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version n°1 dated 09\/28\/2024
Course description\/content of the training<\/strong><\/p>\n\n\n\n\nPrior to training<\/strong><\/td>> Video-conference meetings between training participants. > A group meeting with the beneficiaries, some of the instructors and the training manager. Week 1 <\/strong>July 15 – welcoming the beneficiaries<\/strong>July 16 to 20 – Act 1 rehearsals> Face-to-face meeting with all training beneficiaries. Week 2<\/strong>July 22 and 27 – Act II rehearsals<\/strong>> With participants, beneficiaries Week 3 <\/strong>July 29 to August 3 – Act III rehearsals> With stakeholders and beneficiaries.This standard schedule can be adapted to suit the needs of the course and the participants.<\/em><\/figcaption><\/figure>\n\n\n\nNumber of traines minimum \/ maximum<\/strong><\/p>\n\n\n\n\nMinimum number of artists:<\/strong> 8Maximum number of artists:<\/strong> 9<\/p>\n\n\n\n\nEducational objectives<\/strong><\/p>\n\n\n\n\nKnowledge<\/strong><\/p>\n\n\n\n\n\nAnalyze<\/strong> a work (form, rhythm, harmony…)<\/li>\n\n\n\n\nAcquire <\/strong>the technical tools needed to interpret a repertoire, and know when and how to use them.<\/li>\n\n\n\n\nUnderstand<\/strong> a spoken or sung text in its literal meaning as well as its subtext<\/li>\n\n\n\n\nIntegrate<\/strong> the pronunciation of sung and spoken texts in one’s mother tongue as well as in foreign languages<\/li>\n\n\n\n\nDefining <\/strong>the dramaturgical content of a work<\/li>\n\n\n\n\nMemorize <\/strong>musical works to detach oneself from the score<\/li>\n\n\n\n\nIdentify <\/strong>the specific characteristics of the professional network in which the beneficiary wishes to pursue a career<\/li>\n\n<\/ul>\n\n\n\n\nExpertise<\/strong><\/p>\n\n\n\n\n\nEfficiently repeat<\/strong> a program in a limited amount of time<\/li>\n\n\n\n\nFind<\/strong>your musical and human place in a band<\/li>\n\n\n\n\nAcquire<\/strong> and put into practice the technical tools needed to interpret a repertoire<\/li>\n\n\n\n\nWork and search <\/strong>in the music library: find<\/strong> a specific work or search for lesser-known works to perform, identify <\/strong>an edition and its relevance to a composer’s work.<\/li>\n\n\n\n\nTake into account information provided by a musicologist specializing in a given repertoire to fine-tune your interpretation of a work.<\/strong><\/li>\n\n\n\n\nDefine <\/strong>one’s own interpretation of a work, based on advice from supervisors<\/li>\n\n\n\n\nAffirm <\/strong>your career plan by defining the various stages and a development strategy<\/li>\n\n\n\n\nPublicize <\/strong>your work to the public, the press and professionals<\/li>\n\n<\/ul>\n\n\n\n\nsoft skills<\/strong><\/p>\n\n\n\n\n\nHearing and understanding <\/strong>managers’ requests and musical suggestions<\/li>\n\n\n\n\nClearly express<\/strong> and justify musical and scenic intentions<\/li>\n\n\n\n\nCommunicating<\/strong> with kindness to the artists with whom we play the difficulties we may encounter in our relationships.<\/li>\n\n\n\n\nShare<\/strong> your interpretation with an audience during the final performance<\/li>\n\n\n\n\nExchange<\/strong> musical, dramaturgical and choreographic ideas with artists with whom you perform, and define a common discourse.<\/li>\n\n\n\n\nAdapt <\/strong>to the demands of a repertoire (pronunciation, musicality of a language, acting…)<\/li>\n\n\n\n\nBenefit<\/strong> from the learning of other training participants<\/li>\n\n\n\n\nIdentify<\/strong> all the people present at the training session and their roles: supervising artists, artistic director, administrator, production manager, receptionist…<\/li>\n\n\n\n\nIdentify <\/strong>the various contacts in a professional sector and know how to approach them to develop your artistic projects.<\/li>\n\n<\/ul>\n\n\n\n\nTarget skills <\/strong><\/p>\n\n\n\n\nAt the end of the training the beneficiary will be able to :<\/p>\n\n\n\n\n
\nPerform<\/strong> Francis Poulenc’s opera “Dialogues des Carmélites<\/li>\n\n\n\n\nExplore<\/strong> the specifics of stage work with directors Patrice Caurier and Moshe Leiser<\/li>\n\n\n\n\nWork <\/strong>on the particularities of Poulenc’s music with Martin Surot<\/li>\n\n\n\n\nConfronting <\/strong>theater in Poulenc’s music<\/li>\n\n\n\n\nLearn <\/strong>how to place the singer on stage<\/li>\n\n\n\n\nPreparing for<\/strong> opera productions in a professional context<\/li>\n\n\n\n\nParticipate<\/strong> in new ways of relating and dialoguing with singers\/performers\/performers<\/li>\n\n\n\n\nActivate <\/strong>ways of meeting the public and mediating a work of art<\/li>\n\n\n\n\nBe<\/strong> both autonomous and responsible<\/strong> in your work. Curious and generous towards others, so as to get involved in a collective project. <\/li>\n\n<\/ul>\n\n\n\n\nMethods used<\/strong><\/p>\n\n\n\n\nTeaching aids :<\/strong><\/p>\n\n\n\n\nIndividual and group lessons, given face-to-face.
Technical resources available :<\/strong><\/p>\n\n\n\n\nThe rooms are spacious, equipped with music stands (solid or folding), chairs or stools suitable for musicians (without armrests) and the instruments required for training.
Monitoring and evaluation methods<\/strong><\/p>\n\n\n\n\nDuring the course, face-to-face<\/strong><\/p>\n\n\n\n\n\nEvaluation of the beneficiary’s responsiveness and ability to integrate the suggestions made by the trainers, through practical work.<\/li>\n\n\n\n\n During the performance at the end of the training course: interpretation of the work in front of an audience, to assess the development of the interpretation and the ability of the participant to present his or her work in a show.<\/li>\n\n<\/ul>\n\n\n\n\nThe beneficiaries sign a sign-in sheet for each half-day.<\/p>\n\n\n\n\n
At the end of training<\/strong><\/p>\n\n\n\n\nA certificate stating the objectives, nature and duration of the course, and the results of the training assessment, is given to the beneficiary, along with the certificate where applicable.<\/p>\n\n\n\n\n
Qualitative assessment methods<\/strong><\/p>\n\n\n\n\nThe beneficiary fills in a qualitative evaluation form to assess the artistic, pedagogical, human and material aspects of the training.
Accessibility and consideration of disability situations<\/strong><\/p>\n\n\n\n\nThe Royaumont Foundation has made the acceptance and participation of people with disabilities a strong commitment to its project. Our training courses are open to people with disabilities and different arrangements can be made according to the specificities of each course. To discuss your needs, please contact us when you register, or get in touch with our disability advisors.<\/p>\n\n\n\n\n
Contact<\/strong><\/p>\n\n\n\n\n