Formation - Peter H. Jährling - Schauspieler

Peter H. Jährling
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Program for professional artists - PPA
From September 1992 to August 1995 and September 2000 to August 2001, Peter H. Jährling took part in the Program for professional artists (PPA).

He was member of the Research Group and part of the Management Team of the Studio. In the absence of Dominique De Fazio, he organized and led the Trainings Club in Rome. He organized two seminars with Dominique De Fazio In Germany.

In one of the two Research projects on the subject of "The Poetic Theater", he was selected as a leading actor. For rehearsals and research on this project, he was invited to Los Angeles on behalf of Studio De Fazio.

In the role of James Tyrone, from „A Moon for the Misbegotten“ by Eugene O'Neill, he graduated in Artistic Level III.
De Fazio described his work as an actor as „Poetic realism“.

Level III
The Movement of Live: Happenings; Gesture

  • How are human desires born in life?
the possibility that sensory contact with the environment itself createsthe birthing of desires.
  • Scene Study | Dramatic Reality of Objects
The approach to scene study will also be based on the construction of dramatic happenings that combine to form larger events and an object´s dramatic rality will also be defined by the way the object makes part of the dramatic happening that is going on.
  • Voice
Giving sound to the relationship between that which is around me and my body. The voice expresses sensations, space and movement; not emotions.
  • To be in relationship
The distinction between „to have a relationship“ and „to be in ralationship with“.
  • Introduction to Metaphor
To reveal the truth of life is not the same as presenting realism on the stage.
  • Introduction to the concept of Gesture
Include instead of do

Dominique De Fazio

A former student and subsequent collaborator of Lee Strasberg at the Lee Strasberg Theatre Institute, Dominique De Fazio is a lifetime member of The Actors Studio in New York.  Mr. De Fazio was the first teacher to bring a systematic training in the tradition called “The Method” to Germany, Italy, France and Spain. Later, Mr. De Fazio created a new and complete System of Creative Study and Research sometimes referred to as “The Poetic Theatre.”
As a world-renown teacher of acting, Mr. De Fazio was invited to lecture and teach his new system at the conference on Stanislavski held in Paris in 1988:  Le Siecle Stanislavski.
This symposium brought together the most important figures in the world that represent the various developments of the Stanislavski tradition over the past one hundred years.
Studio De Fazio, in Rome, Italy,  is an artistic point of reference for professional actors, directors, opera singers, and dancers from eleven countries who come to research an original creative approach pioneered by Mr. De Fazio.
He is recognized internationally as one of the most distinguished theatrical teachers/directors in the world.                                                                 
Images from De Fazio`s directing Peter Jährling and Uta Pongratz
in "A Moon for the Misbegotten" by Eugene O´Neill
"Un acteur témoigne de la Splendeur pour libérer les yeux et les cœurs des personne dans le public".

Pour cela, l'acteur a besoin d'une relation extraordinairement sensible avec le monde physique. Lorsque la pluie tombe, il est à la fois les nuages lourds et la terre assoiffée. Un acteur a également besoin d'un corps extraordinairement sensible et expressif. Par exemple, il peut jouer un personnage qui doit dire au revoir à un autre, et peut, par des mouvements de vide révélateur, exprimer à la fois celui qui s'en va et celui qui restera derrière.
Le simple fait de proposer de telles possibilités exige d'un acteur avide de développer son corps pour qu'il devienne si libre, si flexible et si intime que son âme et le monde qui l'entoure s'exhalent à travers ses gestes.

- Dominique De Fozio
"An actor gives testimony to the Splendor to liberate the eyes and hearts of the people in the audience."

For this, the actor needs an extraordinarily sensitive relationship with the physical world. When the rain falls, he is both the heavy clouds and the thirsty earth. An actor also needs an extraordinarily sensitive and expressive body. For example, he can play a character who has to say goodbye to another, and he can, with movements of revealing emptiness, express both the one who is departing and the one who will be left behind.

Just proposing such possibilities requires an eager actor to develop his body so that it becomes so free, flexible and intimate that his soul and the world around him both exhale through his gestures.

- Dominique De Fozio

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