AMPI Advanced: Acting Workshop was led by Jemina Sillanpää, Sherwan Haji and Jaakko Kiljunen, it took place at HIAP-Helsinki International Artist Programme and University of Arts Helsinki, Theatre Academy.
In the first day of the workshop, Jaakko Kiljunen led the participants through basics in the Suzuki-method and the Viewpoints-technique. The participants did some basic exercises inspired by Konstantin Stanislavsky, the theatre director and acting teacher to whose methods all Russian drama acting schools are based on. After having a chance to get some basic understanding from these methods the participants had the chance to work individually and in pairs in front of the camera. They studied what kind of expression and presence is required for camera work and what is needed to make the action feel real and “truthful”.
Jemina Sillanpää taught a two-day camera acting workshop. All the students were asked to come with short dialogue and a short monologue (not more than 2 minutes long). The lessons were quite physical and Sillanpää mixed different techniques of acting. The purpose of the workshop was deepening and advancing students’ knowledge of acting. During the two hours, Jemina had a few solo and duo exercises and some collective exercises.
The two-day workshop concentrates on the characters (How to create a character, how to prepare a role etc.), improvisation, how to work with a given text, how to work with a director, directing an actor and how to concentrate on your role in the shootings.
During Sherwan’s two days of workshops, the aim was to help participants channel their efforts and work towards one main goal – achieving full control through full understanding. Driven by the fact that actors’ main artistic instruments are their physical, and emotional capacity. Their capability of not only developing them but also harmonizing between the two will absolutely determine the quality of the performance.
There was a great emphasis on using Konstantin Stanislavski’s methods, which aims at enhancing the intellectual and emotional capacity. Additionally, the methods of Vsevolod Meyerhold will also be regarded in order to bring more awareness to the importance of the physical aspect of actors work.
The class was not intended to be conceptual focusing merely on theories, but rather practical through experiencing the application of such concepts. In other words, the approach was to teach theory through practice. By practice, we mean physical training, including flexibility exercises, pantomime, stage combat and voice & sound training. Aiming at activating and amplifying the physical capability to the highest capacity.
The theory aspect of this training mainly focused on engaging thoughts with movement to enhance the capability of building the characters, both as an individual artist and with potential partners, in the creative process on a stage or in front of the camera.
Participants: Miriam Bourgeot / Boodi Kabbani / Jael Assulin / Vishnu Vardhani