I hope we have the opportunity to work together again in a near future and here below a few photos of this wonderful time.

Short Biography

Igor Van Ditzhuijzen has more than 10 years of experience practicing live arts. Director, performer, he starts very early in theatre, while enriching his practice with martial arts, dance and singing. In July 2009, he directs and choreographs 50 artists/performers in a live show called Tree Radical in London. He equally learns the visual arts and become a Cinematographer working regularly on major film and video productions. He creates the Dragonheart network in 2010 and organise regular gathering bringing artists, performers, cinematographer and workshops leaders to explore lives arts, leading to new research areas in practicing interdisciplinary arts. For a more detailed biography, click here.

We organise regular workshops around Europe, for more information, please do not hesitate to have a look at the calendar page on this website or contact us on dragonheartclub@gmail.com

Personal Profile

Versatile young director/DoP with a working knowledge of both the technical and the acting side of filmmaking. A cinematographer, dedicated to his work and his passion, greatly attracted to the diversity of moods that lighting can deliver and the different atmospheres it may create. A person who believes in the cooperation of people & knowledge in order to create a great piece of art. Looking for future challenges.

Below is a summary of my work experience as a cinematographer and director in the filmmaking art. If you would like to see examples of my work, click here.

Work Experience

Background

I have been involved in different associations as an event’s organiser designing several celebrations, which have included art, music and cultural events catering for up to 3000 people.

I have equally worked in numerous different environments (i.e. charities, bars, Hostels, offices, travel agencies, businesses) giving me the opportunity to observe a great diversity in the range of people, culture and feelings I have encountered and come to understand.

Training Courses

Education

Through my years in University, I became acquainted with the photographic and design art. I also discovered the ‘underground artist world’, which was very new for me at the time giving me new conception and perception. I also became better informed with the ‘main stream’ technologies evolving often too fast, so that you soon loose touch if you don’t keep up with it.

Leisure Activities

In my spare time I like to do many varied sporting activities. In particular I enjoy a variety of outdoor pursuits including rock climbing, surfing, skydiving, skiing and water skiing. I also like martial arts (especially Capoera) but my greatest passion is the cinema.

Relevant Skills

Driving:                                      Holds a full clean driving licence

Languages:                         Fluent in French

Personal Profile

Versatile young director/DoP with a working knowledge of both the technical and the acting side of filmmaking. A cinematographer, dedicated to his work and his passion, greatly attracted to the diversity of moods that lighting can deliver and the different atmospheres it may create. A person who believes in the cooperation of people & knowledge in order to create a great piece of art. Looking for future challenges.

Below are showcase’s links of production I have been working on. If you would like to see my curriculum as a cinematographer, click here.

Higher Budget:

Feature Film

http://vids.myspace.com/index.cfm?fuseaction=vids.individual&VideoID=32100288

Feature Film

http://www.youtube.com/watch?v=Q7b6nI9Xzfk&feature=player_embedded

Music Video

http://www.youtube.com/watch?v=Ktsa6TFk-tY

Commercial:

http://vimeo.com/11804941 Password:  chopardgo

Medium Budgets:

Book Promo (Click on: ‘my Sister Jodie’)

http://www.play.com/campaign.aspx?campaign=4841&cid=9345018

Music Video

http://www.youtube.com/watch?v=cP8adFqbARE

Micro budget:

Music promo short cut

http://vids.myspace.com/index.cfm?fuseaction=vids.individual&VideoID=16258796

Film showcase MySpace

http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=18154483

In this workshop, we will focuses on making the body available to empower effortless dynamics to transfer weight, find rhythm and impulse, through contact and distance.

Through technical and playful exercises as well as guided improvisations, this workshop is dedicated to improve and enhance our ability to listen to the space and be Present within it. Simply be there, present and engage in that space while letting the body act of its own.

Depending on time available, we may  also use coordination exercises such as intern and micro movements (Tai-Chi, Qi Qong and Release techniques) in order to improve our fluidity in contact improvisation, leading to greater support as well as supple and lively travels in space.

For more details and booking, contact Alessia Scarla on info@ledspace.org or visit the website www.ledspace.org

Short Biography

Igor Van Ditzhuijzen has more than 10 years of experience practicing live arts. Director, performer, he starts very early in theatre, while enriching his practice with martial arts, dance and singing. In July 2009, he directs and choreographs 50 artists/performers in a live show called Tree Radical in London. He equally learns the visual arts and become a Cinematographer working regularly on major film and video productions. He creates the Dragonheart network in 2010 and organise regular gathering bringing artists, performers, cinematographer and workshops leaders to explore lives arts, leading to new research areas in practicing interdisciplinary arts. For a more detailed biography, click here.

We organise regular workshops around Europe, for more information, please do not hesitate to have a look at the calendar page on this website or contact us on dragonheartclub@gmail.com

Biographie :

Igor Van Ditzhuijzen a plus de 10 ans d’expérience dans la pratique des arts vivants. Chorégraphe, metteur en scène et performer, il débute très jeune dans le théâtre tout en enrichissant sa pratique avec les arts martiaux la danse et le chant. Igor se passionne également pour les arts visuels et travaille régulièrement comme cinématographe sur des films et projets vidéo de genres diverses et variés. En Juillet 2009, il met en scène 50 artistes/performers dans le spectacle vivant Tree Radical à Londres. Il crée le réseau Dragonheart en 2010. Igor co-organise régulièrement des rassemblements mêlant artistes, performers, cinéastes et enseignants dans l’exploration des arts vivants, permettant d’ouvrir de nouveaux axes de recherche dans la pratique pluridisciplinaire. Pour plus d’information sur la formation et le parcours d’Igor Van Ditzhuijzen, cliquer ici.

Nous organisons régulièrement des ateliers en Europe, pour plus d’informations, n’hésitez pas à consulter notre page Calendrier sur ce site ou nous envoyer un email à Dragonheartclub@gmail.com.

Short Biography

Igor Van Ditzhuijzen has more than 10 years of experience practicing live arts. Director, performer, he starts very early in theatre, while enriching his practice with martial arts, dance and singing. In July 2009, he directs and choreographs 50 artists/performers in a live show called Tree Radical in London. He equally learns the visual arts and become a Cinematographer working regularly on major film and video productions. He creates the Dragonheart network in 2010 and organise regular gathering bringing artists, performers, cinematographer and workshops leaders to explore lives arts, leading to new research areas in practicing interdisciplinary arts. For a more detailed biography, click here.

We organise regular workshops around Europe, for more information, please do not hesitate to have a look at the calendar page on this website or contact us on dragonheartclub@gmail.com

Cette évolution provoquée par le présent et orientée vers le futur a créé la conscience que tout individu est, en soi-même, une oeuvre d’art, et que l’ensemble de la vie peut être appréhendé comme une oeuvre d’art globale.

Référence :

http://fr.wikipedia.org/wiki/Fluxus

http://www.4t.fluxus.net/

Ce mouvement a mis en avant l’esprit d’enfance, le jeu avec les convenances et les conventions, le rejet de la raison et de la logique, l’extravagance, la dérision et l’humour. Ses artistes se voulaient irrespectueux, extravagants, affichant un mépris total envers les « vieilleries » du passé comme celles du présent qui perduraient. Ils recherchaient la plus grande liberté de créativité, pour laquelle ils utilisèrent tous les matériaux et formes disponibles. Ils recherchaient également cette liberté dans le langage, qu’ils aimaient lyrique et hétéroclite.

Référence :

http://fr.wikipedia.org/wiki/Dada

http://www.dadart.com/

L’art (du latin Ars, artis « habileté, métier, connaissance technique ») est une activité humaine, le produit de cette activité ou l’idée que l’on s’en fait, consistant à arranger entre eux divers éléments en s’adressant délibérément aux sens, aux émotions et à l’intellect.

Depuis la fin du XVIII^e siècle et jusqu’à aujourd’hui, l’art englobe principalement les produits des “beaux arts” tels que l’architecture, la sculpture, la peinture, la musique, la danse et la poésie (et donc la littérature), auxquels on ajoute fréquemment la cuisine, le cinéma, la gravure, le théâtre, la photographie, la bande dessinée, la télévision, voire l’art numérique.

1. Dans son sens premier, peu utilisé dans le langage courant, l’art se définit comme une pratique qui met en oeuvre l’application de connaissances et d’un savoir-faire en vue d’un objectif. La compréhension du mot artisan rejoint cette définition initiale du mot. L’art, dans ce sens premier, a pour synonyme technique et science appliquée.

2. Dans son sens moderne, le plus couramment utilisé, l’art est considéré comme une pratique en vue de la production d’oeuvres susceptibles d’exprimer un idéal moral, métaphysique et esthétique. Les six arts traditionnels (architecture, sculpture, peinture, musique, gravure, dessin) correspondent à cette définition.

3. Ce n’est que tardivement, principalement suite à l’arrivée de nouveaux courants artistiques, tels que le romantisme, le symbolisme et l’expressionnisme, ainsi que par l’invention de nouveaux médiums (photographie, cinéma, informatique) que l’art est considéré comme l’expression et la communication d’émotions et de sentiments au moyen de divers médiums.

4. On peut aussi voir l’art comme simplement ce qui s’expose (viandes, excréments, cadavres, peintures, prostitués, etc.). Cette définition, sujette à controverses, correspond à l’éclatement des courants postmodernes les plus fous et improbables de ces dernières décennies où l’on remit en question le concept d’esthétisme.

Aujourd’hui, l’art établit une relation qui permet d’englober dans une même interaction, dans un même échange, une oeuvre, son créateur et le récepteur, le destinataire de cette oeuvre (spectateur, auditeur, etc.). Les différentes formes que peuvent revêtir cette médiation concrétisent certaines relations entre l’homme et la nature, c’est-à-dire entre un esprit humain et son environnement. Une pensée à la fois consciente et inconsciente, individuelle et collective, un esprit libre et imaginatif communique avec le monde extérieur.

Référence :

http://fr.wikipedia.org/wiki/Art

http://forum.hardware.fr/hfr/Discussions/Arts-Lecture/reflexion-quelle-definition-sujet_49436_1.htm

This singularity is the very essence of being attentive to every detail, when they appear more dazzling one than the other, all the while without being a source of absorption or fixation for the mind. The notion of time and space seem to slacken then so as to leave room for a freedom of actions, thoughts, or better still a “freedom of being”.

These are ‘alive moments’ that may occur when the situation seems a bit out of phase. It manifests when the ” texture of the senses ” find a particular intensity, a striking liveliness, making generally a strong impression on the memory.

This experience reminds of a fairy tale, cartoon or a movie-like story unrolling in front of our eyes. It gives its witness a sensation of ‘light glory’, internal strength or great clarity and tranquillity.

The Magical Character is a practice that combines various artistic forms. Getting acquainted with it may take a while. It would be very difficult to describe the process in just a few pages. The following descriptive should outline the blueprint of this work, which allows some participants to manifest a character through their art during a workshop.

For a better understanding, I have divided this explanation in four small chapters: Listening to Emptiness, The Childhood of the Creation, Both Actor and Observer, Form Character to Landscape.

But first, let’s go the essential…

The Essential

Only in a ‘body’ empty of preconceived ideas/concepts may a Magical Character reveal itself

I have to learn to make space, create vacuum - emptiness – in my mind. How can I truly express myself freely if my mind is already full of stuff? Although numerous works describe this process and explain how to perfect this art, it may be strenuous at times. It is at the very core of this work and only through emptiness, may I reach the right state of mind or more like ‘state of being’. That is the first step.

Only when immersed in the present may a Magical Character manifest itself

I cannot own the moment, I cannot seize it; I can only be contemplative of it. Attention is my most precious tool, one that is going to allow me to follow this invisible thread, which support us. If ‘attention’ is the vital lead, then the breath is the base and the support of this work.

Only ‘anew’ may a Magical Character be embodied

A Magical Character can never be the same. It can have similar characteristics, but it cannot be repeated. Routine, repetition goes against this very process. Only through finding the innocence and curiosity of a child can it occur.

By “work” I always mean – to pay some attention to an action or a state of being.

Listening to Emptiness

At first, all I have to do is relax my body; my mind will follow on in good time. When I try to force silence onto my mind, I come to be in a conflicting situation. That’s the opposite of what we’re aiming at.

Just resting and doing nothing is enough; simply listening to sound of my breath. It is only once I learn not to control my breath and simply be an observer of its patterns that I can begin to feel this state of emptiness. In this state, I can let go of fears, dreams and even ‘my want to succeed’. Without this very first and vital step, I will always be conditioned by my sociocultural and professional life – schemes, habits and routines that are carried out daily without any attention.

Little by little I am going to return to a relaxed state of being, in touch with my body and my senses. Still tuned to my breath, I begin a soft physical and vocal awakening, working with techniques similar to Release, T’ai chi, Qi Qong, Contact or Pilate.

In order to keep in touch with my storyline and not let my mind just wander anywhere, I have to keep a quiet and composed attention. I start to observe the various ‘impulses rising within me’ – natural ‘answers’ of the interactions between the body and its environment. I let these ‘impulses’ bring life to my body without interfering with the forms it takes within my voice, my movement. I do not care for any sense of being just or aesthetic. This process slowly unfolds into space without any effort. A composed and calm attention does not mean that my actions are necessary slow.

While continuing to observe my breath, I can start to work out the body mechanics by improving strength – cardiovascular work – and in its flexibility – working with tension in ligaments as much as our capacity to perceive through all senses, but not defining any of it. I sometimes get to feel what my limits are, sometimes I excel them; all depends on the ‘listening’ that precedes the action.

In this state of mind and attention, I continue to investigate my body and voice until they become ‘listening instruments’; purely intone with the moment / the environment. Here, effort does not enter my thought as long as what I do remains a game that I am growing fond of.

The Childhood of Creation

I am now connecting to ‘the innocent child’ with an overflowing enthusiasm for its environment and its story.

Now that I am really intoned, listening to the body and its natural curve, I can play with my movements, observe my voice with a curious interest. The best is to create it all without the slightest effort – go against the natural stream of life force.

I can enjoy singing or even whistling melodies, imitating birds or even animals noises. I can continue to experiment series of movements based on T’ai chi, the contemporary dance, contact impro and even martial arts; always aware of the body and the natural ‘stream’ of its expression.

I can awake the voice through chanting in different mode such as diphonique, opératique, lyric, blues, gospel. I can also dance ‘unknown’ or very well known dances, talk to ‘the four elements’ or even do mime while making Capoera steps, why not, it’s all feasible. And quite interesting too!

While finding again this child-like ‘state of mind’, like a ‘natural road to discovery’, I am starting to appreciate the singular world of people surrounding me; themselves creating and playing with their environment. An ‘improvised dialogue’ is naturally installed and I take great pleasure to observe the ‘Theatre of Time and Space’.

Be Actor and Observer

In my opinion, here begins the true practice for artistic self-discovery, as fascinating for amateurs and professionals. We are going to be able to approach gesture, movement, our relationship and play to others in a totally ‘new way’ - without preconceptions or inhibitions.

From this state onwards, I get several opportunities of expression:

• I may investigate and develop always farther my abilities to improvise. Use expression as a learning tool for storytelling, clowning, acting, physical theatre, dance, contact improvisation, singing, martial arts. I may enjoy mixing, combining or rather uncovering new ways of expression.
• I can feed my own practice thanks to encountering other participants. I may feel very easily drawn to go beyond my limitations and explore farther my creative tool.
• If I am a musician or practise stilts, circus, etc. it is the right moment to fetch my instruments of practice and find new ways of using my abilities through this practice. There, I can rediscover these instruments without complexes, experiment their extent.
• When a group of persons meets in this quality of presence and expression, certain aspects of which I had not forseen, sometimes surprising, springs up to life. It is always a pleasure that to be able to witness of these moments of ‘pure creation, pure magic “.
• In this state of attention, I can also become aware of automatisms built in daily life. Here, it becomes easy to see what does not work for any longer – that which no longer nourish me nor people in my surrounding, even less spectators.

By working with improvisation, I let easily my imagination take place and be guided towards new manners to express a movement, a sound, an animal, a character.

Inevitably, feelings and emotions spring to life. If I let it unfold naturally, I remain an observer of this spontaneous expression. I quickly find my way in the embodiment of dance characters, singing characters, miming, clowning, etc.

Then, I may work with archetypes, sometimes with ‘the elements’, or simply by recalling the audacious glance of my neighbour. There, I may witness the birth of all kinds of characters.

By feeling more confident in exercising my being as ” creative tool “, I already improve my faculties and abilities to create surprising characters. The sense of a story begins to appear, result of the infinite possibilities present in me as well as my increasing ability to remain centred – I become both an actor and an observer of my own story. I soon merge with my environment while creating a story blooming with the vivid colours of ‘live creation’. Everything is then a surprise; every step is a discovery which continues to nourish my enthusiasm.

From Character to Landscape

The Magic Character is born in front of my eyes without me realizing it.

At any time, if the reason comes to tackle the creation, I often lose this sense of flow and the calm attention present a moment ago is broken by a ruch to questions and doubts. However, as long as I remain attentive to my action, to my exploration, this process continues to develop without any judgment, without inhibitions, without fears for the glance of others, or of succeeding a beautiful show! There is no barrier that could slow down ” the magical expression ” of my character – expression manifested by the absolute attention and listening of the present.

With practice, I become able to include and integrate new artistic forms and bring more detailed, diverse and unexpected characters. Developing my imagination as well as the observation of this creative process, I invent landscapes varying, playing and navigating through fluid and melodic, rhythmic and striking stories.

Short Biography

Igor Van Ditzhuijzen has more than 10 years of experience practicing live arts. Director, performer, he starts very early in theatre, while enriching his practice with martial arts, dance and singing. In July 2009, he directs and choreographs 50 artists/performers in a live show called Tree Radical in London. He equally learns the visual arts and become a Cinematographer working regularly on major film and video productions. He creates the Dragonheart network in 2010 and organise regular gathering bringing artists, performers, cinematographer and workshops leaders to explore lives arts, leading to new research areas in practicing interdisciplinary arts. For a more detailed biography, click here.

We organise regular workshops around Europe, for more information, please do not hesitate to have a look at the calendar page on this website or contact us on dragonheartclub@gmail.com