Weekend Acting Programme with Maneesh Verma

 

The DSM’s Weekend Acting Programme is back!

This time we have actor, director, producer, and Artistic Director of the Actors’ Cult Theatre Company, Maneesh Verma, conducting this acting workshop over three consecutive weekends. The details of the workshop are as follows:

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Let Your Voice be Heard: Musings and mechanics of the new age of oral storytelling

by Zohra Malik

Photo via Gratisography

Once upon a time; in a place that could be anywhere in the world; people gathered to tell stories. Everything, from the neighbourhood gossip to legends and myths, took shape through recounted narratives. Today, in an era where voices are being silenced by the noise of gunshots fired outside homes, let us go down the rabbit hole and explore where storytelling came from and where it is headed to.

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A Look Back: The Alexander Technique with Sarah Barfoot

An initial exploration of the Alexander Technique might seem a fair bit complicated. But one also realises that, as a performer, it is probably one of the most effective tools to enhance your craft. A good teacher will not only give you the techniques to do this, but she will enable you to imbibe it to your regular practice. And that is exactly what Sarah Barfoot’s two day intensive workshop in Alexander Technique did for its participants.

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A Look Back: Acting Through Voice with Hetal Varia

The Foundation Skills in Acting workshop in the month of September was titled Acting Through Voice, facilitated by Hetal Varia. The workshop was a five day programme, designed to facilitate an understanding of the role of voice in performance by going to the depth of the contents of what voice is all about and how to better its delivery.

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October Schedule for @theDSM!

After a little break in September, we’re back with @theDSM in October with a brilliant talk with Shernaz Patel and an interesting performance based piece.

Here is how it will go down in October.

Conversations@theDSM

14th Oct- 5pm

A talk with Shernaz Patel
Theatre/film actress

Shernaz will share her amazing journey in theatre, stories of her childhood growing up in a family of theatrewallahs, her successes and setbacks, her theatre child Rage Productions, and her views on theatre in India and around.

Performance@theDSM

28th Oct – 7pm

“Backstagewalla Koni”
Written and designed by -Yugandhar Deshpande
(Marathi, Hindi, English)

A combination of reading, performance, interactions and a lot more about theatre, the addas, the people, the groups and everything that surrounds the theatre world off-stage.

 

Workshops

The DSM will hold a Weekend Acting Programme with Maneesh Verma in October. Watch this space for updates on further details.

 

We hope to see you @theDSM!


Mohit Takalkar is a medium between the writer, the text and the actor

Written by Gaurangi Dang

 

If we cannot handle the economics of theatre then what remains of it is a hobby, albeit a very expensive one. So maybe we don’t need theatre anymore and maybe somewhere we are all responsible for its slow death.

Mohit Takalkar has an ability that very few people seem to have- he can move people, to an extent that may even infuriate them. It’s hard to tell when and where it began, but one can see its trace present in his work. There is a little bit of him in each of them, his moods, his life, his loneliness, his growth and somewhere his genius in being able to channel it all through fragments and texts. If you were to ask Mohit, he’d probably describe himself as a medium between the writer, the text and the actor, not denying his presence but somewhere not acknowledging it enough. If you spend enough time with him, then you could probably see how his art consumes him.

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The Alexander Technique: 2-Day Intensive Workshop with Sarah Barfoot

The Alexander Technique

The Alexander Technique is a mind/body discipline, while achieving a proper understanding of the psychophysical self. As a performer, it brings about a sync of the body i.e. muscles, breathing and posture, in order to have better movement and deliver voice in an optimum manner. It also helps in keeping the muscles relaxed before, during and after a performance, and in the long run, helps keep you injury free and utilise movement and voice while avoiding inflicting stress and harm to both.

 

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We are all responsible for the slow death of theatre: Mohit Takalkar

By Gaurangi Dang

 

If we cannot handle the economics of theatre then what remains of it is a hobby, albeit a very expensive one. So maybe we don’t need theatre anymore and maybe somewhere we are all responsible for its slow death. The approaching death of theatre as we know it was the elephant in the room that nobody was willing to address. Mohit Takalkar sat down with Alok Rajwade at The Drama School, Mumbai on the 19th of August and addressed it.

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Acting Through Voice with Hetal Varia - A 5 Day Intensive Voice Workshop

Voice is an essential aspect of performance, and also regular, daily communication. Voice utilises the body and breath to deliver itself, and it is essential to understand how it all functions and to know how to use it well in order to have a better way to use the voice.

The Drama School Mumbai has a Acting Through Voice Workshop designed and instructed by Hetal Varia, one of the best voice coaches in the country in September, which takes you through all of this and helps you understand and deliver your voice better. This 5 day intensive workshop will help you embrace your voice, understand how the body and breathing come together for the voice, and through exercises, make you use your body and breathing to its optimum for a better way to use your voice.


Public Spaces in India: How performance and art can revitalize them

by Zohra Malik

One of the most distinctive ways that we choose to talk about cities is usually with reference to how how they warp time, how fast or slow they seem to move. It’s not just our imagination, fortunately, because studies show that the reason why cities warp time differently is because of the pace of social life. The pace at which people move around in their city, their rhythm, interaction all of these make up the pace of social life which is how we identify with our city and negotiate with our space. In this context, the central hubs that facilitate this construction of how cities move and breathe generally turn out to be public spaces.

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