Kinemo

Δούσος Φώτης (Dousos Fotis), Ράπτης Αλέξανδρος (Raptis Alexandros)

νέα κυκλοφορία

8,10€

Σε απόθεμα

kinemo [= kin(esthesia) + emo(tion)]
neologism; derived from the abbreviation of words kinesthetic and emotional.
But why kinesthetic and emotional? The mix of these two elements (kinesthesia and emotion) plays a structural role in theatrical quests of kinemo and they both are an eternal desideratum of theatrical research.

The book Kinemo is the result of long-term and continuous “on site” research. We place “on site” in quotes because when it comes to theatrical research, “site” could be everything and everywhere. Our conscious choices to spread our research, alongside some conjuncture, resulted in carrying out dozens of trips and tours throughout the world from 2010-2020. As a result, we got in touch with many theatre people who have different points of view from ours, who work in different ways and originate from a rather unfamiliar cultural environment and from other traditional backgrounds. We met inspiring teachers, as well as amateur workers of theatrical art. We owe a lot to all these meetings. They have revealed to us, inadvertently or deliberately, the secrets of our art and work. Above all, we owe the greatest part of our gratitude to the audience that has followed and somehow co-formed our work with its reactions, expressions of pleasure or indulgence, and its love, interest and excitement.

Ηippo Theatre Group
Fotis Dousos & Alexandros Raptis

Introduction

Part A
The Manifesto of Kinemo Theatre – Analysis

Kinemo theatre’s basic characteristics are physicality and empathy.
The most important element in kinemo is the actor.
The actor’s body is sacred.
In kinemo theatre, the word actor is synonymous to rhythm and energy.
The absence of speech does not abolish the theatrical act. However, the absence of the body does.
In kinemo theatre we do not use scenery. Just masks, costumes and props.
Kinemo is a high-energy form of theatre. The actors ought to play with self – sacrificing mood and use their total mental energy in order to defend their roles.
The three levels of the actor’s energy force are offering, ecstasy and redemption.
Intuitive communication between the artists and the public is essential.
Relationship between director-actor: the director contemplates and the actor acts, without the intervention of any verbal communication between them.

Part B
Principles of movement and immobility
in kinemo theatre

Part C
Indicative exercise book

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