I.S.A.A.C.
The
International School for
Acting AND Clown
Photo LONG AGO :) In photo studio - Ira, Israel(father), Sheila(sister), Jeanette(mother), Faye(sister).
ISAAC MEANS "to laugh"
A recent phase related directly to "Quantum Theatre: Slapstick to Shakespeare" is I.S.A.A.C. - International School for Acting AND Clown (estb. 2005).
ISAAC is a 'school' not as a building but as a school of philosophy and practices.
ISAAC assists individuals to find a practical relation between the classic Western theatre polarities of Tragedy and Comedy (yin-yang). The unifying point is the Quantum Point which shows the link and balance of Tragedy AND Comedy.
CREATIVITY, HEALING, AND YOUR LIFE
Ira Seidenstein is a theatre artist and wholistic teacher. His work in the areas of creativity and healing or body-mind-spirit encounters and releases an individual's creative and spiritual potential via physical, theatrical, and creative practices. Such work can directly effect an individual's ability to manifest ones own dream or vision.
QUANTUM MEETS KABBALAH
A major phase of Ira's work was initiated with his method "Quantum Theatre: Slapstick to Shakespeare" (established 1993). QTSS establishes universal principles for acting, theatre and creativity and is somewhat inspired by kabbalah's Tree of Life (Etz h'Aretz).
QTSS is practical and philosophical as well as physical and metaphysical. Universal principles mean that an individual can use the information in unlimited personal ways in their work and their life.
WHY SHAKESPEARE?
"Shakespeare's Clowns - a revelation in truth" is a 2nd level workshop In Quantum Theatre. In theatre (and life) there is frequent discussion about 'truth'. Sometimes in the theatre there is considerable confusion and polarity in the teaching of clowning.
This workshop in acting AND clown presents neutral principles for re-discovering ones creative potential through physical and practical exercises. Additionally this workshop presents breakthrough 'secrets' of Shakespeare, clowning, and Shakespeare's complex use of clowns.
Why Shakespeare? Until recently groups of people had a common heritage in which to encounter cultural and spiritual truths. These varied heritages depending on culture were usually religious or indigenous practices based on myth and scientific knowledge of survival.
Shakespeare was brilliant at synthesizing religious, cultural, scientific and mythological information into a palatable and palpable story regardless of the language the Shakespeare play is performed in. This ancient wisdom that still rings true.
Shakespeare is also a repository of the English language in its richest spoken form. As such, as a storehouse of knowledge, wisdom and language it is tool and device for anyone's life.
The canon of Shakespeare is also a treasure chest to the actor's art. The key to unlocking this treasure chest, is the clown. Often the teaching of Shakespeare's clowns is taught and directed either in a way that is arch-conservative (doing it as has been done) or it is anarchic and giving the clown too much leeway and thus loosing the actual 'secrets' in the language, grammar, themes and dramatic structure.
IRA ENCOUNTER WITH SHAKESPEARE
Ira's background with Shakespeare is synthesized into the workshop "Shakespeare's Clowns - a revelation in truth". Ira's clown/theatre background includes acrobatics, circus, mime, dance, music, singing, music, play writing, choreography there has also been a stream of focus EXPLORING Shakespeare. This includes for example: his first clown act performing as an improvising Shakespearean clown in pubs; probably the only person to direct and act at the same time with the legendary Shakespearian actor/manager John Bell; Ira assisted John Bell in establishing his national touring ensemble Bell Shakespeare Company; Ira was the Resident Teacher & Choreography in 1992 and acted in all four productions, co-directed Richard III with John as Richard, coached the actors in text, character, performance; in 1993 Ira directed his own acting studio, directing six productions including an all-female production of Henry the Fifth (uncut version); in 1993 he directed a King Lear Project for Copenhagen's Commedia School, in 1997 he directed Stormen (The Tempest) in Swedish; in 2000 he created the show A Girl's Guide to Hamlet; in 2003 he directed Pericles and helped to establish the Queensland Shakespeare Ensemble. Additionally Ira has acted in a number of Shakespeare's plays.
Quantum Theatre views 'Shakespeare' as a treasure chest for theatre. Quantum Theatre's "Shaksepeare Treasure Chest" provides practical tools for discovering the unlimited potential for developing theatre.