DURATION: 4 days of work-sessions and two days of performances

FOR ANY AGE GROUP FROM CLASS XI onwards to the age of 60

Fee : Rs. 8000/-

PLEASE WEAR COMFORTABLE CLOTHING OR BRING A CHANGE FOR THE WORKSHOP AS THE SESSION WILL INVOLVE INTENSE PHYSICAL WORK SESSIONS

SESSION LAYOUT:

Module 1: (1.5 hours)..JANUARY 9, 2018…6.15 to 7.30 pm

•Breath and voice: Unlocking the voice and exploring the self through the voice.

•Patterns of movement: How to use stage, podium and the difference between open-air and closed speech forms

•Body sculpts, thought tracking and understanding the need of altering and fine-tuning the speech depending on the nature of the audience

•The rhythm of the voicework through a Shakespearean extract

Module 2: JANUARY 10-6.15 pm to 7.30pm

1: Methods to explore the space and the image relationship. Difference between open-air and the indoor vibrations.

2: From the space taking clues and developing a series of visual images or even exploring an existing image.

3: To show at least two documentaries/moving image work in the space of two days and initiate a discussion on them

MODULE 3: JANUARY 11-6.15 pm to 7.30pm

1: Building a bridge between conversational, anecdotal and text-based frameworks of speech.

2: Understanding how to build moment

3: : A participative chorus composition of an extract inspired from Kalidas

MODULE 4: JANUARY 12-6.00 pm to 7.30pm

•The tonal quality of the speech. That is associations, images, and conversational drift

•From personal memory to universal sharing.
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•Speaking the speech with strategic and designed silences

MODULE 5: JANUARY 13th/14th-6.30 pm to 7.30pm

PERFORMANCE SHARING

BRIEF BIO:
A spoken word performer, independent media analyst, curator and a performance consultant by profession, Mr Parnab Mukherjee is one of the leading knowledge consultants and alternative theatre nomads of the Indian sub-continent.
He is an acclaimed practitioner on Badal Sircar’s theatre practice, Shakespeare-in-education and specialises in theatre-of-conflict and theatre-of-the-campus. Having directed more than 161 productions of performance texts including six international collaborations.
He has devised, conceived, designed and directed/collaborated both experimental performances and workshops for a number of institutions, activist groups, support groups, schools, colleges, youth groups and social movements across the country.
A performance text writer and charismatic performer, he has diverse experience in non-proscenium, verbatim, site-specific and physical theatre.
Currently, roving editor with two initiatives, he has earlier worked for a sports fortnightly, a chess tournament bulletin, The Asian Age, Kindle India and Sambad Pratidin.
He has directed text, installation performances, physical theatre, space-specific interventions, youth theatre, schools work, radio, live art, interdisciplinary performance and site-specific work, as well as writing for stage and performing in a range of collaborations experimental non-verbal movement piece to physical theatre, solo improvisation to spoken word.

Some of the most memorable productions of the collective include Where is Imphal? (For Birla Academy of Art and Culture), Trilogy of Unrest (Hamletmachine, Necropolis, This room is not my room), River Series (used as a exploratory advocacy tool by UN for Women, UNODC and Kripa Foundation), Only Curfew, Rehearsing Antigone, Raktakarabi-an urban sound opera, Buddha Files, Kasper-dipped and shredded, They Also Work, Dead-Talk series, Conversations with the dead, Crisis of Civilisation, Shakespeare shorts, Man to Man talk, Inviting Ibsen for a Dinner with Ibsen, Your path wrong path and And the Dead Tree Gives no Shelter.
Four of his major workshop modules: Freedomspeak, The Otherness of the Body, Conflict as a Text and The Elastic Body have been conducted with major theatre groups and campuses all over the country.
As a journalist and human rights activist, he has extensively worked on the dynamics of human rights and economic systems of the country. His writings have mirrored the aspirations of the fringe in the nation state especially as into the parameters of economic growth that fails to mirror the widening chasm between the haves, have-nots, have-beens and yet-to-be.
He has developed theatre advocacy tools for international agencies including UNoDC and UN Women and has run a large number of voice-work and performance-training residencies Five of his major workshop modules: Freedomspeak, The Otherness of the Body, Free To See: Reading conflict- as-a-Text,Treading on the Toes and The Elastic Body have been conducted with major theatre groups, visual art collectives and campuses all over the sub-continent.

As a theatre soloist, he has extensively travelled with his repertoire and has performed in a range of cities including Bali, Surabaya, Tehran, Mashad, Chittagong, Biratnagar, Cardiff, Colombo, Negombo, Batticaloa, Dhaka, Copenhagen, London, Liverpool, Dili (East Timor), Ottowa, Manchester, Singapore, Bangkok, Patumthani, Montreal, New York and Vijlandi (Estonia).