PanNYC Hosts OUT OF BALANCE Workshop

We hear with our ears AND we keep our balance so the proposal is poetic desequilibrium! How to listen 'out of balance'? How to loosen the straight verticality of our voices and moves - and even, how to 'lose it' - and split with our balanced selves?

Linda Wise is studying Renaissance women singers who could only go on stage crossdressing or perform unbalanced ladies.

Enrique Pardo pursues his ventures into voodoo (vodou) vertigo and collage: the wisdom of performing out of balance.

With extensive work in the European scene, Enrique Pardo and Linda Wise will incorporate ensemble and individual work on all aspects of the performer's craft, including voice, text, singing, acting, expression, emotion, movement and music. This work is for an "advance/professional" level - not necessarily in terms of technical proficiency or even performance experience, but rather in terms of personality and capacity to take risks (both psychological and professional).

Linda Wise (Voice Performance): she is a member of the original Roy Hart Theatre and founder member of the Roy Hart Center in the South of France. Passionatly concerned with a vision of the voice that engages the widest possible perspective on each person's individuality, she incorporates into her practice a range of vocal approaches from Roy Hart Technique fo Bell Canto, to Feldenkrais involving a dynamic blend of technical finesse and expressive risk in extended voice ranges. Her training develops vocal improvisation, text renderings and dramatic musical compositions.

Enrique Pardo (Choreographic Theatre): a member of the original Roy Hart Theatre and also founder member of the Roy Hart Center, Enrique has incorporated different - and in many ways opposing - approaches to movement and dance. Including corporal mime - the analytical exercises of Etienne Decrous/Le Theatre du Mouvement; dance - lyricism, narcissism, beauty, pleasure - with Dominique Dupuy; and research on gesture and imagination elaborated by Eugenio Barba/Odin Theatre - especially what could be described as the actor's "autogenic training" (confronting and giving corporal form to one's fantasies (per-forming). Enrique integrates voice performance and text into movement ensemble work. The training includes chorus composition disciplines, the deconstruction of texts and disassociation exercises. How to free the voice while "setting up" the texts and the actors.

Pantheatre defines its aims in terms of "the affirmation of personal genius - character and musicality - and a commitment to what one has to voice, be it in speech, song, scream, silence, image or movement, or their synthesis in choreographic theatre".