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PROGRAM

THE HEADLONG PERFORMANCE INSTITUTE is a fall semester training program in the heart of Philadelphia for college students interested in theater and dance. HPI offers students an intensive 14-week program equivalent to 4 full academic course credits. Credit for women and men are granted through Bryn Mawr College. (A limited number of spots are available to recent college graduates; email here for more information on this.)

FACULTY

HPI faculty members are working artists and master teachers. Faculty members include artistic directors from Headlong Dance Theater and Pig Iron Theatre Company, as well as other leaders in Philadelphia’s vibrant and internationally-known dance, theater, and physical theater community.

INTENSIVELY INTENSIVE

At HPI, student artists train, create, and perform. A typical day includes two technique classes (movement, voice, mask, etc), improvisation/composition work, and time for rehearsal on student projects. Training focuses on introductions to three physical performance techniques: Responsive Movement (a contemporary dance approach with particular focus on Structured and Contact Improvisation, and Releasing Techniques), Lecoq Clown, and Dell’Arte Mask.

Contemporary approaches to composition and improvisation structure constant creation by the student artists. Student work is grounded n a study of the history of contemporary performance, and can be informed by our frequent trips to see live performances in Philadelphia and beyond.

because art is the secret center of the world • because we are bombarded by marketing and corporate images, and need smart people creating other truths. • because performance should always include the body, the face, the voice and the mind. • because the art we need respects the past but doesn't worship it • because art should be useful, local, and made without focus groups • because 1,000,000 people are making images to sell products, we need 1,000 brilliant artists reminding us who we really are • because a true artistic process is the single best problem-solving method ever devised • because the body is disappearing under an avalanche of ipods, IMs, and advertisements • because making great art isn't comfortable or safe • because some important things take time to uncover, to admit • 'Your concentration must be infinitely more powerful than the audience so that they will feel compelled to concentrate on your reality.' - Boleslavsky • 'A large number of experiments is likely to occur whenever the artist's expression is at all confined, whereas unlimited freedom inevitably leads to imitation. • 'What matters is the break out of the rut. Everything else is unimportant.' - Chekhov • 'Always have something that amplifies or goes against what is being done- a framing device to punctuate, frame, emphasize, or bring into the foreground any particular word, action, object, or position.' -The Wooster Group • 'I want to burn with the spirit of my time.' • 'One must not show life as it flows by in reality, but as we dimly perceive it in our dreams, visions, moments of elevated feeling.' • 'Preparing a character is the opposite of building - it is demolishing, removing brick by brick everything in the actor's muscles, ideas, and inhibitions that stands between him and the part, until one day, with a great rush of air the character invades every pore.' - Peter Brook • 'You become a director by calling yourself a director and you then persuade other people that it's true. So in a way, getting work is a problem that has to be resolved with the same skills and resources you use in rehearsal. I don't know any other way apart from convincing people to work with you and getting some work underway - even unpaid - and presenting it to any public - in a cellar, in the back room of a pub, in a hospital ward, in a prison. The energy produced by working is more important than anything else. So don't let anything stop you from being active, even in the most primitive conditions, rather than wasting time looking for something in better conditions that might not come off. In the end, work attracts work.' - Peter Brook • 'Thank God our art doesn't last. At least we're not adding more junk to the museums. Yesterday's performance is by now a failure. If we accept this, we can always start again from scratch.' • 'Genuine improvisation, leading up to a real encounter with the audience, only occurs when the spectators feel that they are loved and respected by the actors.' • 'One needs to do the preparation in order to discard it, to build in order to demolish.' • 'Before making judgments, we must ask questions. This is the deepest meaning of the idea, often repeated but little understood, that the study of art show us how to live.' - Elinor Fuchs • The one thing that can solve most of our problems is dancing. - James Brown • The one important thing I have learnt over the years is the difference between taking one's work seriously and taking oneself seriously. The first is imperative and the second disastrous. - Margot Fonteyn • We should consider every day lost on which we have not danced at least once. - Friedrich Wilhelm Nietzsche • Master technique and then forget about it and be natural. - Anna Pavlova • My vision of the dancer, through the intervention of performance as a practice, is as a conscious flow of multiple perceptual occurrences unfolding continuously. - Deborah Hay • You work and suddenly something happens, but it has nothing to do with what you planned, and you have to think about what to do. Do you follow this? So, yes, I always leave my plans behind. - Pina Bausch •