Current Participants

 

Leonardo Lambruschini
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Leonardo is an actor, dancer and performer.

“I am co-founder and Art Director at Spazio Seme – www.spazioseme.com – an international cultural and arts center in Arezzo (Tuscany). In my center I create opportunities for research, I organize and manage festivals, intensive workshops, performances, artistic productions, residences. I elaborate and lead courses for children: ContaKids, PlayContact and Contact Improvisation for adults and students of Art and University Schools. I am one of the organizers of the ItalyContactFest – www.italycontactfest.com –  international festival of Contact Improvisation.

I’m attracted from the places or contexts where different art forms meet, communicate and create something, beyond languages and differences.”

“A path through the encounter and the confrontation, a journey with the resistance to and the acceptance of the contact, in relation to the structures and the fertile chaos of improvisation.

Through the lightness of the playing, the suggestions of the theatre, we will wear the masks allowing us to embody our characters. The emotions will suggest new possibilities for the movement and the relationship.

Without masks, hereinafter, the bodies will be free to perceive and interact.

The forms and energies emerging in the dance will be “sudden”, and not conditioned by language or cultural diversity.

We will find and investigate moments of crisis in the movement, when certainty stumbles. States which might, at first glance, appear difficult – in which we can explore the sense of disorientation – become occasions for the emergence of new opportunities, new input and conditions useful to the dance.

There will be time to dance, and we will use some technical elements without losing the status of a relaxed and dynamic body in the dance.

Be prepared to wait, to be lost, to leave, to start something new. The workshop is open to all levels of experience with C.I. and will end with a performance, leaving space for improvisation and maintaining focus on the material proposed during the workshop.”

 

 

Nhandan Chirco
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Nhandan Chirco is a performer, choreographer and activist. Her work has been presented at numerous festivals and institutions throughout Italy, Slovenia, Croatia, Serbia, Germany, France and Austria. From ’94 to ’98 she was part of the artistic team at the Workcenter of Jerry Grotowski and Thomas Richards; afterwards she collaborated with directors Branko Popovic, Tomi Janezic and Zlatko Sviben. She worked as a performer and pedagogue with the choreographer Maja Delak, with contemporary dance company EN-KNAP in Ljubljana and collaborated in artistic creations with different choreographers.

Scott McGehee
Scott Novi Sad

Scott McGehee is a historian and founding director of the Accademia dell’Arte in Arezzo.  He is a life-long activist whose research and interests reach across Marxist theory, the arts and radical social movements.

Nikolai Jeffs
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Nikolai Jeffs holds a BA and a PhD from the University of Essex (UK) and currently teaches at the Faculty of Humanities of the University of Primorska in Koper-Capodistria and at the Faculty of Arts in Ljubljana, Slovenia.

He has published several articles and book chapters in the field of literary, cultural, and political critique. Among other things, he is also an editor of a reader in postcolonial studies (2007) and, together with Andrej Pavlišič, the coauthor of a documentary film We Shall Fight Them: Howlings Towards Understanding the Old Violence of New Europe (2004).

As an activist he helped transform a former military barracks in Ljubljana into the Autonomous Cultural Centre Metelkova and took part in the antiracist and alteglobalisation coalition The Office for Interventions.

He also a member of the editorial board of the journal Casopis za kritiko znanosti and the Director of its institute.

Nike Redding and Heidee Alsdorfnike and heidee

Heidee and Nike have been working together since spring of 2016, composing short pieces for cabaret-style performances and teaching workshops on movement and improvisation. An Exodus, Anecdoche is their most recent work and will be presented as part of the Gradlab festival marking the end of Cohort 4’s Master program in Arezzo.
“Our workshop will be focused on the use of improvisation as a movement research tool for devising. In general our goals will be to guide participants to their limits in the psycho-physical sense, find automatic reactivity in terms of group/chorus, and discover authentic and expressive stories which originate from the body itself rather than the cerebral/dramatic imagination. After working together as a group through long-form movement improvs, participants will be asked to recollect which moments were strongest for them and create a movement score that can be performed to the collective.
Our own piece, An Exodus, Anecdoche, would be performed in t he sand pit on the Accademia grounds. Our hope is to perform it for the collective as a site -specific piece, devised using the principles of improvisation explored during the workshop.”

Tatjana Macic
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Tatjana Macic is an interdisciplinary visual artist, writer, researcher and theoretician based in Amsterdam, the Netherlands. She studied art at the Academy of Art and Design AKI in Enschede, and got her Master’s degree from the University of Amsterdam, where she wrote a thesis about curating, politics and innovation in turbulent times. She is deploying her artistic practice as an agency for critical thinking and to blur boundaries between visual art, theory, curating and written and spoken language.

Tatjana Macic teaches Artistic Research at the Royal Academy of Art in the Hague, where she developed an interdisciplinary study curriculum which brings together visual and performing arts, theory and philosophy. She is a chair of the jury of the annual Thesis Award of the Royal Academy. In addition, she actively engages in the fields of Arts and Culture as an adviser, lecturer, board member, creative thinker and speaker. Some examples of such engagement are: advisor for the Amsterdam Fund for the Arts (AFK), advisor of the mayor of Amsterdam as a member of the Commission for Art spaces (CAWA) and an independent researcher for Platform BK.

She is a founder of Urgent Matters / Srettam Tnegru, an initiative for art, research, dialogue and exchange. Dealing with artistic urgency, experimentation and research, and by shaping a dialogue between theory and practice, discourses and agencies, whilst testing the framework of public talks and exhibition making, Urgent Matters / Srettam Tnegru questions conditions and forms for artistic practice, research and critical thinking.

Alex Schneps
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Alex is a writer, actor, director, teacher currently pursuing my MFA in Theatre
Education at Boston University. When he last attended the CrisisArt Festival in 2013, he was in the midst of earning an MA in Classical and Contemporary Text from the Royal
Conservatoire of Scotland. Between then and now he’s participated in a number of
productions as an actor, writer, and assistant director, and joined the Actors Equity
Association.

My brother was murdered when I was 15. If it were possible to take the eagle’s perspective of his entire life, would I be able to look at it as a map, place my finger on a point, and say, “That’s where violence comes from”? Would I be able to trace it back to some source like a tributary to a bubbling abyss? Or is it an intersection? A meeting point between two opposing forces whose lives only begin to scratch the surface of the history that lead them to this moment? Does the mother of a murdered child experience the same grief as the mother of a murderer? Does William Penn’s ideal vision of Philadelphia have any bearing on why my brother was killed there? Can I be a sociologist of my own experience? And maybe moreso than any of these, is it possible for me to foster empathy towards a murderer when his victim was my best friend? I want to understand. Crisis is so often the parent of fear and hatred. But it can also be an arbiter of awareness, empathy, generosity of spirit. Maybe. I suppose that’s what I’ll find out.

This piece is currently in development, and serendipitously so because of its direct
relationship to Crisis, I think, from many perspectives. As a springboard for a potentially
larger, more comprehensive piece this first incarnation will begin as a one-man show.”

Semi Circus
Semi-Circus is a Chicago-based physical theatre collective that fuses contemporary circus, dance, and character work.

“Our mission is to ignite conversation about the current political, social, environmental, and economic climate. Our current work in progress, Murmurations, exhibits the crises of four individuals struggling with bouts of mental differences such as severe anxiety, OCD, ADHD, and body dysmorphia. The characters explore how to overcome their personal obstacles and harness their individual strengths, adapt with the rest of the flock, and survive off of each others efficiencies in order to thrive together in a prejudiced world. Through this work, we want to deliver a compelling message of self-confidence, teamwork, and humanity.”
Alexis Gilkes
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“The Lakota Project (this is just a working title) is a play in its early stages that will explore the beauty of Lakota culture and storytelling. I am inspired by the style of Mary Zimmerman who creates very abstract and interpretive art to share the beauty of other cultures. Since I am limited in working with artists of Native American heritage in this stage of the process, I do not want to go much farther than a staged reading with ​The Lakota Project. I am looking to get the words out there and hopefully receive some feedback from other artists who are driven by sparking dialogue and creating change. I am unable to bring actors with me and would love to utilize festival participants (approx. 4-8) in these staged readings (whether they be presentations or workshops).
For the past eight years, I have made it a priority to take time in my summer to spend
with the Lakota people on the Pine Ridge Indian Reservation. I have formed friendships that can never be matched and completely fallen in love with the most beautiful culture I have ever known. When people think of crisis involving the Native American population in this day and age, they tend to think of Standing Rock, but the fact of the matter is that this is a community that hasn’t been without crisis for hundreds of years. The poverty and teen suicide rates alone are staggering. I want to invite the world into the beauty and openness of this culture so they can see just how much respect and appreciation it truly deserves.”
Atelier Teatro Fisico – Cohort Quarto Anno
IL MALATO IMMAGINARIO REDUX by Moliere
L’Atelier Teatro Fisico a physical theater program created over 25 years ago and is born
from the principles of movement and the gesture, with a philosophy inspired by the
teaching of the great French master Jacques Lecoq. In addition, at L’Atelier Teatro Fisico
the physical theater actor gains the ability to express themselves in many theatrical
languages, through the study of the universal dynamics of communication.
L’Atelier Teatro Fisico is a meeting place and professional program where professionals
and aspiring young artists, may meet for a stimulating artistic and cultural exchange
through lectures, workshops, exhibitions and performances. The ATF has become a
recognized program of excellence in the area, in Italy and abroad, and garners
recognition along with other local circus schools and theaters. The ATF was and is an
important school that has helped revive Turin as an important cultural and artistic center.
Most of the students who have studied, and trained at ATF have gone on to perform in
professional festivals and/or participate in street performances in Europe, Africa, Russia,
Australia, South America, the US and Canada.
Aran Savory and Chris Truini
A History of Russian Avant Garde Theatre through Performance
After studying at the Moscow Art Theatre School in 2014, we both cultivated a love for the innovative and subversive nature of Russian theatre. Our fascination with the rich traditions of Russian theatre and the avant garde brought us back to study at the Raikin School of Performing Arts two years later. There, we were able to further investigate the legacy of one of Russia’s most momentous theatres and how the current political work has drawn from its roots in a history of revolutionary and influential art.
Our lecture-performance will span the history of modern Russian theatre, weaving through the various artistic styles that have dominated the stage and laying out the ways in which the Russian political climate has impacted theatrical styles and vice versa. We’ll begin with the play that started it all– Anton Chekhov’s The Seagull. Through a series of etudes or vignettes, our performance will embody the evolution of the Russian avant-garde– from the Theatre of Experiencing to the Theatre of Presentation, through  symbolism, futurism, conventionalism and farce, into the theory of biomechanics and back again to the hybridized Theatre of Experiencing that might best describe the work we see in Russia today.
Richard Martinez Sanchez and Justine Hince
“R & J” (performance)
“What Are You?: Adapting Personal Stories for the Stage” (workshop)
Richard and Justine are current students in MFA Cohort IV at the Accademia dell’Arte. They have been collaborating on projects in and out of the program since Fall 2015. For the GradLab final project of the MFA Program, Richard and Justine created an original devised piece, “R & J”.
Performance: Through a series of interviews, research, and personal reflection, “R & J” was created as a means of exploring the topic of immigration through different points of view regardless of time, location, or ethnicity. As a result, the theme of identity continued to surface.

Workshop: In our workshop, we would like to explore the process of taking a personal story and putting it on stage in a way that remains personal but can also be universal enough to reach the audience. This will be a practical workshop of writing and physical exercises on devising from a personal place. In the creation of this piece, we confronted the idea of identity and wondered how this tied to immigration. We realised that our identity is based on the fact that we are children of immigration and represent the next step in the process. It is easy to think of immigration as something that happened to our ancestors, however it is still a very relevant topic today and we must be mindful of how we think about immigration today, not only in terms of others but also ourselves.