 |
The artistic activity of dancers, actors, musicians, singers, requires sensibility and an optimal ability of control of the body, instrument of creation and communication towards the public.
During the performance, perturbing factors come into play that could negatively affect the execution, in the most fortunate cases the artistic gesture will result ineffective or faulty, in the most critical cases, there could be troubles and injuries could occur.
The body of an acrobatic actor is extremely solicited, like the one of a singer, and, in spite of this, it should always be communicative according to what it wants to express. The osteopathic techniques provide assistance by freeing the structural block and allowing the artistic expression without damaging efforts.
The artist’s research is a journey of body knowledge and mental control always to the limit.
Therefore, it is useful to insert in one’s training tools to catch signals of danger, personal weak points, manage at best the extra work, and in case of limiting situations, act appropriately.
How does the training take place?
The participants, in groups, experiment postures and movements that are easy to perform, with the purpose of discovering how their postural-expressive system works. A portion of time is spent in personalized analysis of the single artist, through the osteopathic myofascial concept.
|
    |
 |
Didactique
Mauro Banfi, Physiotherapist since 1992, further develops his personal training by applying himself in the use of global postural re-education techniques (Souchard method) and posturology (P.M.Gagey).
He obtains a diploma in Osteopathy in 2002 at the Ostéopathique de Provence College of Marseille.
His focus is mainly on the use of the body potential in the artistic field, above all in theatre and during singing, in collaboration with artists coming from different training backgrounds.
He combines the training in his personal studio with the organization of workshops and conferences for artists with the purpose of informing them with regards to postural problem and optimizing the performances avoiding structural overloads during expressive artistic training.
|
|