SYLWIO LANGE bardzo Ci dziękuję !

I jak tu nie wierzyć w moc Facebooka. Zgłosiła się do mnie, chwilkę ledwie temu - Sylwia Lange, wrocławianka. Efekty kontaktu oceniam jako spektakularne. 

Napisała; byłam stażystką Z. Molika, mam wiele ciekawych po-stażowych materiałów, prześlę. Nie tylko dotrzymała słowa, dotrzymała go w imponującym tempie. Poniższa korespondencja fejsowa jest dzisiejsza.

Sylwia Lange

w załączniku pierwszy z plików od Omer Faruk Zora. warsztat "ciało i głos" zaczął się pierwszego dnia wiosny - jutro sprawdzę rok. o śmierci Pana Zygmunta dowiedziałam się od Stefanii jak ledwo co wjechałam do Włoch (na wyjeździe z rodziną)... przez cały pobyt w Toscanii myślałam o tych warsztatach - byłam raz u p. Zygmunta - to było jak przebudzenie. jutro doślę kolejne 'impresje', dobrej nocy. 

Staż w którym wzięła udział rzeczywiście inaugurował wiosnę, sprzyjał więc przebudzeniu.  Odbył się   21 - 25  marca  2006. 

OMER FARUK ZORA, TRT Radyo, do zlokalizowania na Facebooku: omer.zora 

impressions about the workshop by Zygmunt Molik 

Last season I had seen a play in Ankara State Theatre. Two men and a woman was performing “Hund, Frau, Mann” by Sibylle Berg. The man who was playing dog was really different from his partners. His voice was in stereo not in mono like his partners (and like 99% of all actors i have seen before) It was wonderful because while all other sounds were coming from their mouth to your ears directly, his voice was travelling in the space and then was reaching to you. After the performance I started to think that he might have one more mouth in his back of the neck. Since it was impossible for a human being i was wondering to learn the technique that he used. I asked to my advisor: “I want to have a stereo voice instead of mono. How can I learn this?” He said: “you shall better to learn about Grotowski”.

After a couple of months later i have found the book “Towards a Poor Theatre”. It was magnificant because it was undoubtedly more than what we were trying to explore by ourselves in our amateur drama society. The book also contains some exercises about body and voice but it is always better to learn from a master than to learn from a book. This is why I decided to participate Body and Voice workshop by Zygmunt Molik.

For an outsider (an ordinary observator) the things we did in workshop may be seen as some kind of gymnastics. But it was not. We started by learning the body alphabet in terms of movement and voice. Then we were free to create our own “words”  (not in terms of language but in terms of movement and voice) to live our dreams, to reach or to explore the unknown. In my humble opinion, the key point was; repetition, repetition, repetition…

We were sixteen people from different languages, coming from different disciplines, expecting different things but wondering to learn the same. And I think I have learned a lot. 

Omer Faruk Zora