Nola's current productions
|TEACHING workshops 2 hours + seminars 1 to 2 weeks
Nola does not teach technique for its own sake. Rhythm, dance, yoga, commedia dell' arte and clowning are taught in tandem with mime techniques. The main aims of the workshops are:
1 Improve body control and concentration
2 Enhance stage presence
3 Improve powers of observation and imagination
4 Add grace and depth to movement
5 Have fun and develop humour
Participants must be reasonably fit and seriously enthusiastic. They should dress in practise clothes and wear flexible shoes (or bare feet). Sometimes 3 balls/bean bags are required for basic juggling.
The venue should be large with a good, preferably wooden floor. There should be no outside noise disturbance.
A system for playing CDs may be required.
Minimum number of students 12. Maximum number 20.
Nola gives informal lecture demonstrations lasting 1 - 1.30 hours - most usually in theatres.
Nola specialises in turning existing dramas and tragedies into clown plays. Those tackled to date include:
THE HOUSE OF BERNARDA ALBA, MISS JULIE, THE WILD DUCK.
Devised pieces: MACBETH, HAMLET, KING LEAR, ROMEO & JULIET (with John Mowat )
MIDSUMMER NIGHT'S DREAM, DONA QUIXOTE, NELLIE PASTA'S MURDER COMEDY,
DRACULA THE CLOWN, THE THREE MUSKETEERS and PENELOPE (with Pepa Plana)
Nola often collaborates with Matthew Ridout who designs, and sometimes makes, sets and props. He also designs lighting and co-ordinates the sound track.
It is usual for Nola to audition the actors through workshops and then write the piece in collaboration with them. Work on music and choreography is put in place at a later stage, after the set and props have been made.
All Nola's directed productions have very little, if any text. The stories are told visually through a mixture of techniques. Often puppetry comes into play, as does music. The actors involved must be versatile and have excellent comic timing.
As most of these pieces were originally tragedies, the comedy is built on a dark background, enhancing the dramatic and the emotional qualities of the piece