“CAN YOU CRY ON CUE?” EMOTION ON DEMAND WITH ALBA TECHNIQUE”
Monday, March 14th Session at NYU Gallatin
An In the Culture of One World presentation
NOPASSPORT + NYU GALLATIN SCHOOL OF INDIVIDUALIZED STUDY
THE 10TH ANNUAL NOPASSPORT THEATRE CONFERENCE ON MONDAY, MARCH 14TH
NEW YORK CITY, March 5, 2016 | Do you know about this fresh, new acting technique? You’ve picked up and learned many cry-on-cue acting tricks. But they rarely worked! You’ve sought to impress audiences and spectators with your emotional skills, so you tricked your eyes by drying them out. You dropped Visine into them.
You’re also trained in Lee Strasberg’s Method, Stella Adler Technique, Sanford Meisner Technique or The Viewpoints — you’ve used those methods to make crying seem real and justified on film or onstage. A perennial problem rears its head: you get stuck in an emotional hangover. What is there to do?
At noon sharp on Monday, March 14, 2016 at New York University, NYC actress and professional acting teacher Patricia Angelin will propose that we take up The Alba Technique — a new and innovative acting system for which she is the foremost practitioner and most persuasive disciple.
First developed in Chile and later in France by the neuroscientist Dr. Susana Bloch, Alba Emoting makes it possible, Angelin adds, for acting professionals to train their bodies to willingly induce intense emotions. Then step out of them to achieve neutral.
“We don’t need to think back to an intense and upsetting memory to intentionally reproduce a bodily reaction, as a matter of neurological fact,” Angelin says. “Once learned — if the actor allows the time and process she requires to get Alba Technique ‘into the body’ — the actor can produce, control and leave emotions at any time.”
This month, NoPASSPORT and NYU’s Gallatin School of Individualized Study will throw open the doors of the House of Alba. Free to the public, the one-day theater conference will take place at NYU’s Jerry H. Labowitz Theatre.
IN THE CULTURE OF ONE WORLD is acting as a live-event producer and theater communications guide for Angelin’s noontime session, entitled “ ‘Can You Cry On Cue?’ Emotion on Demand with the Alba Technique.”
NoPassport teams up with NYU’s Gallatin School of Individualized Study
Founded in 2003, NoPassport builds every year on its artist-driven mission, unincorporated status and play-publication series (which also goes by the “Dreaming the Americas” brand). For the 10th year in a row, Caridad Svich, the Obie Award–winning playwright and NoPassport founder, has initiated and brought to bear a NY theater conference called “Dreaming the Americas.”
NYU Gallatin faculty and director Kristin Horton serves as the lead curator of the upcoming March 14th edition. Svich and Horton have reined in NoPassport’s flock of theater artists and academics — a great many of whom are our country’s most important playwrights, directors and actors.
The conference’s theme pointedly asks “Dreaming the Americas: Who Is It for? Spectatorship and the Body Politic.” “We will explore,” Kristin Horton explains, “acts of spectatorship in relationship to citizenship and the functions of art and art-making in the 21st century. Who is in the space? How does, and should, that affect what we do in it? ”
And so: Pulitzer Prize finalist and Detroit playwright Lisa D’Amour will give a keynote address. Notre Dame University’s Anne Garcia-Romero will dive into the legacy of America’s great playwright/director Maria Irene Fornes. Climate-change theater augurs in the mind of Chantal Bilodeau.
Playwright Saviana Stănescu and director Jeff Janisheski plan to butt heads over cultural appropriation. In an Armenian Dramatic Art Alliance discussion, Bianca Bagatourian fillets the dilemma of “Upstander or Bystander?” in cahoots with playwright Erik Ehn and Greg Hittelman of Enough Project in Washington D.C.
How does Alba fit into the sandbox?
“It is a neuroscience-based bodywork for actors,” Angelin explains. “Alba uses the limbic system to induce, understand and work emotions. We gain Neutral emotion via Alba’s The Step-Out protocol. That means full-body access, full-body health.”
Now in her 80s, Susana Bloch specialized in neurophysiology and psychophysiology. To establish Alba Emoting, Bloch and her collaborators in University of Chile’s Department of NeuroPsychology conducted extensive research. They monitored respiratory movements, heart rate, arterial pressure and changes in muscular tonus in their subjects.
Film and stage actors were the first people to regularly apply the findings in Bloch’s psychophysiological research.
“The fact alone that Angelin has direct links to Alba Emoting’s creator makes her inclusion in our NOPE conference a unique occasion,” says Randy Gener who was moved to support Alba Technique after learning about its intricate simplicity from Angelin.
“We all want to be exposed to the truest apostles of any acting approach,” Gener says. “Susana Bloch personally gives a thumbs-up to her Alba Emoting teachers. Certification in Alba is by no means automatic.”
When he was Theatre Communications Group staffer and American Theatre magazine’s senior editor, Gener curated and was the prime mover of the annual “Approaches to Training” education issues for more than a decade.
“It’s been my mission to offer a bigger stage or page to identify the underground currents,” he adds. “My hunch is that the more professional actors get hip to the Alba Emoting, Angelin’s actor-motivated extension of Alba is likely to belong to the next wave of training approaches,” Gener says.
This spring, Angelin and Bloch will publish their English-language revision of Bloch’s key text, Al Alba de las Emociones, which was first appeared in Spanish in 2002. The updated title, Alba Emoting: A Scientific Method for Emotional Induction, will be made available on Amazon.com.
“Alba is a system, not an acting method,” Angelin says. “Alba Technique is physical, specific, organic, and can be learned by nearly anyone. To reclaim our neurologically basic emotions makes us more human and far better actors.”
To see a full conference schedule of “Dreaming the Americas,” visit these spaces:
- New York University Gallatin
gallatin.nyu.edu | gallatin.nyu.edu/utilities/events/2016/03/nopassportconference.html
www.nopassport.org | http://www.nopassport.org/2016-nope-conference
- In the Culture Of One World cultureofoneworld.org
PATRICIA ANGELIN, founder of ALBA Technique, is the first person in North America to be certified to the highest level in ALBA Emoting International as both a Professional Actor and Master Teacher. Beginning in 1994, she has studied directly with Susana Bloch, following her from Chicago to San Diego, Paris to Chile, and hosting her in New York. For two decades, she has been privately incorporating ALBA Technique into her own acting as well as her work coaching other actors for stage and screen and dancers, with excellent results. Angelin holds two BA degrees (Theater and Music) and an MA degree (Theatrical Theory & Criticism). She serves as the Literary Executrix for the Estate of renowned drama critic George Jean Nathan and for his wife, actress Julie Haydon.
RANDY GENER, artistic proprietor of IN THE CULTURE OF ONE WORLD, creates and produces live events, conferences, seminars, stage productions and visual-art installations. A former Village Voice staff writer and cultural critic, he has carved dynamic journalism career through national and international coverage of human rights, censorship, government repression, trauma and politics in crises zones, as well as the roles of arts and culture in public diplomacy. For his editorial work and critical essays as Senior Editor of American Theatre magazine, published by Theatre Communications Group, Gener received the George Jean Nathan Award for Dramatic Criticism, the highest award for dramatic criticism in the U.S., selected by Yale, Princeton and Cornell Universities. He is the U.S. Artistic Committee Curator of the French American Fund for Contemporary Theatre, an initiative of the Cultural Services of the French Embassy in the U.S., Institut Français and French American Cultural Exchange Foundation.
KRISTIN HORTON of NYU’s Gallatin School of Individualized Study is a director primarily interested in developing new work, re-imagining classics, and producing public events that create forums for dialogue and action concerning urban democracy and the arts. Her new play collaborations have appeared at the Contemporary American Theater Festival, Working Theater, HERE, NYC Summerstage, William Inge Playwrights’ Festival, The Playwrights’ Center in Minneapolis, Workhaus Collective, among others. She is the recipient of the 2013-2014 Gallatin Dean’s Award for Excellence in Teaching, an award which recognizes educators for their outstanding teaching; their ability to inspire their students; a pedagogical approach that is creative and rigorous; expert advising and mentoring skills; and contributions to their field. She currently serves as a Faculty Fellow in Residence at Carlyle Court.
CARIDAD SVICH received a 2012 OBIE Award for Lifetime Achievement in the theatre, a 2012 Edgerton Foundation New Play Award and NNPN rolling world premiere for Guapa, and the 2011 American Theatre Critics Association Primus Prize for her play The House of the Spirits, based on the Isabel Allende novel. She has won the National Latino Playwriting Award (sponsored by Arizona Theatre Company) twice. She has been short-listed for the PEN Award in Drama four times, including in the year 2012 for her play Magnificent Waste. Recent premieres include The Hour of All Things at Ensemble Studio Theatre/NY under William Carden’s direction; Aunt Julia and the Scriptwriter (based on the Mario Vargas Llosa novel) at Repertorio Espanol in New York City, and In the Time of the Butterflies (based on Julia Alvarez’ novel) at San Diego Rep.
NoPASSPORT was founded by Svich in 2003. It is an unincorporated, artist-driven, grass-roots theatre alliance & press devoted to cross-cultural, Pan-American performance, theory, action, advocacy, and publication. NoPassport exists a virtual and live forum for the exchange of work and dreams, a network between theatres and the academy, and a mobile band of playwrights, directors, actors, producers and musicians.