The 20 hour weekly schedule includes:

Students will develop their theatrical vocabulary. This gestural grammar encompasses body articulation, the study of counterweights, walks and displacements in space, figures of style, mobile statuary, dynamorythm and the musicality of movement.

The student’s imagination will be stimulated by exploring a wide range of themes; "How to be" and "What to do"; learning to develop a corporeal interpretation in solo, duet and ensemble work.

This is the practical approach to contemporary mime dramaturgy. The practitioner learns how to create pieces and put together a performance through the study of:

•   The scenic recomposition of reality
•   The theatrical phrasing of movement
•   The relationship between time and space
     in the structure of a play
•   The construction of a corporeal interpretation
•   The interaction between spoken text and movement
•   The use of music, costume and props

This is the in-depth study and interpretation of the work of Etienne Decroux covering the years 1931-1984, and of the post-modern Repertoire in the corporeal mime field. As in music and dance, a solid base in this Repertoire will act as a springboard for the student in the search for a personal style.

The history and theory of corporeal mime will be explored through lectures, archival materials and study groups. There is also a seminar held once a year by Professor Marco De Marinis, theatre historian, researcher and author from the University of Bologna.