Mark Tompkins is back in town as the invited teacher of the upcoming Choreographic Workshop.
During five days, participants will be invited to get deeper into Tompkins’ universe and develop practice improvisation through the techniques of real-time composition.
Tompkins will be joined by Nuno Rebelo, Portuguese composer, experimental guitarist and regular collaborator in the improvisation shows of renowned dancers such as Boris Chamartz, Mark Tompkins, Mathilde Monnier and Vera Mantero, among many others.
Schedule: 10.00 – 17.00
Registration until July 17 through our form
To: University students and professionals with training and experience in performing arts.
Activities will be carried out in two parts:
LAB I – Serious Fun
The practice of improvisation is not so much about passing from one state to another – passive/active, moving/witnessing, center/support, inside/outside – but the integration of these roles into a simultaneous and continuous flux of sensations, perception, and states.
The exploration touch / to be touched, is a simple yet complex study of curiosity, and witnessing through touch. Active and passive roles, defined in the beginning, progressively blend and mix, creating play. Acknowledging change through play is one of the most exciting elements of improvisation, as well as realizing witnessing as an active state. Even in moments of extreme physicality or immobility you are acting and witnessing. Moving becomes a fascinating, confusing, and thrilling experience.
LAB II – Audible Movement, Visible Sound
The practice of Real time composition is fundamentally the same for dancers and musicians. The major differences lie in the use of the body – the instrument – and in the motivation to act. For a dancer, the body is the instrument and the primary motivation is to create movement, in other words, to be seen. For a musician, the body in its relationship to an object is the instrument and the primary motivation is to create sound, in other words, to be heard. Mark Tompkins and Nuno Rebelo investigate the similarities and differences between their respective points of view, emphasizing and playing with the zones of crossover and contamination.