Current Participants

 

Leonardo Lambruschini
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Leonardo is an actor, dancer and performer.

“I am co-founder and Art Director at Space Seed – 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. The 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 theater, 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 investigate and find moments of crisis in the movement, When certainty stumbles. Which States might, at first glance, appear difficult – where we can explore the sense of disorientation – become occasions for the emergence of new opportunities, new inputs 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 CI 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 Numerous presented at 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 in artistic creations Collaborated with different choreographers.

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

Nikolai Jeffs
nikolai jeffsHow do we get from there to here?

This lecture examines how, in times of crisis, we can rethink the possibilities for decisive historical change and the forms of (self)organization that can aid this. With regard to the first, we can say that we frequently defer embarking on change because, supposedly, “the conditions are not ripe”. But this view is rarely a reflection of the actual conditions on the ground as it were, but more a misunderstanding of them. As for organization, then many discussions of them oscillate between the micro and macro levels of change. This can then be expressed as a dilemma between “it is we who have to change first” or “revolution being the only solution”, a dilemma that can unfavourably divide many alterglobalization formations. There is, however, a field, a domain, a territory so to speak in between these two poles and that concerns how relations within a given formation are conducted. This lecture will draw attention to them and how they may enable a more productive overcoming of crisis.

Nikolai Jeffs is the author of many articles of cultural and political critique and a member of the editorial collective of The Journal of The Critique of Science, Imagination, and New Anthropology. He teaches in the departments of Applied Linguistics and Media Studies at the Faculty of Humanities, University of Primorska, Koper-Capodistria and in the Department of Sociology, Faculty of Arts, University of Ljubljana, Slovenia.

Nike Redding and Heidee Alsdorfnike and heidee

Heidee and Nike sono stati working together since spring of 2016, composing short pieces for cabaret-style performances and teaching workshops on movement and improvisation. An Exodus, is Anecdoche 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 workshops 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 originated 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 created 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 Academy 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 studies 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 SchnepsHEADSHOT OPTION 2 7.8.15

Alex Schneps is an actor, director, teacher, and writer currently pursuing his MFA in Theatre Education from Boston University. His participation in the festival this year was made possible by a generous grant from the Boston University Arts Initiative. Alex previously attended the CrisisArt Festival in 2013 with an original piece he wrote and directed, “Said the Wind”, while studying towards an MA in Classical and Contemporary Text from the Royal Conservatoire of Scotland. Alex’s current project is a reflection on personal trauma, tracing the genealogy of violence through an exploration of the morality of memory and the trickster archetype.
The Wallis Youth Theatre Company
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The Wallis Youth Theatre Company’s mission is to cross boundaries, and with an ethos of collaboration create thoughtful and provocative work that is rooted is our humanity. The youth company is comprised of young actors aged 17-23. Drawn from across Los Angeles these artists come from diverse backgrounds and experiences, but are connected by their passion for theatre and the arts. The Company aims to provide a place for young actors to work as an ensemble, learn cutting edge creative practices, develop innovative and socially conscious work, and be engaged with the local community.

Word of Mouth, directed by Madeleine Dahm, was developed in collaboration with the actors over a three month period, through collective research and improvisation. A devised physical theatre piece, is an experimental work that was born out of our reactions to recent political and social events across the world, and our desire to question the normalization of verbal violence.

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 the process of this internship, I do not want to go much farther than a staged reading with The Lakota Project. I am looking to get the word 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 my time in the 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 cultures 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 has not Been for Hundreds of years without crisis. 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 Physical Theater – Cohort Fourth Year
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L’Atelier in Physical Theater physical theater program created over 25 years ago and is born
from the principles of the movement and gesture, with a philosophy inspired by the
teaching of the great French master Jacques Lecoq. In addition, at L’Atelier Physical Theater
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 Physical Theater is a meeting place where professionals and professional program
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
That important school 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 on in street performances in Europe, Africa, Russia,
Australia, South America, the US and Canada.

LA FAME by Anna Rasero and Magda Tontini

Anna Rasero and Magda Pohl-Tontini studied together physical theatre for four years at Atelier Teatro Fisico Philip Radice. They have been working on this project since october.

They describe their project as: “two eccentric and grotesque characters at the edge of the absurd, locked in a room, a sort of no place, symbolizing the condition of the human being in today’s society. They undertake a metaphorical journey through the element of food, which wants to highlight the fragility and the difficulties of the “victims” of the consumer market. A show that wants to explore the problem of living in a society of “having” unless then a society of “being”.”

Their show, as written in the previous point, wants to explore the fragile human condition in the capitalistic society. Alienation, loneliness, sense of inadequacy are the symptoms of a huge human crisis.

Aran Montare Savory and Chris Truini
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A History of Russian Avant Garde Theater through Performance
After studying at the Moscow Art Theater School in 2014, We Both cultivated a love for the innovative and subversive nature of Russian theater. Our fascination with the rich traditions of Russian theater and the avant garde brought` us back to study at the School of Performing Arts Raikin two years later. There, we were able to Further investigate the legacy of one of Russia’s most momentous theaters and how the current political work has drawn from its roots in a history of revolutionary and influential art.
Our lecture-performances will span the history of modern Russian theater, weaving through the various artistic styles That have dominated the stage and laying out the ways in cui 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 surveys, or vignettes, our performance will embody the evolution of the Russian avant-garde– from the Theater of Experiencing to the Theater of Presentation, through symbolism, futurism, conventionalism and farce, into the theory of biomechanics and back again hybridized to the Theater of Experiencing that might best describe the work we see in Russia today.
Richard Martinez Sanchez and Justine HinceIMG_9264v
“R & J” (performance)
“What Are You ?: Adapting Personal Stories for the Stage” (workshop)
Richard and Justine are current students in Cohort IV MFA at the Art Academy. They sono stati 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 piece devised, “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 Realized That our identity is based on the repute 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.

 

Aubrey Clinedinst

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Discovering Me, Discovering You

This workshop will focus on connecting the physical bodies in the space. It will begin with self-exploration of possible, and maybe previously thought impossible, movements. Then will move to an exploration of the movement and physicality of others, which in turn should help deepen the self-exploration while simultaneously allowing participants to connect with and appreciate the others in the group. Some exercises or physical themes explored will include extended eye contact, hand shaking, hugging, massage, clown exercises, and physical impro. Though staying mainly in the realm of pre-expressive theatre techniques, these exercises will help participants develop a better sense of self, others, and ensemble, to help build strong art and performances in the future.

We are facing a global crisis of borders. Though labels are important to establish one’s identity, these labels are being super enforced by ourselves and others, turning into walls keeping people apart. This impedes the sharing of ideas across diverse “labels” which keeps us open and aware of not only the people around us, but ourselves and who we are in relation to the world. Our current borders create “echo chambers” where we only hear what we want, or what others in power want us to believe echoed back to us because we or those in power wall us in only with people who are like us. It is difficult to be challenged, but with my work I am hoping to reach out to others I may not normally and help others by giving them the tools to do the same, so we can start to break down the walls and set up a network of human connections in their place.

Sofia Sguerri
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Sofia Sguerri is a multimedia artist and performer.
She studied at the Istituto d’Arte in Arezzo, and afterwards got her degree at the Accademia di Belle Arti, Firenze. At the same time she also studied theater and dance, specializing in modern and jazz techniques as well as improvisation. She studied Contact Improvisation with various international artists and teachers.
Sofia Sguerri’s artistic output encompasses a vast range of artistic languages including photography, video, sound, performance art, installations, painting and movement. She is dedicated to exploring and teaching visual arts as well as movement and stage arts like improvisation, contact improvisation and physical theatre, creating workshops that experiment with these types of physical interaction.
Her works originate from a profound attention for the individual and his everyday life, and from the body in relation to the space and the light. The relation between personal memories and moods – that transform and evolve in time – is the necessary impulse to address themes such as identity, contradiction, critique and responsibility.
Starting from an introspective research that puts itself in relation with time, places and people, her works appear as investigations for herself and for the spectator, with the intent of making the public increasingly engaged with – and part of – the work of art itself, creating a shared experience as authentic as possible.
In 2015 together with Sandra Gomez (Colombia) she founded Colectivo Frenesia, a collective for scenic creation, she also collaborated with CARPA (collective for participation art – Mexico) and Studio MAPA in Nederland.

 

Vincenzo Brucculeri recycles and assembles materials such as wood, plastic, iron, toy parts and everything around. He gives a second life to these forgotten objects giving them new forms and soul.

Roberto Tassan Lucrezin employs newsprint and adhesive plastic, simple materials and widespread, suitable to produce works, whose technique consists in abrading the surface of the paper with tape by creating order in a chaos of daily pictures.

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With our art we give emotions and moments of deep reflection with a bit of irony. Two separate paths with different experiences create a vision on several floors where the colors, the image that was skinned and have a moment to think and a time to smile.

To the people who will come here, we would like to give a moment of reflection with oneself, accompanied by our works in an artistic path dreamy but current.

We live this moment as a moment of pure pleasure in sharing, to know new artists, breathe creative energy.

 

Chiara D’Anna
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HOME:1600 (performance)
Natural You: Body & Nature (workshop) 
Chiara is a physical theatre practitioner and Commedia dell’Arte specialist with international experience as an actor, a director, a tutor and a movement coach. She holds a BSc and an MSc in Geology from the University of Turin and an MA in Physical Theatre from Royal Holloway University, London. She is currently studying for her PhD on “The Legacy of Commedia dell’Arte in Postdramatic Theatre with specific focus on Devised and Ensemble performance” at the Sir John Cass Faculty of Art, Architecture & Design, London Metropolitan University. Chiara has taught at some of the UK’s top educational institutions including: Royal Central School of Speech and Drama, E15 Acting School, Laban Centre, Royal Holloway University, Central School of Ballet, Goldsmiths University, Exeter University, London Metropolitan University and Rose Bruford College where she held the position of Lecturer in European Theatre Arts for four years (2008-2012).
Performance: This performance-presentation is a sharing of some of the material I’m developing for the final practical output of my PhD on ‘The Legacy of Commedia dell’Arte in Post-dramatic theatre’: a devised solo piece that investigates the meaning of ‘home’. For me this piece is a journey back home to rediscover my cultural, historical and personal roots. Utilising both biographical and historical material I will look specifically at what it means to be a migrant artist; not necessarily as the eternal ‘traveller’ but rather the eternal ‘outsider’: the one who doesn’t fully ‘belong’ and is therefore ‘other’…different. This feels particularly relevant to me and my personal story since the result of last June’s referendum and the post-Brexit climate in the UK.
Workshop: ‘Natural You’ is a Movement Meditation Workshop designed to reconnected with our instincts, our natural selves and the environment through a series of playful, fun and energizing exercises in direct contact with Nature. Nature helps us to enter into the present moment finding a place where the chatterbox of ‘self-judgment’ stops and we feel a sense of perfection. It’s an intense feeling of peace and relief…We feel alive as we use our body and our senses the way they were designed to be used: to perceive and appreciate the world that surrounds us. Developed over many years of research and teaching by movement expert Chiara D’Anna Natural You™ unique practice helps you find increasing peace of mind by guiding you to rediscover your natural connection to your body, your instincts and Nature. Chiara’s background in Physical Theatre, Core Training, Dance, Yoga and her long experience as Movement Coach led to the creation of this new system to help us to rediscover and redefine our relationship with our bodies, appreciate their beauty and explore their expressivity.
Jenny Byrne and Laura Reeve
Do You Think They Know?
Jenny Byrne and Laura Reeve are recent Theatre and Performance Practice graduates of The Sir John Cass School of Art. Throughout their time at The Cass they have created performance and installation work, their most recent show, Ghostbusters Apocalypse, was commissioned to be performed at InTransit Festival London in June of this year.
‘Do You Think They Know’ is a short play written by Jennifer Byrne. Two friends lost in the dark with no memory of a time before, how did they get here? How long have they been here? Will they ever leave?
This piece explores personal crisis in direct relation to global crisis. The characters experience extreme confusion as to where they are and how they came to be there. They are unsure if memory is even a real thing, they have forgotten everything but each other. We later discover that they were caught up in a nuclear attack during which one of them fell down this hole where the other tried to save them. When they finally have a flash of memory, they are forced to decide if they want to take the escape route that has been there all along, or to stay in the world that they know. we hope this can open a discussion about how people react when offered the opportunity to make a change, for themselves and others.
Sol Angelucci 
“FILMARTE”
Blasted: An adaptation from a fragment of the controversial and brutal play by Sarah Kane ‘Blasted’. This was initially a theatre piece directed by Iza-Florina Porumbu, a student from London Metropolitan University. Then adapted into a short film by me.
How to make a Shotfilm (and fail trying): Original title in spanish Como hacer un Corto (y fracasar en el intento), it’s a mockumentary written and directed by me. The plot: A young Uruguayan amateur director enters a competition where he has 72 hours only to write and produce his short film. He thought it would be easy.
Desolation Walk: An original short experimental piece written and directed by me. The Plot: a mysterious woman walks nowhere and gets warned by a voice inside her head that something is going to happen soon. She ignores it, and as she walks listens how the voice expresses its discomfort from the world.
The three films will reflect different types of crisis that can be experienced by humans. In the case of Blasted, the crisis hits the rock bottom, dark and brutally violent, in How to make a short film, the character experiment a crisis, that could easily be experienced by any of us, finally, Desolation walk, portraits a crisis that many lonely people in big cities experience.
Deborah Cacciapuoti, Olivier Kitenge, Rita Guerreiro

The Arrival 

We are currently studying at London Metropolitan University and are part of a group of students that are willing to share their experiences within the Theatre and Performance Practice course. We have attend the festival before, bringing a piece featuring all of us, but this year we have taken on different roles and we are bringing a variety of performances that will hopefully be as enjoyable.
This workshop is a response to a graphic novel by Shaun Tan called The Arrival and it would start by devising a series of selected scenes from the book, that could hopefully evolve into a shared performance. We aim to touch on physical work, as well as triggering an emotional response from the story told through images and develop skills such has creating a soundscape or foley by using our bodies and day-to-day objects.
All involved in the project have immediately connected with the story. The premise in quite relatable, as it talks about leaving home and landing in a completely different reality, struggling with huge cultural differences, loneliness and human empathy/apathy. The main character was forced to leave due to warfare and the book illustrates his journey working his way around all the obstacles that arise, either form trauma or cultural clash. Not having words makes it more subjective and personal and the approach we have been working on helps tailoring it to each individual.
Iza Porumbu, Nastasia Luca, and Teodor Trohonel

Anger Rooms

Iza has been an actress for the past 10 years, and a director for the past 2, with
experience in several theatre and film productions. She graduated from two
“Acting for the Stage” courses and “Pygmalion Film School” from Bucharest. She
has toured plays in Romanian theatre festivals. Her genuine passion for the arts
motivated her to become part of the industry from a young age and to pursue it
into a future career. She is a recent graduate from Sir John CASS, BA Theatre and performance Practice.
Nastasia and Theodor are theatre lovers with a taste in cultural events. They will
collaborate and facilitate in this workshop.
“Our workshop is about anger management and how can we successfully use this in drama? How can we understand the stress we have or the one felt by the people we interact with? How do we manage to control our stress level when we have to work in a production? Can we accept it and address it in an professional matter? Can we include active relaxation methods and open discussions in our rehearsal process? Is there any way we could use this crisis and generate creativity out of it?
These are all questions we will find answers to in our workshop with the help of each participant. The first part will be discussion-based in a type of 2 minutes ‘speed-dating’ system in which all the participants will talk about the stress they encounter with in their daily lives. The second part will be more physical as we would have a short warm-up session followed by imagining that we are all smashing objects in order to relieve the stress and ‘shake it out’ in a safe environment. The last part would be finding solutions for stress management whilst working in an arts world, a production or simply professional relationships development.

 

Nicole Nigro

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Nicole Nigro is a dance-theatre artist. She began her dance training in Edmonton, Alberta, and has since graduated from The School of Toronto Dance Theatre, obtained an Honours BFA from York University, and a Diploma in Dance Teaching Studies with The Royal Academy of Dance in London, England. She has had the privilege of dancing as a guest artist with Anandam Dancetheatre, The Danny Grossman Dance Company, Dance Theatre David Earle, Event Horizon Dance, Peggy Baker Dance Projects, Toronto Dance Theatre, and several independent choreographers. Her work has been presented in Canada, the United States, Europe, and Mexico. She was a longtime faculty member at The School of Toronto Dance Theatre and Canadian Contemporary Dance Theatre (CCDT), as well as the Artistic Director of CCDT’s Core Apprentice Company. She has been a residency artist at Ponderosa Movement & Discovery in Stolzenhagen, Germany; Artscape in Toronto, Canada; Earthdance in Plainsfield, Massachusetts; and La Macina di San Cresci in Chianti, Italy. In June of 2016, Nigro relocated to Europe to pursue an MFA in Physical Theatre at Accademia dell’Arte.

Performance:

“Ford Advantage explores minivans, privilege, and the intersection of joy and grief. I have been given many gifts, most recently the gift of grief. I’ve been able to study it up close, its movements, its desperation, its disarmament. How it makes feet shuffle, chins drop, heads shake. How it holds breath, and stops time, stops light. How it covers us in fog and leads hands to hands, heads to shoulders. How it steals sleep. How we learn to breathe again, an unconscious breath, and find comfort in places we hoped would remain unfamiliar. How we laugh, when there should be no laughter. How everything tightens, and upon release, there is guilt. How the world sways from side to side and we follow, without question. How we do, we just do, through blurry eyes… And how we still find love.”

Workshop:

Finding Joy is a workshop that uses improvisation and play as a medium to experience lightness and joy. We will explore the need to find moments of joy, however brief, in times of crisis. Can we laugh when there should be no laughter? Is allowing joy into challenging times an act of self-preservation? Can it better recharge us to continue? We will use open discourse, movement, and improvised games to source joy form our bodies. The workshop will aim to find, and allow, joy to exist in moments when joy and laughter may not be readily accessible. It will be my first time exploring this idea in a workshop setting! Aghhhhhhh!”

Segni Concreti

segni-concreti-crew-940x360Segni Concreti is an association based in Arezzo, including people of different cultures and nationalities. We are a group of creative people committed to social innovation. We share the will to help and to improve our society. We believe in social changes through concrete action.

We are screening a short documentary titled “Sogni Concreti” that has been realized for the World Refugee Day (observed June 20th).

 

Karolina Žernytė and Aistė Jančiūte

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Theatre of Senses: Inner Vision

Theatre of Senses is an independent company of experimental art, mostly theater and movement. It was established as a group of young creators in 2015 by Karolina Žernytė (born October 23, 1986), a young Lithuanian theater creator and based on a form of theatre she works on since 2009. Through the various means (touch, smell, sound, movement, taste) they are researching the communication with the audience. The main creative work values of this company are empathy, naturalness, experiments. The aim of the company is to research the possibilities of senses in stage art and other art forms by creating performances and holding workshops for various people (performers, disabled people, orphans, schoolchildren, festival public etc.). Their field of interests is extremely wide – mythology, subconscious, psychology, physiology, memories, history, rituals, understanding human body etc. In most of the works theatre collaborates with Lithuanian blind peoples’ association. Most of their performances have blind (or blindfolded) active audience and a group of spectators. Through a very personal encounter with its’ own senses a participant of this performance receives a very intimate and deep experience. The sensual triggers of a performance of senses are there not to tell a particular story, but to create atmospheres, guide and help ones’ imagination to actively engage in action. It is a highly physical but also meditative experience. And the group of less active spectators are participating in a different way. By following the emotions and movements of the blind audience, they use the empathy, an excitement of a present moment, because they never know how the participants will react. The focus here is taken away from the actors and the audience – in one way or another – become a real centre of attention. The biggest pleasure is to serve the others and see them feeling the present moment at its fullest.
During the workshop the participants will have a chance to experience the methods of creation for blind audience. We will use exercises that we came up with during our research on how a touch, sound, smell, taste and movement can tell a story through the imagination of a blind-folded person. Most of the activities are based on trust and imagination, using different forms of provocations. It includes acting, object theatre, contact improvisation elements. This experience is a strong test of openness and trust in others but at the same time it is a deep journey to yourself. We provoke memories and call out the subconscious archetypes with empathy and sensitivity, giving our full attention to the audience, who cannot see. In our 8 years’ experience these simple methods have opened discussions and new perspectives of communication in all kinds of groups – from teachers and theatre professionals to orphans and detention schoolchildren.