summary

STARSHIP

Philosophy

A

Words and catch-phrases will often fall short of genuinely translating the magic that takes place in the art of performance. A humble description of what is encouraged to happen through the STAR TOO process is that the science of ensemble work by a group of people who create in the spirit of truth results in a pure and spellbinding experience, for both participants and on-lookers. STAR TOO serves as a theatre laboratory wherein actors train (using methods pioneered by professional theatre practitioners), invent (personal narratives), and produce (unique shows). The goal of STAR TOO theatre project is to shape groups of approximately 10 people into a fully functional troupe, work-shopping together some 24 hours across a season to create a one-of-its-kind piece that is performed at least twice under the auspices of the programme and encouraged to continue independently.

B

Some of the fundamental concepts applied in exercises and production is that acting is about convincing rather than pretending.  Concretely, even if a moment of theatre takes place in the context of make-believe, it is still a moment that is very real. The task of the performer is to operate honestly in that moment and in that space. Hence, a deep respect of performance space is practiced in training and adhered to during a production (and this includes a little look at Einstein’s theory of gravity).  The overall energy of the group and the individual labour of every actor in it is also something sharply regarded.

Believing that theatre is by nature multidisciplinary, STAR TOO aims to involve as many artists as possible from a variety of disciplines in the present community. The talent and vitality of visiting guides highlights the diversity and excitement of creating original material. Participants of all levels are welcome. Past experience is an asset but not mandatory. As STAR TOO philosophy is that everyone can and does act in everyday life, the only prerequisites are will, discipline, and good spirit. While STAR TOO calls on dedication, having great fun and as much freedom as possible is vowed to participants.

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2

The latter set of sessions is dedicated to devising original material based on a chosen theme for a given season. Sourcing inspiration brought by visiting guides (dancers, martial artists, writers, vocalists, magicians; talented individuals who impart the rigorous science of their craft and link it to performance art), every actor in essence becomes a director, a playwright, and a producer of their personal segment involving other group members. Individual material does not even need to be scripted and a generous portion of improvisation is encouraged. Performers can also employ the use of basic multi-media. Sound-scapes and images can be incorporated throughout the piece, provided actors understand that these external factors are stepping stones for their expression; not a crutch on which to depend. Likewise, little or no props are used. Instead, plain and malleable sheet of material of 2 yards called ITs are likely to be used (colours may vary) as imagined objects, full-fledged partners, or any form the performer enables through their body. Masks are also used, when applicable. An organic development of performers’ pieces is carefully guided and supported, sequenced, and shaped into a unique and singular show in which every participant stars diligently and generously.

Two show dates are allocated to a performance piece that has been created by the troupe. As per individuals’ agreement on release forms, images and citations may be used in communication material to advertise the production. The creation remains the intellectual property of troupe members. A humble percentage of show entries is donated back to the group, which technically means members perform professionally. All our show title are questions, in an aim to reflect that we are here to try and understand, not just follow status-quo; to progress and foster the formidable human quality that is curiosity. Where is Home , staged on a run-way with audience on either side, explored what we consider home to be, most of us far from it. What's The Time played as theatre in the round, asked what actors felt it was time for in their lives or for something to happen in the world. Who Did It, set cabaret-style and featuring silk dancing as well as a magician's table, was an inquiry on who or what has had an impact on our lives. What Art Thou Wearing based its action on the character of Caliban from Shakespeare's Tempest. It was an examination of how the gaze of the other affects us, based on appearances. Audience faced the wall-wide mirror of our venue and action took place behind spectators so that they see themselves in our questioning as well. Productions frequently include multi-media creations such as short-filming. Music is always a strong element in creating the universe in which we invite audience to enter, engage, and enjoy.

Subah Shahid

Performer

“My experience with star too has to be something close to life changing. Why you ask?  I found myself and the actress inside me become one person. Together both of us found “home”. We  realized that the audience is not much interested in the melodrama of a made up character but the experience of a human being  conveying their story and to somewhat escape into that story  and forget   the daily stress of their own lives. Whether it is the love for art and culture that brings them to it or the love for a close friend or family member that is part of the performance, they all go away from the show with the child in them satisfied. Practicing and learning techniques used by famous acting coaches, learning theatre in a completely new light and more so experimenting and playing around with ideas ; as a performer I felt that I was able to free my mind , think out of the box , look beyond the horizon , catch that flying comet , transform into a free floating spirit: just me and my mind and our crazy thoughts and ideas ; even better to make sense out of these thoughts and memories of home and what home will be in the future and put these  into play for an audience who then fell in love with what we had to show and tell. For the first time I was acting, as myself; something that you are not asked to do often and actually, therefore is very difficult. The whole experience was magic al, meeting artists such as Nina stone who teach you how dancing can be a form of telling a story, bought my experience to the next level. I feel privileged to have taken the decision to be a part of STAR TOO. I found that the showcase complimented the sessions; it represented everything that we had learnt so far. And were able to put it to good use.”