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The Urge of Being is based on the Artistic Research that Daniela Marcozzi, former biologist, carried out at the Accademia Teatro Dimitri, Switzerland during the Master of Arts in Artistic Research. Her research aims at exploring the biology of emotions and theories of embodiment and defining an innovative training based on urgency of expression, that brings together life science and performing arts.

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“We’re not just little hunks of meat.

We’re vibrating like a tuning fork — we send out a vibration to other people.

We broadcast and receive.

Thus the emotions orchestrate the interactions

among all our organs and systems to control that.”

(PhD Candace Pert)

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The work proposed by Daniela Marcozzi is a group-based training and creative process that includes tools of physical theater, vocal training, movement research, techniques of embodiment, composition and dramaturgy.

A strong component of Daniela's work comes from the Plastique Sequence and body-voice training from Grotowski's research, as transmitted by Peter Rose.

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The work aims to put the performer’s organism in the condition where its homeostasis is continuously challenged to quickly self-regulate and react to the immediate moment.
The driving force of the work is "urgency", understood as the unconditioned push to survive at any level. The work invites the performers to consciously generate their own urgency by working with inner impulses.

In this way, impulses become the main source of performative energy.
This dialogue is a give and take process, and it consists of the continuous interaction between expression and embodiment.
Expression is understood as EX-press = press-out, the process of manifesting one’s impulses and Embodiment is understood as EM-bodiment, the process of IM-pressing the external world inside the body.

 

THE WORK
The Urge of Being is a flow of work in which specific exercises of physical theater, "Plastique sequence" and "Body-voice" training, text and singing work are organically alternated with free and improvised moments.
This "work-stream" creates different energetic processes that allow the performers to work with the emotional system from the inside-out and embodiment processes from the outside-in.

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The first day is focused on movement research, muscles contraction and elongation, Plastique sequence and related give and take processes.
The second day is focused on vocal training, body resonators, embodiment of a text and a song.
We'll build energetic processes capable to bring the text and voice into the body and to integrate movements and dance in the emotional and embodiment processes.
It's not any more about theater or dance, about singing or text-work; rather it is about creating a comprehensive experience of performance in which the performer's body is involved in all their spheres, in a harmonious and orchestrated way.
By riding waves of different energy-processes, we'll bridge body, movement, text, voice, imagination and dance to generate our own dramaturgy.

 

NOTES ON THE WORK
Physical work: Medium-High intensity.
Previous experience in performing arts or performative body-work or self-consciousness related work is required.
The inclination in working cooperatively both in group and individually is desired.
This work is addressed to performing artists of any kind, students, semi-professional and professionals. It is addressed as well to musicians, visual artists and somatic practitioners.

The driving force of the work is Urgency, understood as the push to survive at any level.

The workshop lead the performer to work in the so called Artistic survival mode, a condition in which the performer consciously generates the own urgency and works with inner impulses in dialogue with the external environment. This dialogue is defined "give and take", and it consists of the active and continuosly re-arranging interaction between expression - ex-press = press-out, and emdodiment - im-press = press in-to the body.

 

The workshop creates the conditions to build energetic processes of several natures trough which the performer can work with the emotional system from the inside-out. This way of working with the emotions supports the biological role of emotions: in biology emotions needed to be expressed and disclosed from the inside-out in order to accomplish their role of survival. This is why in the workshop the performer works with different urgency patterns to reach the source of emotions rather than representing emotions by adopting fixed physical pattern from the outside-in. In this way the performer experience himself/herself not as an interpreter of emotional state but as a channel of emotional impulses.