Playhouse Teater i samarbete med TeaterAlliansen erbjuder denna möjlighet:
Arbeta med nyskrivet textmaterial tillsammans med en av USA’s mest spelade amerikanska dramatiker och regissör Aaron Posner. Han är flerfaldigt prisbelönt för sin dramatik, varav flera pjäser är olika typer av bearbetningar och moderniseringar av romaner och klassiska dramatiska verk av bl a Shakespeare och Tjechov. Nu vill han testa en nyskriven text ”på golvet” tillsammans med skådespelare. Workshopen ger dig också möjlighet att arbeta nära Playhouse konstnärliga team och lära känna Playhouse inifrån.
Playwright and Director Aaron Posner has written his previous Chekhov adaptations (“Stupid Fucking Bird”, “Life Sucks”, and “No Sisters”) and now, his final radical Chekhov re-imagining, “The Cherry Tortured” out of a theatrical philosophy that he calls “Actually, Actually”.
“Actually, Actually” is not a very radical philosophy. It is simply another way to enter into the realm of pretend, make-believe, and shared imagination that underlies most theatrical performance. It is, however, the foundation for Aaron’s highly dynamic and rigorous way of delving deeply into the characters and situations of any given play or text. “Actually, Actually” suggest that, whether you are a playwright, director, actor or designer, you can use your own life and experiences to enrich the performance in surprising, practical, personal ways. “Actually, Actually” asks that invest your full self—in all your endless complexity, variety and humanity— in the act of fiction on stage.
“The Cherry Tortured”—his re-imagining of Chekhov’s last great play “The Cherry Orchard”—is very much a work in progress. In this three day workshop resulting in a public reading at Playhouse Teater, Posner will invite participants into the process to see how he transforms other people’s plays into opportunities for actors to explore our shared humanity.
Förberedelser
Läsa Körsbärsträdgården av Anton Tjechov (i original)
Läsa Aaron Posners senaste version (levereras senast en vecka innan kursstart)
Viktigt att kunna agera fritt och ledigt på engelska med amerikanskt eller brittiskt uttal.
OBS! Ange i ansökan vilken roll du vill arbeta med. Etnicitet som anges är önskemål, men inte ett krav.
MISS LULU (Madame Ranyevskaya)
Late 40’s or early 50’s. A radiant, dynamic, and hugely attractive person, she feels life very fully, very intensely. She is deeply passionate and emotional, fully present, very smart, quite loving and generous… but also utterly narcissistic and wildly self-involved. And always has been. Damaged. Well-intentioned. Dramatic. White.
ANNA (Anya)
Mid 20’s. Lulu’s biological daughter. Hopeful, loving, confused, wildly (even relentlessly) positive, but also trying to be practical. Should be dynamic, even mercurial. She lives in as an adaptive opposite to her mother, so she wants everything to work out for everyone all the time, and will strive to make it so. Perceptive. Kind. White.
(Varya)
Late 20’s, early 30’s. Lulu’s adopted daughter. Quick-witted, clear-eyed, deeply realistic, even jaded… and quite hard-edged. She is very passionate, but her emotions lie buried deep underneath her harder, more cynical, more practical exterior. Progressive. Distrustful. Pessimistic, (but secretly hopeful). African American.
LENNY (Leonid Andreyovich Gaev)
50’s. Lulu’s older brother. A kind, big-hearted dreamer/drinker who has not been “successful”. An idealist. Nostalgic. Naive. Sweet. Wishes everyone could just get a long and that everything was better for everyone. Wishes deep down that his entire life has been different than what it was. Feels he is on the downhill slope. White.
EARL (Ermolai Lopakhin)
Late mid 30’s to early 40’s. Wealthy, shrewd, forceful, insightful and dynamic. A quite literal-minded, utterly practical, wildly successful capitalist. Not particularly well-read or formally educated, but incredibly sharp-brained and clear-eyed. Often frustrated with others. Deep reservoirs of unexpressed emotion. African American.
PETER MAXWELL (Peter Trofimov/Epihodoff)
Late 20’s, early 30’s. Oddly attractive and engaging in unexpected ways. He is a currently unenrolled grad student in Philosophy or Semiotics or something. Very, very smart, very stuck in his head. Emotionally awkward. Accident prone. A striver. A complicated relationship with love…. and with most everything else, too. Probably White.
FEARS (Fiers)
246 years old. Moves slowly, but thinks and talks quickly. Has lived a lot, and done a lot.. Fervently optimistic. Deeply worried about the future of the human race. Any ethnicity except African American.
CHAR (Charlotta Ivanovna)
30’s. A caretaker. A very good person. A realist. An outsider. She wants a lot. She loves these people like family, even a she also finds them utterly impossible and insufferable. A young person of ambiguous ethnicity.
Antagning/rollfördelning gör TeaterAlliansen och Playhouse i samråd.
*
AARON POSNER: dramatiker och regissör, är utbildad vid Northwestern University i Chicago. Posner är flerfaldigt prisbelönt för sin dramatik, varav flera pjäser är olika typer av bearbetningar och moderniseringar av romaner och klassiska dramatiska verk av bl a Shakespeare och Tjechov. Hans pjäs ”Stupid Fucking Bird”, en modern version av Tjechovs Måsen, var under 2015 en av USAs mest spelade pjäser och har även spelats internationellt, bl a i Sverige på Kulturhuset Stadsteatern. Posner är även en flitigt anlitad regissör samt lektor i scenkonst vid American University, Washington DC.
https://www.aaronposner.com/
