstick, physical comedy, pratfalls, high-energy action have their appropriate places in hospital clowning. So do soft, lyrical, and sublime moments as well.

The musical wash: This is a highly useful tool for the artists. They can use it to introduce themselves into a clinic. It can be their traveling musical signature. It gives them an immediate structure and can become a beginning and an end to an improvisation. This is a very useful tool.

michael2 - copie

Michael CHRISTENSEN

For 45 years, he has been a performing artist, lecturer, workshop leader and innovator in integrating humor into healthcare, most notably pediatric hospitals worldwide. In 1977, he co-founded the Big Apple Circus and in 1986 founded Big Apple Circus Clown Care. Michael has been guest lecturer at the University of Tel Aviv, the Italian Federation of Hospital Clowning and the Scandinavian Humor Conference. He has presented at the Medical Grand Rounds at Children’s Hospital Boston and Children’s National Medical Center. He was designated a NY Living Landmark. He was the recipient of the Raoul Wallenberg Humanitarian Award, Red Skelton   Community    Service   Award,    Parenting    Magazine

Achievement Award and is an Ambassador David Water Pediatric Hall of Fame inductee. Michael has conducted hospital clowning workshops all over the world and is considered the “Father of Hospital Clowning”.

http://bigapplecircus.org/clown-care

« IMPROVISING IN DUOS, TO CREATE WORLD OF WONDER »

Sophie Gazel

Working together: Saying YES before saying NO. We know that the clown’s nature is to find conflicts and problems but before creating conflicts, it’s important to create harmony, balance and equilibrium.

Speak less! Live more! Keep it simple! : Making one proposal and developing it, instead of making several proposals without developing any of them. Living in the situations instead of speaking about the situation.

Dramaturgy and Improvisational structure: Writing a story at the same time you are playing it. Improvisation must follow some rules of dramaturgy to successfully tell a story, even a very short story. A story structure is based on a beginning, middle, and an end. This structure has to be the same for an improvisation. I propose five steps that can help to facilitate this form of improvisational writing: 1. The entrance of the clowns, 2. The objective/wish and goal, 3. The development, the strategies and obstacles, 4. The resolution, 5. The exit.

Identifying your duo’s unique characteristic: Two individuals working together express a specific complicity and dynamic, a special comic universe. This makes this duo unique. It is important to identify these characteristics to better understand the poetic and comic potential of the duo, to be able to work on it and to nurture it.

Creating a world of wonder: Assuming that the universe of the clown is not necessarily a realistic universe, we will explore ways to move out of the world of realism and into the world of wonder, fantasy and poetry! We will transform the spaces. We will invent many things that do not literally exist. We will create such an amazing world of magic and fantasy and poetry and wonder that for a few minutes the child will forget he is in the hospital. A child’s hospital room can become anywhere. The adventure begins!

SONY DSC

Sophie GAZEL

has been a prominent director and acting teacher since 1997. She graduated from the London International School of Philipe Gaulier in 2001. She also trained during this time with members of “Theatre Complicite” and John Wright. In France, she worked with Norman Taylor, Alain Mollot, Jos Houben, Paola Rizza, Tapa Sudana, and Mas Soegeng. In 2001, with Pablo Contestabile, Ms. Gazel founded the Theatre Organic company. Theatre Organic created the first International Workshops Festival for Actors in 2001 in France and then in 2006 in Buenos Aires. Since 2009, she has regularly coached hospital clowning groups including Pallapupas in Barcelona. She has developed specialized training for improvisational work in medical  settings. Since 2012,

she has worked with CliniClowns Austria, Kliniclown Bayern and various other groups in Germany.

www.theatre-organic.com

« INTEGRATING MUSIC, VOICE AND RHYTHM INTO HOSPITAL CLOWNING »

Haim Isaacs

Musically enhance the theatrical aspect of his work. Create purely musical moments. Relate to a musical partner. The clown sings a song. Invent a song on the spot. Create soundscapes

Rhythm: The clown hinges on it as a soloist, with his partner, with the space and with the public. Through different exercises we will develop musical, physical and theatrical applications. (Rhythmic coordination of hands, feet and voice. Improvise within rhythmic structures. Use silence as one’s partner. Regular pulse / chaotic time)

Musical improvisation: Understanding roles and functions. (Melodic, rhythmic, soundscape. Ranges (bass, soprano, etc)). Volume (piano, forte, crescendo, decrescendo, simultaneously contrasting volumes). Choose between entering closely into your partner’s proposal or creating a complimentary or opposing proposal. Roles (who has the lead, who’s supporting?). Move between spoken and sung voice. Develop a sense of form and architecture within the improvisation: repetition,   themes, an overall view of the unfolding music.

Soundscapes (beyond language, beyond traditional music): Develop the non-lyrical aspect of the human voice. This can be an important element for clowning in general and for the hospital room in particular: what is the sound of the thermometer? The bed? The monitors? Create illustrative sounds (animal, industrial, nature—wind, water, a burnt tree, sunshine). Create abstract vocal textures

How does the clown interpret a song? A very thorny question. Often the response is to sing “badly” or belittle the song. Time needs to be given to try different solutions according to the dramatic situation at hand.

Invent a song: Create a real song on the spot with words and melody. With or without rhymes / based or not based on an existing song.

Musical objects: Transform daily objects into instruments, exploring hidden sounds.

Vocal technic: Given the limited time and the specific wish to enhance the clown’s in situ tools, vocal technic (i.e. breathing, resonance) will be addressed, but not be given priority. It will also vary according to the participants’ levels.

haim

Haim ISAACS

was born in New York 1957 ; he grew up in Jerusalem. After a formal musical education,
Haim met and was deeply influenced by the Roy Hart Theatre, a group of vocal 
explorers in the south of France : voice, movement, imagination and another vision of what life can be. After living and working with the Roy Hart Theater for 4 years, Haim moved up to Paris where he composes, sings, improvises, writes fiction and teaches voice. In 2005 he recorded his third album, The Hole in the Wall, compositions in Hebrew, Arabic and English. He is currently performing Longtemps je me suis couché tard with Sarath Amarasingam and working on a novel. His workshops are

oriented for professional performers: singers, musicians, clowns, storytellers, dancers and acrobats. Clown / voice workshops. His has collaborated with: (France) Rire Medecin, Samovar school for clowns, Ami Hattab, Lori Lesson, Fred Robbe, (Holland) Buzzing Red Clowns, (Spain) Payasospital, Pallapupas. Storyteller / voice workshops: La Maison du Conte (France), FortaelleKunsten (Denmark), Fabula Strytelling (Sweden),igga Bro (Italy). Voice / music workshops: Theatre Organic (Argentina), School of Dramatic Arts (Spain), Ferme de Trielle (France), Theatre in Savoie (France), Haim does vocal direction for different musical and musical theatre productions: Philippe Genty Company, Comédie Poitou—Charentes (Yves Beauesne), Theatre du Temps Pluriel, Shpeilkes, Tram des Balkans

www.haimisaacs.com

« AND GOD CREATED … THE OBJECT ! »

For clowns, considering objects as partners while improvising offers them a huge variety of ways to transform reality. Utilizing objects as metaphors, turning them this way and that, transforming them or regathering them are opportunities to reconsider, rediscover and redefine our environment and its components.

Elevating the status of an object from prop to partner unlocks a magical world in which objects have souls.

We will approach the relationships with objects as partners through the dicipline of  manipulation, puppetry, touching the collective and individual consciousness and the singularity and universality of any object. In collaboration with Haïm Isaack, we will explore the  musicality of objects,  their sound, rhythm, unique noise.

After this workshop, you may use objects to create a story or a simple image.  And if you already do it, you will do it with more relevance!


esarria

Eric De Sarria

He has primarily worked as actor since 1988  with the international Philippe Genty Company. His training is in visual theatre in the craft of puppetry and the manipulation of materials. Between 1989 and 2002, Eric toured all over the world, with Philippe Genty’s company performing the show, Drifting, Dedalus from 1998 to 2000, and since 2000 he has been  touring with Zigmund Follies, a finger puppet show. He has led workshops in visual theatre and puppetry in France, South Africa, Japan, Australia,  Brazil, and Egypt. Eric has also directed several plays: in France, a play for children with a sculptor, a monolog and a cabaret about a French writer, Henry Michaux. in Catalunia, he worked as a manipulation consultant for Playground Company. He was assistant on The Giant Match-meet my in-laws (giant puppets),  and in Russia, he wrote and directed Commune Empreinte, and most recently, adapted and directed The Noze from Gogol. He has worked as clown in a circus, as an actor in several street theatre companies and in the conventional theatre company, Burattini, Theatre de l’Unité. For several years, he has assisted Philippe Genty.

 http://www.philippegenty.com

Program

Week One

Monday 12th October

Teachers : Michael Christensen & Sophie Gazel

Workshop’s presentation. Warming and exercises to create a good  spirit of group, to put everyone in a safe place to make them feel free and  open to work.

Tuesday 13th of October

Teacher : Michael Christensen & Sophie Gazel

Warming and exercises to create a good  spirit of group, to put everyone in a safe place to make them feel free and  open to work

Wednesday 14th of October

Teacher : Haim Isaacs

Voice and Music to enrich the hospital clown’s capacities and imagination

Thursday 15th of October

Teacher : Haim Isaacs

Voice and Music to enrich the hospital clown’s capacities and imagination

Friday 16th of October

Teacher : Eric De Sarria

Materials and objects as the clown’s partner

Saturday 16th of October

Teacher : Eric De Sarria

Materials and objects as the clown’s partner

Week Two

Monday 19th of October

Teachers : Michael Christensen & Sophie Gazel

More hospital Clowning Tools : improvisation, musical wash, medical parody and sublime moments. Music, Voice, and Rhythm

Tuesday 20th of October

Teachers : Michael Christensen & Sophie Gazel

More hospital Clowning Tools : improvisation, musical wash, medical parody and sublime moments. Music, Voice, and Rythm

Wednesday 21th of October

Teachers : Michael Christensen & Sophie Gazel

More hospital Clowning Tools : improvisation, musical wash, medical parody and sublime moments. Music, Voice, and Rythm

Thursday 22th of October

Teachers : Michael Christensen & Sophie Gazel

 

More hospital Clowning Tools : improvisation, musical wash, medical parody and sublime moments. Music, Voice, and Rythm

Friday 23th of October

Teachers : Michael Christensen & Sophie Gazel

More hospital Clowning Tools : improvisation, musical wash, medical parody and sublime moments. Music, Voice, and Rythm

Saturday 24th of October

Teachers : Michael Christensen & Sophie Gazel

More hospital Clowning Tools : improvisation, musical wash, medical parody and sublime moments. Music, Voice, and Rythm

 

 happy to be happy logologo

International Workshop On Hospital Clowning

2nd Edition

 

68 HOURS OF TRAINING

The total fee to participate is 1 700€ per trainee – The travel and accommodation expenses are not included in this fee and are the responsibility of the trainee.

 

To participate, please email us your CV and photo theatre.organic@gmail.com

CONTACT & SUBSCRIPTONS : iwhc.happytobehappy@gmail.com

Web

USA : (01-610) 751 42 91 /  France: (33)6 61 84 96 86