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Kathakali from Southern India), but Each Session Will Draw Links and Parallels to One Other Traditions Across the World (Kecak, Rakugo and Commedia Dell’Arte)

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Kathakali from Southern India), but Each Session Will Draw Links and Parallels to One Other Traditions Across the World (Kecak, Rakugo and Commedia Dell’Arte) Cultivating Curiosity in World Theatre Traditions The workshops will focus on one key world theatre tradition (Kathakali from Southern India), but each session will draw links and parallels to one other traditions across the world (Kecak, Rakugo and Commedia dell’arte). Each session will focus on a different key element (convention) of performance from traditions in each session (with links to ToK). During the sessions participants will learn how to apply this key element (convention) practically and put themselves in the position of risk-takers. At the end of each session links to other world theatre traditions will be made, cultivating curiosity and opening up choices for life-long learners, and research. Sources and resources used in the sessions will be shared with the participants to enable them to get started with planning their own work in class, and with students doing their own research. Links throughout will be made to the IB Learner Profile and the DP Theatre programme, where students are encouraged to be independent researchers and presenters. Session 1: Kathakali & Rakugo (Gesture & facial expression) This session will introduce the participants to the unfamiliar dance theatre form of Kathakali, starting with a lecture on the history and context, modelling research, life- long learning and presentation skills. Participants will then learn some Kathakali mudras (hand gestures) to communicate some words, and experiment with how to put these together with the navarasas (facial expressions). Links of this tradition will then be made to Rakugo – Japanese sit down theatre. The tradition will be introduced using short films of these solo performers (who use face, voice and gesture in a solo performance), and will then develop into practical work, where participants will have a chance to use their own voice, gesture and facial expressions to tell a story to a partner. Cultivating curiosity: The last 15 minutes will be spent exploring the connections to other traditions such as Melodrama (gesture, facial expression, movement) and Beijing Opera (gesture and movement), and give participants time to make links to their own work in class. Session 2: Kecak & Kathakali (Movement & rhythm) This session will practically introduce the participants to key talas (rhythms) and kalashams (dance steps) implemented in Kathakali. Participants will learn the key elements of the chembata rhythm and how the trio (singer, dancer and musicians) work together in a performance. Links of this tradition will then be made to Kecak – Balinese fire dance, performed only be men. The tradition will be introduced using short films of this ensemble working together as the monkey army, when performing a section of the Ramayana. Participants will learn how to do the monkey chant as an ensemble, including overlapping rhythms and learning the ensemble movement. Cultivating curiosity: The last 15 minutes will be spent exploring the connections to other traditions such as Wayang Kulit (Indonesian Shadow Puppetry) and Bunraku puppetry (ensemble working together to manipulate one puppet) and give participants time to make links to their own work in class. Session 3: Commedia dell’arte & Kathakali (Stock characters) This session will practically introduce participants to the stock character of Italian Commedia dell’arte, focusing on stock walks, lazzi, hierarchy of characters and stock scenarios. The main focus will be on the servants (Zanni) and their interaction with the masters. Links of this tradition will then be made to Kathakali – being introduced to the character groupings in Kathakali and how they are instantly recognisable from their make-up, movement and costume. Participants will see how the mudras, navarasas and kalashams combine to show the traits of the stock characters in Kathakali. Cultivating curiosity: The last 15 minutes will be spent exploring the connections to other traditions such as Melodrama (English Theatre with stock characters) and Punch and Judy (Puppetry inspired by Commedia character), Pantomime (English Theatre inspired by Commedia and Melodrama) and give participants time to make links to their own work in class. Session 4: Planning session In this session participants will have the chance to look at all the research materials used in the presentations and practical workshops, then use them to follow their own paths of curiosity, in planning their own work with students. Further links will be introduced for the participants to explore: The use of the fan: Ragugo, Beijing Opera, Noh, Kabuki, Kyogen, Comedy of manners The use of the slapstick: Commedia, Punch and Judy The use of a mask: Barong, Noh, Greek Comedy/Tragedy, Commedia, Topeng, Talchum, Khon dance, Kyogen All male traditions: Greek Comedy/Tragedy, Kathakali, Noh, Kabuki, Renaissance Theatre, Men playing women’s roles: Kathakali (minukku), Pantomime (dame), Kabuki (Onnagata) Traditions that teach a moral lesson/for the illiterate: Wayang Kulit, Rakugo, Kathakali, Commedia, Melodrama .
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