Three styles of Workshop available
1. Performance workshop; Improvisation and theatre.
2. Connections; Make a film in 4 Days
3. Harmony; Song Creation Workshop.
1.Improvisation and Theatre.
Weekend workshops, 3 days in the beautiful West Cork town of Kinsale,
Lunch and Dinner in local gourmet restaurants,
Friday & Saturday B&B.
*Professional Video and Photographic documentation.
ALL for ONLY €500pp
*20% deposit required two weeks in advance, when booking a weekend workshop
*Group bookings taken for 10+ participants in a private weekend workshop, minimum of one month ADVANCE BOOKING REQUIRED Booking person free!
Book a workshop experience for your 9 friends and get yours for free!
LINK: Here's a taste of Kinsale, through the lens of the awesome Maurice Supple of Blue Shed Productions.
Other destinations are Thessaloniki Greece, and Warsaw, Poland.
*Accommodation arranged to share, single rooms dependent on availability and advance booking.
Special offers: 40% student/unemployed concession (NB-not in conjunction with other offers)
All workshops, with the exception of Workshop D, are suitable for those with little, or no, experience of performance.
This is an intensive but fun adult workshop, the experience level of participants is not a pre-requisite, as the workshop is designed to quickly create an even playing field for the inexperienced and the experienced actor. The methodologies used are amalgamated from theories of Stanislavsky, Boal, Adler, Grostowski, Brook, Artaud, and contemporary Physical Theatre practitioners with layers of improvisation and character building. If this sounds like a lot, don't worry, it has already been channeled into a clear and concise methodology by your facilitator, so while you may recognise the theories in the practise, you are not required to pass a test.
The facilitator Yvonne Coughlan holds an MA in theatre and drama from University College Cork, as well as fifteen years professional experience in theatre and short film, and regular participation in performance workshops. She will teach with an open heart, a challenging mind and a great deal of patience and understanding, and will also incorporate guest professionals to each workshop, for short instruction modules in Physical Theatre practises.
The workshops are of benefit to actors of all experience levels, and will be well documented in terms of photographic and video evidence, as well as a written report for those who wish to advance their performance career, but can also be of great value as a once off alternative experience. Yvonne believes in the power of expression as a tool for increased mental health, and personal development.
A short performance is devised, as part of the programme.
Don't worry about what you know or don't know about performance, this is not a discussion group, it is an active creative workshop, where your input is respected and appreciated. Do it! This will be an experience worth having. Expect a minimum of sitting about, a maximum of creative inspiration, some gourmet food, lovely people, and a whole lot of fun. Whether you are experimenting, or advancing your performance career, this is the workshop for you. With a sensational amount of work and play packed into each workshop, you will have quality memories, as well as professional photographs and video to record the experience.
Workshop D: Advanced Workshop
Aimed at those with previous performance experience, and therefore a short CV of experience, and a letter describing your motivations for participating in this workshop is requested with application.
Email us with your request for application form : email@example.com
Performance Workshop Gallery; Fri, Sat, Sun Electric Picnic. Sept. 2009.
Standard Weekend Agenda:
FRI- B&B Check in, at your leisure, 12pm-5pm. Workshop Registration (10 mins) 4.30-6pm. Meet & Greet Dinner 6.30pm. Workshop intro 8.30pm-10.30pm.
SAT-Breakfast 8.30am. Workshop begins 10am sharp. Lunch 1pm-2.15pm. Afternoon workshop 2.30pm-6pm. Dinner 6pm-7.15pm. Evening workshop, and presentation. 8-10pm. (Then time for the pub to end the day with a bit of craic agus ceoil.)
SUN-Breakfast 10.30am. Workshop begins 12pm sharp. Goodbye ceremony 3pm.
Further details of standard weekend agenda
- B&B Check in, at your leisure, between the hours of 12pm and 6pm. Have a wander around beautiful Kinsale for the day.
- Workshop Registration 4.30-6pm. This will take less than ten minutes.
- Meet & Greet Dinner 6,30-8pm.
- Workshop intro begins 8.30pm and finishes at 10.30pm.
- Breakfast 8.30am at your B&B.
- Workshop begins 10am sharp.
- Lunch 1pm-2.15pm at local restaurant.
- Afternoon workshop 2.30pm-6pm.
- Dinner 6pm-7pm at local restaurant.
- Evening workshop, and presentation. 7.30pm-10.30pm. You will present a goup performance to an invited audience, and recieve feedback.
- Time for the pub to end the day with a bit of craic agus ceoil. We will find the best music, you pay for your own drinks. We take NO responsibility for your hangover, and therefore will make no allowances for it in the final workshop, other than a slightly later start.
- Breakfast 10.30am at your B&B.
- Workshop begins 12pm sharp. This workshop primarily is about giving closure to the process, recapping on the skills learnt, documenting the feedback from participants. The final session is meditative in quality, and designed to allow reinforcement of the positive, and resolution of the negative, as aspects of the experience. Final thoughts are shared.
- Lunch and Goodbye ceremony 3pm.
PARTICIPANT NOTES for Physical theatre workshops
Clothes: Wear comfortable clothing that will not restrict your movement.
Required: 1. Pen. 2. Notepaper. 3. An item that means something to you personally, this can be anything, from your favourite poem, to a book, a painting, a newspaper article, a photo, and it can be as simple as a sock, so long as you have a good reason for bringing it. 4. A blanket.
Restrictions: No mobile phones, food or drink (except water) during workshop.
Advance notifications: This is a physical workshop, any extra supports or special care requirements, should be made known on application for workshop, as well as, any food allergies or preferences.
Actors may also wish to email firstname.lastname@example.org with CV and headshot for future reference, or where the workshop is billed specifically as a professional actor’s workshop.
2. Connections-Make a film in 4 days
Here's a fun pre-production blooper reel, from one of our Greek project locations; Fix in Art.
This collaborative process moves from concept to screening of a short film in four days. This project is about more than making a film; it is about engaging community, supplying inspiration, and promoting creativity.
Lifetime Lab in Cork.
Email Yvonne for more information on how your group, or you as an individual, can avail of this workshop: email@example.com
3. HARMONY-song creation workshop (2 hours)
- Workshop €600 in Cork area for up to 25 participants. (Travel expenses additional outside of County Cork.)
Writer/Director/Producer Yvonne Coughlan, MA Theater and Drama studies, UCC, from Kinsale, Co. Cork, Ireland, founded RSVP (Red Sandstone Varied Productions) in 2006, and has co-created arts participatory projects in short film and theater, site specific theater projects, inter-disciplinary performances, festival arts installations and community arts events in Ireland and internationally.
Yvonne has written, directed and produced live performances, musical theater, music videos, short film, art film, promotional tourism video, advertising video, documentary film and radio podcasts, in Ireland, England, Scotland, Greece, Norway, Poland, Germany, USA and Australia, and worked with creatives worldwide. Though her heart lies with the artistic direction of the actor on screen or stage, she is also a producer and casting director for both film and stage with credit highlights such as Writer of internationally multi-award winning unproduced dramatic micro-script, Regret; Casting Director and Line Producer for award winning short film 3 Friends, an adaptation of the work of Colm Toibín by screenwriter/ director Michael Culpepper; and Writer/Director/Producer for internationally multi-award Best Film winning experimental short silent film, An Étude in Art, which she also won two Best Director awards for.
Further positions held by Yvonne are producer for promotional film company VisitorFlix International Ltd; Chairperson of the board of directors for Dance Cork Firkin Crane; National Campaign for the Arts (NCFA) coordinator for Cork-South-West; and Creative Producer with InFlightflix, the inflight video guide specialists for airlines. Yvonne's company, RSVP, extols the virtues of creative expression through its community work, and produces everything from musical theater and seasonal family experiences, to annual awards ceremonies and talent competition, offering creative performance opportunities to people of all ages.
Prominent Cork heritage locations have provided memorable settings for Yvonne's writing and directing in theater, such as Blackrock Castle Observatory, Fota House and Gardens, The Old Cork Waterworks, and Cork City Gaol, where the first production of Yvonne's writing The Haunted History Tour began in 2007. Since her Masters thesis project involving the politically and logistically challenging theater production of Information for Foreigners by Griselda Gambaro, with 40 actors playing 146 roles, and 20 crew working on 13 stages for 4 concurrent audience groups over 5 nights in 2003, Yvonne has enjoyed the adventure of many ground breaking projects: directing a cast of 20 women for The Vagina Monologues in 2009; creating the Connections: Make a Film in 4 Days arts participation project in Ireland in 2011, and taking it to Greece in 2017; in 2012, co-creating the film and theater interdisciplinary performance No matter where you go there you are with Jennifer Williams and Cathie Clinton exploring emmigration, which premiered in the 2012 Melbourne Fringe Festival, Australia; and in 2013 Yvonne responded to the national tourism initiative with The Gathering-RSVP; this involved a multi-disciplinary performance in film, theater, poetry, visual art, dance and song entitled Irish HeArts in collaboration with writer/ director/ choreographer Martin A. David, poet Adam Wyatt, choir leader Caz Jeffries., artist Elaine Garde, director Stephen Broekhuizen, playwright Mark Harvey Levine, artisans Levi & Atilla Magyar and Director of Photography Maurice Supple.
Yvonne holds an MA Theatre and Drama, UCC; her practical Master's Thesis involved the production of Information for Foreigners by Griselda Gambaro, 2003, a theatre piece, which involved 40 actors and 20 crew, using 13 stages/sets, to depict the scenes of this politically charged performance, to 4 audience groups on the same evening. Each audience began and ended at the same time, as instructed by the playwright. Yvonne explored and developed the theories of Artaud's 'Theatre of Cruelty' in her work, both practically and academically in this thesis. The practical work also involved training inexperienced performers, alongside amateur and professional actors, using workshop techniques she developed from study of practitioners such as Stanislavsky, Meyorhold, Brecht, Checkov, Brook, and Grotowski. Developing on this work throughout her professional life, she has become a skilled workshop facilitator and director, this coupled with her co-ordinating skills makes for a highly motivated workshop group, and a worthwhile endeavour in performance.
(See recommendations of previous work.)
PROGRESSION OF THE WORK by Yvonne Coughlan (Physical theatre)
Improvisation and how it works. Theatre Workshop. Dramat Society. University College Cork, Ireland. April 2004.
Lights Up. Series of workshops designed to examine new writing, without full production. Fourteen actors performed and commented on the writing. Temperance Hall, Kinsale, Co. Cork, Ireland. August 2004.
Yvonne advanced her work as a participant:
- Goat Island Intensive. Performance Workshop. Triskel Arts Center. 2005.
- Performance Art Workshop. Facilitated by Marilyn Arsem. Tramway, Glasgow, Scotland. Jan 2008.
- Physical Theatre Workshop (inset) with Sergei Ostrienko, I.U.G.T.E. Malpils, Latvia. March 2008.
Improvisation in Drama. Theatre Workshop. Commissioned by Irish Green Gathering. Festival. Wexford, Ireland. 12 August, 2008.
Performance Workshop. Permaculture themes examined. Commissioned by Earth Spirit (Body and Soul), Electric picnic. Festival. Stradbally, Ireland. Fri, Sat, Sun, 4pm-6.15pm. September 2009. The theme is examined and workshopped by the participants culminating with a 15min public performance.
Yvonne advanced her work as a participant:
*3 month course; yoga/meditation (inset). Scandinavian Yoga and Meditation School. Haa Course Center, Southern Sweden. Jan 20-April 17, 2010.
Actor Workshops; three days, 10am-5pm. Commissioned by producer of feature film, The Vein Within director Philip A. McCarthy. Hawthorne Productions. We Made This. Community Rooms. Douglas St. Cork. June 2010.
Inset Noelle O'Regan. Pic. Jessie Mae Winchester
Aaargh. Say it like you really want to
Performed by Noelle O Regan. 30 minute one-woman performance piece. Created with performer in a workshop style environment. Physical Theatre. The Roundy. Trash Culture Revue. Premier June 2010. Repeat performances 17-20 August 2010.
Performance workshop. Adult. Engage, Bandon Arts Festival. 2-4pm 25 Sept. 2010.
Yvonne advanced her work as a participant:
JOLT/Theatre Club Workshop. Grace Dyas & Barry O' Conner. Experimental theatre; used to develop Narrative without Dialogue. Studio Theatre, The Town Hall, Galway. 14th April 2012
Diary moment from Narrative without Dialogue 18 Apr, 2012.
Yesterday and today was all about re-arranging, because I'm injured. Bad fall Sunday, so laid up with bruised ribs, sprained left ankle and sprained right foot. I have to say it, ‘the show must go on’, so its rehearsal time tomorrow, and I'm really looking forward to it, directors chair for me. My five wonderful workshop performers Mairead, Katrina, Rosie, Mark and Andrew will work with me to create the ten minutes that Andrew will present on Saturday. Barry's comment about the idea of taking language out of the performance, as being so violent, is very strong in my thoughts about the work tomorrow, and in terms of writing it in an autobiographical way Grace, that is something I intend to delve more deeply into during our week at the Theatre Development Center. I did write an opening before we left the space on Saturday, so there is a lot of material swirling around in my head, but I know that it will find focus once I have some performers to collaborate with. I’m looking at fear, and the lies it tells me. I’m looking at language and the things I’m afraid to say. I’m picking up all sorts of little shreds of what language means to me, and remembering how important words are, how they can affect us.
1. "There is a unique destiny for each person. Each one of us has something to do here that can be done by no one else. It is in the depths of your life that you will discover the invisible necessity that has brought you here. When you begin to decipher this, your gift and giftedness come alive. Your heart quickens and the urgency of living rekindles your creativity." ~ John O'Donohue
2. To conquer oneself is a greater task than conquering others.~ Buddha.
Narrative without Dialogue. Theatre without words; work in progress. With music provided by Eat my Noise for project development. Residency in Corcadorca Theatre Development Center, Cork. 23-27 April, 2012. 30 minute narrative developed and performed, for audience feedback. Film documentation last due to file corrosion, devastated. Narrative without Dialogue. Take link to updates on TDC site.
We envelop you in a story without words, don't be afraid of the noise. An experiment in theatrical presentation; telling a story without language, thus allowing the work to travel internationally. Work in progress. 30 minute narrative developed and performed, for audience feedback.
Residency in Corcadorca Theatre Development Center, Cork. 23-27 April, 2012.
Telling a story without language, without words, without dialogue. With our collaborating composers Peter Power and David Duffy of Eat my Noise we make the soundscape interesting for a blind audience, full of music and sound, yet we are not dependent on audio to convey our story, ensuring it remains accessible to a deaf audience. Participant performers Andrew Monaghan, Rosie O’Regan, Mark Cosgrave, Katrina Foley, Mairead O’Donoghue and Kate Grew.
Improve your improv. Kinsale Arts Festival. Saturday 14th JULY 2012. 2pm-4.30pm. Venue: Temperance Hall.
Sir John Benson. A youth theatre project in association with Lifetime Lab. Commemorating the 200 year anniversary of Benson's birth. May-Sept. 2012. Performance for Culture Night 21 Sept. 2012.
Yvonne advanced her work as a participant:
The Art of Comedy. Simon Edwards of The Actor's Space, Barcelona. The Workshop @Sample Studios, Cork City. Fri 23rd-Sun 25th November, 2012.
PHYSICAL THEATRE AND CREATIVITY EXPANSION WORKSHOP with Martin A. David 22/6/13
Circus Factory, Albert Quay, Cork City.
Yvonne advanced her work as a performer/ producer:
We all mourn part of The Gathering-RSVP. Contemporary dance installation with choreographer Martin A. David. Created in workshop style environment. 23 July 2013.Film presentation 3rd and 4th August at Kinsale Regatta 2013.
DESCRIPTION OF RSVP-PERFORMANCE WORKSHOP in Physical theatre
Participants are guided through warm up, character building and layers of improvisation towards a public performance. Experience is not essential and the workshop methods create an even playing field for actors and beginners to work together. In fact we have found that beginners bring a fresh perspective to the seasoned actor. Feedback and cool down session ends the process.
●The performance workshop is open to adult participants (16+). No previous experience necessary. (Has been successfully adapted for younger participants)
●Beginning time is NOT arrival time; early is on time, on time is late, late is unacceptable and entry will be denied.
●During a two hour workshop, participants will explore methods of improvisation in drama, and create a dramatic piece for public viewing. (5-10 mins)
●During a full day or 2 day workshop the piece for viewing will be extended (15-30 minutes).
●The audience are the final part of the process; facilitator explains methods and invites feedback.
●Local performers, artists and academics are also invited to attend, as the audience feedback is a vital part of the process.
●The performance appears as a free slot in the festival or local programme of events:
“Red Sandstone Varied Productions presents a short improvisation. Free Entry.”
●The workshop is adaptable in terms of duration; 2hr, half day, full day, weekend, week.
●Every workshop performance is unique, as it is created by the abilities and creativity of the group.
●Documentation is encouraged of the individual participants, and photographic documentation is taken by RSVP, all participants are required to sign waiver to the effect that this photographic documentation may be used for future promotional material.
●Video documentation of the workshop may also be taken, and will be edited to a 5 minute utube, all participants are required to sign waiver for this video.
●A brief report will be written by the facilitator and emailed to participants after the workshop, participants are invited to write same and send to RSVP for documentation purposes, but this is not a requirement of participation.
Sample Format for 2 hour workshop.
2.00pm Introductions and opening presentation.
2.10pm Warm Up.
2.20pm Improvisation of character.
2.35pm Theme for the day discussion.
2.45pm One minute pieces devised and performed.
3.05pm Final performance devised and performed
3.30pm RSVP Presents.
3.45pm Closing session.
4.00pm The workshop is complete.
Sample Format for full day workshop.
11.00am Introductions and opening presentation.
11.20am Warm Up.
12.00pm Improvisation of character.
12.35pm Theme for the day discussion.
12.45pm One minute pieces devised and performed.
1.30pm LUNCH (a performance research task is also given)
2.30pm Warm up/ lunch task performed.
3pm Five minute group pieces devised and performed.
3.45pm Freeze frames are designed (and photographed for documentation).
4.15pm Performance designed, using all previous work.
5.15pm Documentation written by participants.
5.30 pm Dinner (after dinner warm up and performance group rehearsals TBD)
7pm Dress Rehearsal.
7.30pm Performance for audience.
8pm Audience response.
8.30pm Cool down session.
FUNCTIONS OF THE WORKSHOP
●The functions of these workshops are:
1. To introduce the participants and allow them to form a bond. As with Chaikin’s Open theatre, to evolve “a common effort so intense that at the end of [the project] I have been unable to say which part was my work and which part belonged to someone else.”
2. To provide an enjoyable learning experience, for all concerned; feedback is invited and encouraged throughout the process.
3. To enhance performance abilities, by acting as a stimulus for new ideas, and by offering new perspectives.
4. To create a UNIQUE, MEANINGFUL, and HONEST performance piece.
●BRIEF Explanation of methods.
Part 1. A warm up of the body, the voice, and the imagination opens each session. Each group, or individual, depending on number of people present, are then given one minute to work out an improvised performance, given some simple criteria. (Chekhov). We examine the capacity for improvisation within a given character (Stanislavsky). Fluidity of expression in performance is encouraged, by reducing thinking time, and increasing confidence. We then attempt to create a connection between the characters within possible scenes, between the actors within the ensemble, and, between the character and the actor who plays that character. All the time promoting co-operation and teamwork.
Part 2. An improvisation technique adapted to this process can be identified in Stanislavsky’s active analysis. This inspires a “process of discovery [...] through careful analysis and experiment.”(Stanislavsky). For the purpose of these workshops, where there is no script, a theme is decided by the group, and then characters, and relationships between those characters, are devised accordingly. This is the construct that allows a performance to be developed.
Part 3. Further exploration is made, by asking the actor to take part in an improvised performance, based on their newly developed character and any emotional connections they can make with other characters. The situation or scene is changed where the facilitator sees fit. The facilitator may give instruction to freeze the action, at various intervals, and use this time to make further suggestions. The actors might be asked to look at that scene from an audience perspective, to swap roles, or to become new characters witnessing the scene. In general the actors are given as much space and freedom, to express themselves, as possible, then gradually the parameters are reduced by the facilitator, to guide them towards how the work can be expressed in performance.
Part 4. The facilitator works towards finding the emotion in the actors experience of an improvisation, and to create an access pattern that avoids the tendency to relive a personal experience in order to convince others of its reality. “[C]reative imagination rather than conscious past” (Adler). This allows a creative exploration of the characters, and the scenes, by loosely building the improvisation on the emotions, and the connections, within the scenes. We also develop freeze frames (Boal) to describe the action, and encourage all participants to be involved, even those who might be making their first public performance. All participants are involved in scene discussion and feedback.
Part 5. The newly formed company of actors present their work to the public. This is introduced by the facilitator to its audience, and the process by which it has come to being is also briefly translated to the audience. The audience are welcomed as the final part of the process and feedback is invited immediately after.
Part 6. A closing session, cool-down or de-rolement, is facilitated after performance has been completed. This is meditative in quality, and designed to allow reinforcement of the positive, and resolution of negative, as aspects of the experience. Final thoughts are shared.
Workshops available at RSVP
Community workshops- All ages; adult and children
-specifically tailored for schools as an innovative interactive teaching tool.
-2 hour improv performance, half day, full day for groups and festivals. Themed to your requirements.
-team building and customer relations half days, full days, 2 hour rapid action pack, or weekends tailored for your company's requirements.
Additional packages for festivals, community groups, and private functions.
Workshop packages designed to suit your requirements
-drama, voice, improvisation, performance, team building, social skills, communication skills, people management skills.
GENERAL PRICING STRUCTURES
Everyone wants to know how long is a piece of workshop string, so here is a starting point for our conversation about how much your workshop costs:
Schools- per facilitator (interactive teaching); 40 minute @100; 80minute @120; Half day (3hr) @160.
Corporate-Team building and customer relations per facilitator at your company venue;
2hour rapid action pack @120. Half day @160. Full day @300.
We can also offer weekends tailored for your company's requirements.
Arrangements will be made for food and accommodation, as well as relevant excursions.
NB. Travel and accommodation costs for facilitators are added for locations outside of County Cork.
RSVP group workshops suggested Per Person:
@30 for 2 ½ hour workshop
@50 half day workshop (4hrs)
@90 full day inc. lunch/dinner
@150 2 day Workshop inc. Friday evening meet and greet tea-party; Saturday Lunch;
@200 Weekend Workshop inc. Friday meet and greet tea-party; Saturday Lunch & Dinner; Sunday Lunch;
@350 for 5 days, Mon-Fri inc. lunch/dinner daily & Friday evening Cocktails & Canapes
We also offer workshops where arrangements are made for accommodation, excursions, professional photographic documentation, professional video documentation, additional facilitators.
Prices vary accordingly.
*Payment (or 10% non-refundable deposit) for all workshops, 10 days in advance.