During the intensive course, you can create a unique atmosphere for each character through a monologue. The process is based on the conscious application of imagination and movement, which becomes a tool that can be applied to any other area of life (not just stage conditions).

Content and topics of the 6 days intensive training:

• staging a monologue, monodrama (excerpt) or poem with the practical application of the Michael Chekhov technique - instructor: Levente Turóczi
• speech and voice organic and practical technique as a means of the atmosphere of the space and the emanation of character - instructor: Márta Kelemen
• stage movement as a means of interpreting everyday gestures and movements on stage (rhythm, text and scene relationship; the effect of atmosphere on movement) - instructor: Veronika Karsai
• singing as a form of communication on stage, the relationship between the song and the audience - instructor: Katalin Benedekffy
• possibility of individual consultation

Tutors: Levente Turóczi & Márta Kelemen & Veronika Karsai

1^st day:

14 ⁰⁰ – 18 ³⁰ – Chekhov training

2^nd day:

10 ⁰⁰ – 13 ⁰⁰ – Chekhov training
13 ⁰⁰ – 14 ³⁰ – Lunch break
14 ³⁰ – 18 ⁰⁰ – Stage movement (Veronika Karsai)
18 ³⁰ – 19 ³⁰ – Individual consultation (practice oriented)

3^rd day:

10 ⁰⁰ – 13 ⁰⁰ – Speaking exercises (Márta Kelemen)
13 ⁰⁰ – 14 ³⁰ – Lunch break
14 ³⁰ – 17 ³⁰ – Chekhov training
18 ⁰⁰ – 19 ⁰⁰ – Chekhov training
19:30 – 20:30 –  Individual consultation (practice oriented)

4^th day:

10 ⁰⁰ – 13 ⁰⁰ – Speaking exercises (Márta Kelemen)
13 ⁰⁰ – 14 ³⁰ – Lunch break
14 ³⁰ – 18 ⁰⁰ – Chekhov training
18 ³⁰ – 19 ³⁰ – Individual consultation (practice oriented)

^5th day:

10 ⁰⁰ – 13 ⁰⁰ – Singing and Songs on Stage (Katalin Benedekffy)
13 ⁰⁰ – 14 ³⁰ – Lunch break
14 ³⁰ – 18 ⁰⁰ – Chekhov training
18 ³⁰ – 19 ³⁰ – Individual consultation (practice oriented)

^6th day:

10 ⁰⁰ – 13 ⁰⁰ – Chekhov training
13 ⁰⁰ – 14 ³⁰ – Lunch break
13 ⁰⁰ – 16 ³⁰ – Individual rehersal
17 ⁰⁰ – 20 ⁰⁰ – Private presentation
20 ⁰⁰ – 20 ³⁰ – Close up & Certification Ceremony

Conditions for participation in the training:

The training is open to anyone interested!

The training is useful for both professional, experienced and beginner artists and directors - who can develop and deepen their knowledge so far. Of course, it is open to anyone interested who wants to get even their first impressions and connect with acting.
In addition to professional and amateur actors, puppeters, psychologists, university teachers, students, drama teachers and instructors, special education teachers and doctors have already taken part in the training so far.

The maximum number of participants is 16!

The condition for participating in the training is the receipt of the training fee on the account after registration.

The 48-hour intensive training covers the following topics:

Actor on stage - monologue, monodrama, poem – MICHAEL CHEKHOV ACTING TECHNIQUE®

Atmosphere (Space, Time & Things)

Discovering and creating the character's personal and environmental atmosphere. Lightness-balance-heaviness, the maintenance and perception of radiance, the development and activation of the imagination, the atmosphere of the environment and objects, the decisive role of time in character and scene creation, the effect of the atmosphere on the present and the viewers.

Gesture (Archetipical & Physihological gesture)

Discovery and development of the actor's body as an expressive tool of gestures. Expansion and contraction, emanation and maintenance, six archetypal gestures, exploration through the meaning of movement, gestures in works of art and the purpose of gestures appearing in scenes and their effect on the present and viewers

Attitude (Qualities & Quantities)

Experiencing the relationship of a character to other characters and the environment. The trinity of thinking-action-perception, the effects of the character's radiance, the archetypal qualities of the four elements (earth, water, fire, air), intensity and maintenance, the effect of qualities and measures on the present and the viewers.

Center (Center of character & Actor)

The determining role of the character's center on its atmosphere, actions, radiation, and environment. Directions, intentions, permanent and changing centers, the relationship between the actor and the character, the role and use of masks, the effect of the center on the present and the audience.

Composition (Conflict, Climax, Pause, Polarity)

Theoretical and practical possibilities of composition in the approach of Michael Chekhov's Acting Technique® method. Polarity, climax, pause, contextual and sentence structure analysis and interpretation, text book instructions, constraint and freedom in interpretations, visible emphases and power relations in space and time, the effect of the composition on the present and the viewers.

Voice & Speach

Experimental vocal training, in which the participants gain awareness of their natural way of breathing, vocal production, articulation and use their abilities according to the situation to enhance their stage presence. The workshop includes concentration -, rhythm -, vocal – and speech exercises individually, in pairs and in group. The exercises involve the full body, the complete personality, and the optimal use of vocal skills needed to perform on a stage. Exercises, based on Hungarian and international methods (eg. Linklater, Voice Gym, Alexander Montágh, Fischer). Participants must wear loose outfits in order to feel comfortable during the exercises and experience the human body as an instrument of speech.

Stage movement

Movement on stage, and in fact, includes and can include everything from all dance forms to acrobatics. The participants will have the opportunity to gain insight into the stage presentation of everyday gestures and movements. In the possibilities of the emphasis of rhythm, text and space that can be expressed in movement. To experience the atmosphere on motion and the effect of motion on the atmosphere.

Singing and Songs on the Stage - Katalin Benedekffy

Singing as a form of communication on stage, the relationship between the song and the audience