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Two-year residential course


For professional and advanced artists – actors, dancers, musicians, dramatists, choreographers etc. and students of secondary schools and universities.

Main fields: movement analysis, improvisation, masks, creative writing, experimental stage design, dramatic acrobatics, collective work

Associated fields: acrobatics, new cirkus, martial arts, action mime

Study forms: 3 months throughout the year, intensively (up to 10 hours a day), every day except Sundays

Movement analysis: preparation and recognition of ones own body. Dramatic exercise gives the body form and at the same time freedom, self-control, and creativity. It frees a person of stereotypes and automation. Movement techniques aren’t meant to become a theatre style. On the contrary the movements help the body clean itself, so that our body doesn’t get in the way or parasite itself on our will.

Improvisation: we learn to respect improvisational rules, so that we can later surpass or break them. In order that improvisation could work better, several things must work together – not to prepare material in advance, enter the improvisation without an idea, to grasp the developing situation directly through improvisation, graduate it, to accept more than offer, to be aware of tact, time and balance of the space and eventually develop a character or theatrical style.

Masks: working with the mask forms supporting elements necessary for the play. The mask eliminates the learned schemes and opens the door to a spontaneous interpretation of the world around us. It helps actors to emphasize the essentials. It can lead to the character as well as self-knowledge.

Creative writing: the path to one's own literary art through movement. From word to dramatic writing and poetry. The path published on paper.

Experimental stage design: the research of space and objects in motion. Lines and surfaces, structures of architecture and the mask.

Dramatic acrobatics: works on flexibility, strength, balance (on hands, head, shoulders…) on weightlessness (each jump), without forgetting dramatic support of the movement.

Creativity: it’s vital to learn to experience life through your own body, to associate with nature and the elements. To be able to transform internally and externally and create poetry from what we have inside of us, to stop playing life simply as it is or as it seems to be.


Study goals

• Open the way for all theatre styles and genres.

• To lose uniformity, unnecessary automatism and parasitism.

• To gain a “dramatic body”: a body which speaks but does not parody, does not comment and doesn’t over-dramatize.

• Develop imagination, self control, movement memory and dexterity

• To recognise with the body, that which we understand with our mind, but aren’t able to do in practice.

• To enhance contact with the audience, activity, playing with partners and compensating for imbalances between you.

• To acquaint the students with other fields such as modern dance (feldenkrais), butó, action mime (invisible inner dynamic of things), circus technique and acrobatics, the antropology of theatre

• To lead students to develop and understand all theatre disciplines, dramaturgy, directing, stage design, choreography

• The artists are led to independence, to their own judgement, own creation

• Teaching attempts to omit falseness from the interpretation, mechanical behaviour and bad habits.

• The goal is also to help the student work with experience, with which they came and select the good and bad one for further work.

• Students are led to feel from inside, to never lose contact with the audience.


„The body doesn’t forget the right, and doesn’t forget the wrong either and so it is necessary to learn to sort movement properly “ Vendula Burger, founder of the Budil theatre school



First year

•         1 studio max.: 10 students

•         10 to 12 hours a day, four-hour blocks - 6 days a week for one month. The course intentionally takes place outside of Prague with intensive classes from morning till evening. After one month, there is a two-month break, and in this way the next course takes place 3 times a year.

•         spring-summer-autumn/ end of the first year and admission to the second year

•         deepens acting and interpretation

•         in the first year the students identify with nature and learn to interpret it into theatrical styles and later into theatrical characters, through movement, dramaturgy and their own sources

•         the work is led by teachers of the Budil Theater School who have studied the Jacques Lecoq method or have adapted its specialization with other quality methods


"We begin with silence, for the spoken word often forgets the roots from which it grew, and it is a good thing for students to begin by placing themselves in the position of primal naivité, a state of innocent curiosity. In all human relationships there are large quiet spaces: before and after speech. Words are born from quiet. " Jacques Lecoq from the book poetic body



·         physical and voice preparation

·         movement analysis

·         action mime

·         playing and replaying living situations – improvisation

·         acrobatics, juggling, duelling and other disciplines

·         masks (“neutral”, expressive, larval, home manufacture)

·         study of “natural dynamics” in the area of enrichment of theatrical character

o    elements and materials

o    colours and lights

o    plants and animals

·         searching for characters (situations, behaviour, passions)

·         poetic dynamics, painting and music

·         object theatre

·         style contrasts (changes in time and space...)

·         collective work („autocours“)

·         field work


Collective work („autocours“)

Each week students get a topic, which supports their imagination and the students work on them in groups then at the end of the week the results are to be presented to their teachers 

Field work

Field work in various environments, even social, are produced by students and at the end of the year shown to audiences in the form of plays



Second year

•         1 studio max.: 10 students

•         10 to 12 hours a day, four-hour blocks - 6 days a week for one month. The course intentionally takes place outside of Prague with intensive classes from morning till evening. After one month, there is a two-month break, and in this way the next course takes place 3 times a year.

•         spring-summer-autumn/ end of the second year

•         deepens the creative search, knowledge and transcendence of artistic genres, creative teams, auctorial writing and project implementation

•         in the second year the students identify with different theatrical genres and learn to look for their  own new auctorial theatrical forms through movement, dramaturgy and own sources

•         the work is led by teachers of the Budil Theater School, who have studied the Jacques Lecoq method, or have adapted its specialization with other quality methods. In the second year we invite foreign lecturers of the Jacques Lecoq method, who devote themselves to studying theatrical genres professionally


„Every precise definition of pedagogic method, from my approach to the great dramatic territories onwards, suggests the need for combinations. Only by going beyond the fronties, passing from one territory to another and overlapping them, can true creativity be nurtured and new territories come to light." Jacques Lecoq from the book Poetic Body



·         physical and voice preparation

·         dramatic acrobatics

·         applied techniques to various theatrical styles

·         the speech of gestures („bandes mimées“, storytelling mime...)

·         melodrama and great feelings

·         masked human comedy: Mask play: commedia dell´arte, actually „human comedy“

·         new buffonery: modernization of the medevil clown archetype (civilization and secret)

·         the world of fantasy and the grotesque

·         crowds and speakers

·         tragedy, chorus and heroes

·         clowns (from circus to theatre)

·         comedians (burlesque, absurd and eccentric)

·         work on classical and contemporary texts

·         dramatic writing – basic creative writing

·         Collective work („autocours“)

·         “Evenings” (soirées)

·         Orders („commandes“)


Collective work („autocours“)

Preparation of creative work presented to professors at the end of each week.

“Evenings” (soirées)

A performance to order based on required parameters to be developed and directed by students that present themselves to audiences at the end of each semester.

Orders („commandes“)

The final exam, when the student creates the whole performance on the given topic without the help of teachers.


How are we different?

1. The Jacques Lecoq method is a completely new method of teaching in the Czech Republic with an untaught curriculum, world famous and considered one of the pillars of modern movement theatre.

2. The method incorporates exclusively practical lessons.

3. The students are led to individuality in expression and reflection. They become individual artists capable of self criticism. (we must note that self criticism is not the same thing as self censorship)

4. Students are individually evaluated, based on progress, creative growth, understanding and use of training

5. The training is international and in this way promotes the meeting of different cultures.

6. The dynamic form of teaching enables students to continue along their own artistic paths (in theatre, film, etc). The training takes 10 to 12 hours a day, four-hour blocks - 6 days a week for one month.

7. The first year study can be for some students a fully valued and decisive school graduation.