Seminars

We all know that our body speaks. We must understand its language both in life, business and on the stage, shooting ground.

Does the interlocutor tell the truth, does he actually agree with us, how does he value us? How does he feel? How much information to provide? Force to a corner? How to present yourself correctly? How to avoid false signals? What are the main signs of lying? The basics of body language can help answer all these questions.

During extended workshops, participants are filmed by the cameraman. In real-time, we analyse the body language of each person, receive non-verbal theoretical information, perform various tasks, and learn to present ourselves practically.

The module, duration, and place of the workshop are flexible for individual needs.

Body Language. Wider Course

The broader body language course combines practice with a camera, body language cognition, and self-observation in the frame. You get a more detailed theoretical grounding in non-verbal communication and more practical physical exercises.

The duration of the seminars is chosen individually.

Topics:

• Presentation of body language, origins of the topic.
• The theoretical part of body language.
• Individual improvisation exercises with a camera.
• Adaptation of self-analysis and body language during a task by examining a colleague.
• The rest of the body language theory points are developed.
• Review of video material on the body language theme. Review of documentary work related to body language topics.
• Application of the theoretical part of body language by researching a colleague during a task. Observing gestures, mimics, postures of another person. Learning to understand verbal and non-verbal combinations.
• Analysis of individual exercises performed with the camera.

The length and place of seminars are flexible for individual needs. There may be an extended course spanning a few months, as well as a cycle lasting a few days.

Private courses of body language (non-verbal communication) are also available.

Individual and group lectures are provided. Designed for both opera and pop singers and other performing artists.

During lectures you learn to: feel free on stage; move freely during the performance; present existing material artistically; analyse the musical and plot storyline; manage, control and fully “awaken” your emotional expression; and, where needed, select the stage form and visual presentation for the performed work.

The main goal — to release the physics and bodily emotions of the performers.

Free body, sensation of the space, shift of emotions

Part I. Free Body

A special exercise sequence — for waking the body, sensation, and free stabilisation of the axis. A set of stretching and relaxation exercises ranging from head, neck, and hands to legs, feet, and whole-body sensation. This exercise is for people without active physical training.

It is a series of sensitive exercises, aiming to feel the body parts calmly and at ease, relieve tension in the neck and spine. A series of cushioning exercises removes stiffened areas from the body, and the person relaxes not only physically but also mentally. A free body leads to a free psyche, which is of utmost importance to any person seeking professionalism in their presence and in their technique of performance.

The goal — to prepare the body for a free and unrestrained state in any kind of action.

Part II. The Sensation of Space and Partners

A sequence developing contact with the environment, current location, partners, and objects. Teaching how to properly use, freely and qualitatively, different spaces while working with various partners, given skills and circumstances. Different tasks are done in pairs, in specific groups, and in bulk.

There is also an emphasis on the participants’ ability to partner, which is unavoidable in many situations. Contact improvisation is based on the interaction of two or more people simply following a changing point of contact. Each person has an individual, unique movement style, which is why in contact improvisation people come together in one space to create an improvised movement that can be called dance. During this part of the seminar, the basics of contact improvisation are introduced, along with the essential tasks of partnership and various games with space.

The aim — the importance of group participation, stage layout and the sense of partner (contact with them), understanding the differences between personal and shared space. Analysis of actions and reactions.

Part III. Shift of Emotions

A series of improvisational exercises that emphasise the emotional change of the face and body, their importance during partnership and teamwork. In the course of all this, there is a process of knowing and liberating the physical and emotional presentation of the body.

A person has many kinds of emotions, of which there are 50 primary ones — anger, fear, amazement, disgust, hope, joy, pain, etc. It is these emotions, and their sudden or slow change, that underpin special tasks involving paired and group exercises. They present unexpected situations that force participants to act spontaneously in a split second, developing the ability to awaken self-contained surprises, release them, and use them purposefully at the right time and place. The tasks emphasise not only the work with the face, but engage the whole body in a seamless emotional discharge — which is of immense importance to every artist, especially the singer.

The goal — freedom of the physical and emotional states of the body, the progression of artistry, the development of individual fantasy, the ability to be with “here and now” partners, situations and tasks, control of extreme states, synthesis of spiritual and physical performance.

Individual and group lectures are provided. Designed for politicians, lawyers, journalists, sales representatives, television and event hosts, orators, and anyone wishing to improve their art of speaking.

Sessions cover: exercises to develop diction; learning to regulate the emotional scale; an introductory grounding in paralinguistics (the science studying speech-accompanying characteristics); nuances of body language and gesticulation; and development of free, structured thought expression.

Individual and group lectures are provided. Designed for a person of any profession who experiences discomfort in their actions, communication, or interaction with partners.

During the seminar you will learn to: control your body more freely; sense your environment and contact with a partner; develop spatial awareness. A series of improvisational exercises emphasising the emotional change of face and body, their importance in partnering and teamwork, is also provided. The ability to be with “here and now” partners, situations and tasks is developed, along with control of extreme states. Throughout, there is a process of knowing and liberating the physical and emotional presentation of the body.

Tasks are performed in pairs, groups, and in bulk.

Part I

Group and individual lectures are provided to dancers of all ages performing roles of one style or another, as well as various types of choreographic numbers. For artists, teenage contestants, and other dancers who want to understand and make sense of the realisation or creation of an existing character.

The significance of the sense of motion, performance and philosophy is inseparable from the unified quality of being on stage — without placing ONLY technical execution on a pedestal. Nowadays dance is becoming more and more like a sport. The goal is to avoid it — to be not only a dancer but also a performer. In the field of dance, aspects such as analysis, philosophy and psychology are quite often overlooked.

The purpose of these lectures is to give meaning and emphasise every movement, gesture, gaze, emotional conveyance and musical symbolism. During the analysis and a series of special exercises, the performer will understand why certain physical combinations are performed, learn to analyse them, and present them in a philosophical and meaningful way.

Part II

Special exercise classes are provided in groups and individually.

Marija Simona Smolskienė danced ballet, neoclassical ballet, and modern dance professionally in theatres in Lithuania and abroad for 24 years. Over the years, based on extensive physical practice, a special self-created exercise was crystallised — backed by a set of stretching, yoga, relaxation and vibration-spring-based exercises. According to the director-choreographer, it is the most effective way to activate daily body tone and boost mood. Marija practises this exercise herself every morning, continuously improving it.

The goal — to feel comfortable after the exercise. To move parts that are often stiff due to the static nature of work, to feel free, unrestrained and elegant.