Eurydice Theatre, copy 1 Pofilia.
A narcissistic trip.
It means loving a more specific person through a theatre workshop.
First
A few questions about the theatre
Can I do it? Can I do it?
Why can't you? Why can't you?
Question one: Do I need to study at a professional college to be able to perform?
Answer: No, everyone has the right to express, everyone has the right to express, and the criteria are created by vested interests in order to consolidate their status, to quantify your talent with the criteria, and to regulate your expression with the skills that are necessary to diminish your personality.
It is their norm to create a falsely high and indescribable target, and to make you behave with fear.
Question two: What's a play? Is it fun?
Answer: It's fun. It can be a rehearsal in the near future, or it can be a homecoming, the best way to try confusion and madness. Whether it is to construct some of its own theories or to move outside the system, it is to comply with our most direct desires. There's nothing wrong in creation but happiness.
Question three: I don't feel happy about the rehearsal.
Answer: Someone has isolated your sense of happiness, perhaps from the first time of discipline, and someone has turned you away from creation in a simple Baplovian way. At this point, retreat means nothing, and some people succeed.
The catheter that you want to express can be brought directly to happiness beyond the criteria of judgment. It's probably the first step towards happiness, which is an infinite system of pleasure.
Question four: I want to have fun. I've lived for 30 or 40 years, and I've always felt less than that.
Answer: Through past practice, we have come to the conclusion that creativity is inextricably linked to one ' s own desires, and that the most direct expression and recognition of desires can stimulate the inspiration of co-authors to the greatest extent possible for the purpose of breaking the walls of hearts.
Some of the so-called barriers are people who believe in themselves and others who still believe in others.
Question five: I won't. Theories read less.
Answer: What you want to do is to leave the community behind, and it is natural to be born. The advantage of first practice is that, after learning the theory, it is more direct and rapid to submit the responses carefully.
A flexible and diffuse creative process that reaches the very heart of all theories, stretches out a theoretical system that belongs to you and transforms you from an imitator to a manufacturer.
It's called: If you explore yourself deep enough, the theory will follow you.
Question six: Sexual oppression, and lingering between inferiority and ego.
A: Theatrical can re-integrate your love in a small way, changing your perception and perception of the outside world.
Many people tend to focus on virtual, hard-to-reach people who, like time bombs, explode and destroy what sustains you as they approach them.
What we have to do is to address specific needs through drama and to get you back in love with yourself.
Question 7: How can theatre be considered an event?
To create the mold in a state that doesn't know what it's going to become, to make the molds with its own understanding, and to break the molds, the moment that they're going to break, the moment that they're going to break, is proof that the theatre is alive.
But there are those who will bring it back together, who will use fear, oppression and lies to suppress the variation of the theatre, in order to maintain dignity, stability and dedication. That's killing the drama in the cradle.
To live, the drama must kill the authority in order to prevent a moment from being suppressed, wiped out, prevented from becoming orthodox, designed and prevented from being a toilet for parents.
Eurydice Theatre Workshop.
You're always rational, reasonable, objective, you're never crazy, you're not going out of control, you're not going to stand up, you're not going to say it, you're going to walk out of your body at all times, you're silent, you're convinced that silence is the best weapon, you're not going to fight, you're going to accept anything, the clock is always in the middle. You see people crying out in anger, you feel like they're stupid. You've done your life with rigour and tact, and finally you're a little less human.
Sometimes your calm doesn't necessarily mean calm, just (?
We will work with you on a programme to tap into a deep-seated force that is summed up as being inferior to others rather than promoting itself.
The steps are
One, that's good.
Together, we will fall in love with each other through drama and give the greatest confidence to all participants. Special finger: Rip open the wound and check repeatedly the extent of the septification.
Scarless people need to cut open a mouth and release the water.
Two, bad shit.
We'll look at the abyss together until it fermentes.
The rainbow will spread from the hole.
We look at each other, whispering to the blinkers and twitching them.
We'll go through one or more dramas together, and save all worships in the context of a process that is heavy: take off the luxurious costumes, take away the corrupt titles, take away the rigid theories.
We will be enemies and comrades of each other. In a space of relative freedom, show yourself and recreate yourself.
Workshop content
Copy 1
The symphony of love and disease in the play "Poflia" is about -- why not you?
The first copy we'll play "Pofilia."
From time to time, discuss the nature of intimacy.
The Eurydice Theatre Workshop's "copy 1" cycle is four weeks, three times a week, with 14 theatre workshops. And perform.
Workshop
Item
Purpose
Zero.
A simple conversation.
Select the script
We're going to do a one-to-one plan.
Adjust workshop projects
First week
Session I (separate group)
Second (collective)
Third (collective)
Playbook
Role distribution
Initial rehearsal.
Initial grinding of participants
Negotiate the distribution of roles and assign them to the degree of urgency expressed by the participants
Building links to each other's personal desires encourages the most personal expression.
Second week
Session IV (panel)
5th (collective)
6th (collective)
Former sponsors, directors, writers.
Performing training for participants
The actors from the previous workshop were involved.
Enhancement of the capacity of participants to write plays
It provides the idea of theatre, the way.
Exchange production experience with previous sponsors
Third week
Session 7 (panel)
Eighth (collective)
9th (collective)
Initial rehearsal of the play and promotion programme development
Design of the stage
Provision of methodologies to summarize methodologies
A way to make the participants comfortable.
Developing participants ' own methodology
Fourth week
10th session (panel)
Eleventh (collective)
Twelfth (collective)
The show rehearsal.
Reformulate the play.
Show Synthesis
To dig into a deeper understanding of the story.
From human to human to material.
The 13th.
Final performance and post-acting conversation.
It's a dramatic funeral.
(The group training will take two hours in the afternoon of Monday to Friday, scheduled according to the participants ' respective time, and the group training will take three hours on Saturday.
We will record throughout this dramatic event from birth to death.
Participants will receive
A co-recognition of theatrical works and a video of the whole process, including the performance.
The ability to create drama.
A month of drama theme socialization.
In-depth interaction with various theatre practitioners and joint progress.
Hiding rewards: may develop an intimate relationship.
Copy 1 Pofilia first issue price: $2,800 per person for the first period. The cycle is four weeks, three times a week, with 14 theatre workshops. Including the show. Revenue from performances is distributed among the groups.
Limited: 5 males and 5 females.
Please add a microlink to the register.
Conclusion: It will be a combination of consciousness and infection, and may you go further and further in your narcissism until you fall in love with yourself.
It's a spiritual two-way care.
In a virtual, like, cosplay, non-routine, land, but also a specific, shrinking, orderly space.
Medium
The dailyization of the theatre, dissensitization and the exorcism of the stage worship are processes that make the theatre event less and less unusual, with the ultimate aim of enabling participants to create the theatre in a spontaneous and barrier-free manner.
Workshop sponsors practiced in the past
I'm talking about being a rhinoceros or an ostrich.
The opening ticket for the Swing Stairs 4.9.
You're not going to brush a copy of your life change?
An invitation from the vortex to the most despicable creature.
Kill the manifesto.
Players recruit fools! Can you still play a deadly joke? On April 1st, the final puzzle will be discovered!
A video of the previous work of the workshop sponsors.
In the 21st U-town Drama Festival, The Monologue.
G4. "It's got no clouds in its branches."
"The Scramble."
"The Strangler" 2
Pofilia countdown.
Everything about icebergs.
Eurydice Workshop.
Rejection of the classification and exploitation of creative qualifications of individuals with curricula vitae and hierarchy
Against spontaneous creativity and drive using historical and text frames
Strongly opposes the use of elegant written words to erase the rich language of reality.
We are firmly opposed to reinforcing the cool rivalry between input and output with a visual relationship.
What's a play? Please mark the text and public signs below.
We have to act as if we are innocent and willing to go back, simply because the Underworld is so lonely and beautiful.