WORKSHOPS

BODY SCENOGRAPHY

Workshops directed by Steven Cohen

FR | EN

 

15-20 persons
English language
6 hours a day
3 days minimum

Understanding our physical selves as a mobile stage, a designated place for the production of actions … where we can construct things to be and also learn to let things happen through movement while allowing people to look at us … we can be a frame for the spectator to put things in.

 

The workshops consist of several elements. There will be a practical and physical element, as well as a theorxetical elaboration of an ‘own’ project, where attention will be given to the evolution of a personal idea for a performative action/series of actions that each practicioner should have in mind. That is to say, a portion of each day we will discuss and nourish and even prepare for the development and eventually for the carrying out of an idea which each person has the intention to evolve and desires to realise … be that in a museum, a theatre, in public or in any other space – preferably on this planet.

 

Otherwise, a typical day (although be not surprised if days are atypical, we are in the nature of that when we are in the realm of art) will consist of a guided and basic warm up, each at their own level, which is as much wake up as warm up. There will be short playful sessions exploring ways of moving (or not), individually or collaboratively, depending on peoples wants or want-nots. The participants will be from different disciplines or not disciplined. A clique of anything is not interesting to me.

 

My way of developing a new vocabulary of movement has always been through re-defining the familiar by restricting the body – strange footwear (think platform), cumbersome costumes (think curtains), impeded senses (think lighting). For this I will bring simple objects to cultivate a re-understanding of what we might have become over-familiarised to, and take for granted. We will unlearn things together. We will interpret a language we cannot speak. We will intensify ways of being present and communicative.

Understanding our physical selves as a mobile stage, a designated place for the production of actions … where we can construct things to be and also learn to let things happen through movement while allowing people to look at us … we can be a frame for the spectator to put things in.

The workshops consist of several elements. There will be a practical and physical element, as well as a theorxetical elaboration of an ‘own’ project, where attention will be given to the evolution of a personal idea for a performative action/series of actions that each practicioner should have in mind. That is to say, a portion of each day we will discuss and nourish and even prepare for the development and eventually for the carrying out of an idea which each person has the intention to evolve and desires to realise … be that in a museum, a theatre, in public or in any other space – preferably on this planet.

Otherwise, a typical day (although be not surprised if days are atypical, we are in the nature of that when we are in the realm of art) will consist of a guided and basic warm up, each at their own level, which is as much wake up as warm up. There will be short playful sessions exploring ways of moving (or not), individually or collaboratively, depending on peoples wants or want-nots. The participants will be from different disciplines or not disciplined. A clique of anything is not interesting to me.

My way of developing a new vocabulary of movement has always been through re-defining the familiar by restricting the body – strange footwear (think platform), cumbersome costumes (think curtains), impeded senses (think lighting). For this I will bring simple objects to cultivate a re-understanding of what we might have become over-familiarised to, and take for granted. We will unlearn things together. We will interpret a language we cannot speak. We will intensify ways of being present and communicative.

I ask participants to bring several (between three and five) physical ‘things’ of their own choosing and which are significant to them, whether that be an item of clothing or jewelry or something out of the kitchen (or the dustbin), a tool, a toy, a piece of furniture – it is really up to each person. If you want to make your life difficult and bring something cumbersome or precious or fragile, go ahead. You will take responsibility for that, not me. Nothing ‘alive’ preferably, as I am there to encourage and nurture you, not to feed your dog or worry about the welfare of a parrot. We must try and spend our energy budget wisely.

 

For the people willing to risk daring to see themselves, we will also work with videoing sessions and spend some time regarding ourselves ‘from outside in’. Everything that happens in the workshops, and any material filmed or photographed during the work, stays inside the group. Individually and together we will decide if we keep it, erase it, archive it. I have found it best to let it all be consumed and evaporate in the name of new discoverings.

 

You can take ideas from the workshops and expand them how and where you will. Although I am sometimes accused of making work to provoke, that is never my intention. I aim to convoke, to invoke, to evoke. Work can be fun and I also want to learn. Let’s teach each other how to conjure.

I ask participants to bring several (between three and five) physical ‘things’ of their own choosing and which are significant to them, whether that be an item of clothing or jewelry or something out of the kitchen (or the dustbin), a tool, a toy, a piece of furniture – it is really up to each person. If you want to make your life difficult and bring something cumbersome or precious or fragile, go ahead. You will take responsibility for that, not me. Nothing ‘alive’ preferably, as I am there to encourage and nurture you, not to feed your dog or worry about the welfare of a parrot. We must try and spend our energy budget wisely.

For the people willing to risk daring to see themselves, we will also work with videoing sessions and spend some time regarding ourselves ‘from outside in’. Everything that happens in the workshops, and any material filmed or photographed during the work, stays inside the group. Individually and together we will decide if we keep it, erase it, archive it. I have found it best to let it all be consumed and evaporate in the name of new discoverings.

You can take ideas from the workshops and expand them how and where you will. Although I am sometimes accused of making work to provoke, that is never my intention. I aim to convoke, to invoke, to evoke. Work can be fun and I also want to learn. Let’s teach each other how to conjure.

PAST DATES
Scarborough University, Scarborough, United Kingdom, 2009
CIFAS, Centre international de Formation en Arts du Spectacle / Les Brigittines, Brussels, Belgium, 2015
HEAR, Haute école des arts du Rhin / Pôle Sud CDCN Strasbourg / FRAC Alsace, Strasbourg, France, 2015
Oita Prefectural Museum, Ōita, Japan, 2016
Matadero Madrid, Centro de creación contemporánea, Spain, 2017
ICA Live Art Festival, Hiddingh Campus / University of Cape Town, South Africa, 2017
Atelier de Sèvres, Paris, France, 2017 & 2018
Festival Trans Amérique, Montréal, Canada, 2019
Impulstanz, Vienne, Austria, 2019 & 2020

STEVEN COHEN COMPANY
24 rue Succursale | 33000 Bordeaux | France

Samuel Mateu
Production | +33(0)6.27.72.32.88
production[@]steven-cohen.com