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THE TRAINING OF ACTORS

Operating as induction training and training to practice the art of acting, the ACTOR'S STUDIO, established in 2001 by Mr. Sidiki Bakaba, Director of the Palace of Culture, aims to train in two years , actors and comedians can not only interpret any role in the fields of theater and cinema, but also to create. Fed different experiences - including''African''with the techniques of storytelling and''universal''especially with the theory of Constantin Stanislavsky - the teaching method of the Actor Studio covers the basics of business: the body language, breathing, diction, interpretation of original texts and improvisation, etc.. Then, the techniques of metamorphosis in the most diverse characters and more secrets of the human imagination'',''techniques for awakening the senses (sight, hearing, touch, smell) that allow the free expression of emotions . Finally, the Actor Studio''education''also takes into account the general culture: history, African musicology, etc..

Finally, the Actress, emphasizing practice combines the trainees to creations of the Palace of Culture in Abidjan. It was already the case last year with two parts of the Palace:''That's the same!''And''Papa''Good God. And it is also the case this year with three historical plays including''The Exile of Albouri''which is on the boards since June 14, 2003. The Actor Studio is ultimately presents as a training and development.

The first promotion after two years of training, was released this year. It has about twenty students. For reasons of efficiency, officials wanted to limit enrollment. For admission, applicants must be between 18 and 30 years later, they must have at least two years experience, professional or amateur, and finally, students - who are selected - should contribute financially to their training.

More than 200 people had applied this year. The internship must be remembered, is open to all nationalities and all races. On''Studio''has an international vocation. The next hearing will be held next October. But the registration records can be received now.

AFTER TRAINING

Students, even in training for some, already play in the documents produced by the Palace of Culture as is the case in exile Albouri alongside references Dahico like Adam, Albertine N'Guessan, Bomou Mamadou ... So they go on stage already. Also many of them have turned to advertising campaigns and awareness serials like "AIDS in the city. This means that after training does not worry the students of Mr. Bakaba.

THE WORD TO THE DIRECTOR OF THE ACTOR STUDIO

"I was trained as a teacher and actor techniques that draw on two sources, which allowed me to develop a synthetic teaching: it is a part of Grotovski methods which rooted bases Universal my acting training, and other traditional sources which transmit African techniques of storytelling, drama initiation of hunters and traditional religious societies. These two sources give comedians African technical instruments that allow them perpetuate their culture while contributing to world culture by developing their sensitivity, their expressiveness, their art of interpretation. " "

EXHIBITION OF THE METHOD

In everyday life, we have a natural ease in the way we express ourselves, communicate with each other, exchange and transmit.

Once we are on stage or before a camera, we watch what we say, our gestures, our actions. That's when everything hangs: speech, gesture, emotion, which was natural becomes an obstacle once we no longer know how to walk, what to do with our hands, our voices are borrowed and body stiffened. We no longer able to express what we feel and even less to get into the shoes of an imaginary character to express his inner life.

Therefore the actor must learn his trade with rigor: he must undertake if it wants to become an actor to an iron discipline, because learning is never-ending since it will feed its people and his personal experience and knowledge of human change as trials, joys and pains that feel in life and it will sublimate in his job as an actor.

Our training is based on basic techniques that the actor will have to improve throughout his career training the physical and psychic apparatus, voice work, character building, running through the play of metamorphosis in the most diverse characters and more secrets of the divine "actor" is life teeming in the human imagination.

1- THE BODY EXPRESSION

The body, inseparable physical apparatus of the psychic apparatus requires a daily workout to make a malleable tool in the service of the actor.

Our work consists of a gym that makes working all body parts in exploring all its possibilities. This work is based on a partition whose gestural repetition of the ritual must allow and overcoming physical limitations and control of such excess by the psychic that there is no fall in trance.

The purpose of this technique is to awaken the senses, sight, hearing, touch, smell that become palpable and allow the free expression of emotions.

A physical blocking reinforces a psychological barrier as well as in the case of an improvisation than in the rendering of a text by example, hence the need to control the body as it should be the actor that the instrument is musician.

Just as every physical feat psychological condition as a feat requires overcoming fear overcoming the obstacle in both our daily lives and in our confrontation with the scene and text.

2- IMPROVISATION

Once the heated body following exercises collective and individual improvisation.

a) Individual Improvisation: The teacher proposes a situation and the student will draw on personal resources to make this the most authentic. In correcting errors in improvisation that the trainee improves.

b) Collective Improvisation: A theme is proposed by this group and that trainees should make it alive, it is correct here, the lack of coordination of actors in the show's theme to teach them to play together and exchange information with others in the complicity of the game.

3 THE WORK OF VOICE

The voice is carried by the breath, we must learn to breathe. The placement of the voice is inseparable from the control of respiration. Trainees will be vocal exercises to raise their voice and be able to adjust in different registers (medium, bass, treble) to know the possibilities, sometimes unused. The practice of the actor's art sometimes asks us to go beyond the scope of our voices without breaking it, hence the need to exercise to warm and strengthen the vocal cords.

4 THE DICTION

The Art of a courtly diction is the actor to be better heard and understood by the public, regardless of language spoken. Communicating with words requires that we work her diction. Articulate distinctly observe the conventions of musical words, relax the organs of speech for better understanding involves a methodical daily.

We will work on music theory of the French diction which has many years helping the actor to make themselves better heard and understood even a whisper. We will apply these exercises to both vernacular languages that popular speech called "Advanced French", because even in his native language, the actor may have a lack of articulation that makes it incomprehensible to the public.

5- INTERPRETATION

a) The teacher chooses a piece from an author and an African tale that students learn to work in depth a character to move on stage in a live situation and improve their technique and competition that give life to the work.

b) It uses ra also a camera to film the actors and enable them to visualize the progression of their composition, possibly correcting the error they have committed during rehearsals to help them be more accurate, so most moving .

6- THE TALE

a) A professional storyteller with a musician will be invited to the section to provide the foundation for his art so that students are using this practice for several millennia as a reference positive way of living the traditional text and inspiration as possible to allow harmonious synthesis of saying and feel of an Africa that participates in the global village.

b) From a theme, each student will work a story or it will embody the different protagonists who compete while ensuring the narrative to develop his sense of "griotique.

7- SHOW OF THE END OF TRAINING COURSE

A play and a story will be presented before an audience at the end of the course to the advantage of involving actors who are immediately in position to use the achievements of the session.

The goal is to make participants more operational in their profession as an actor and give them additional training they do discover the infinite possibilities available to human beings to give life to dreams and dreams to life.

The idea of perfection whose boundaries recede constantly gives to the art of interpreting a dimension of eternity inherent in every creation.

Sidiki BAKABA

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