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Flow Ability – international session 2018

FROM MYSELF TOWARDS THEATRE – FROM THEATRE TOWARDS MYSELF

FLOW ABILITY – INTERNATIONAL SESSION

July 8-14, 2018 / Belgrade

Flow Ability is a new international training program created in theatrical laboratory PLAVO Theatre for all people interested in working on self-development through theatre, which will be held in Belgrade from July 8-14, 2018.

The program aims at raising the level of our productivity, creativity and precision. It consists of exercises and training which provide participants with knowledge and tools that can help them to enter flow – the state of high productivity, creativity and precision in their work and everyday activities. In that way the flow, a much desired state for all those involved in creative processes/activities, is no longer exclusively a matter of inspiration and becomes knowledge that is in our hands which can be repeated any time we need it.

The work is based on the activation and increasing the capacity of our intention, initiative and energy. Training system that makes it possible consists of three types of trainings and exercises: Human experience exercises, Capacity training and Integrative training.

Flow training system

  • Human experience exercises – exercises that reveal everyday mindset through our personal experience, which prevents us from being able to maximize productivity and creativity.
  • Capacity training – works on increasing and quality of our intention, initiative and energy.
  • Integrative training – introduces us to a state called flow – a state in which we are productive, precise and creative at the same time.

The program is opened not only for people in the sphere of contemporary theatre, but for all those who have a need to enrich their work and everyday activities with greater creative energy and a higher level of productivity, regardless of their profession.

The system of exercises and trainings is based on knowledge and experiences which PLAVO Theatre has developed within 22 years of work and existence in the sphere of theatrical anthropology and work with people through numerous educational projects, as well as projects aimed at individual and social development.

Program

  • Sunday, July 8th, 20:00 Concert of PLAVO theatre
  • Monday, July 9th – Friday, July 13th, FLOW ABILITY international session

15:30 – 17:30 video sessions;

18:00 – 21:00 workshop

  • Saturday, July 14th, 20:00 Performance of PLAVO theatre

 The work will be held in English.

 Registration:

  •  Registration fee for participants from the countries of the region (Serbia, Montenegro, Bosnia and Herzegovina, Croatia, Macedonia) – €90;
  • Registration fees for participants from EU countries – €130.

Flow Ability 2018 Registration form

Note: The number of participants is limited. There is no a specific application deadline. After sending us registration form and getting a confirmation from us about their participation, interested participants should pay the fee to our bank account in order to book their place.

Please contact us for all additional information including registration form or any practical information.

E-mail: plavopozoriste@gmail.com 

Participants should learn by hart a text by their own choice (5 to 8 sentences long). Participants should have a notebook and bring comfortable working clothes. 

Leaders of the work 

Nenad Čolić – director, actor and pedagogue, was born in 1961 in Belgrade. Prior to the foundation of PLAVO theatre, he was a dancer, one of the founders of Theatre Signum, one of the first independent theatre companies in Serbia, later the actor of Dah Theater from Belgrade. In that period, he gained practical experience in working with the Odin Teatret actor, Torgeir Wethal. In 1994, he began directing, he worked in Milan with Massimo Giannetti, founder of the Italian theatre Specchi e Memorie, with whom he began a long cooperation.

In 1995, he founded PLAVO theatre – theatrical laboratory, in which he has been a director, pedagogue and actor. He directed all the performances of PLAVO theatre performed in Serbia and abroad at numerous theatre festivals. Since 1995, he has been leading various workshops and seminars in Serbia and internationally such as From Myself towards Theatre, Contemporary Theatre – Space of Open Mind, Contemporary Theatre – Mind and Technique, Two Open Weeks of PLAVO Theatre, as well as ongoing educational projects such as Contemporary Theatre Studio, The Hearing Body, FLOW Ability.

Dejan Stojković – actor, musician and pedagogue, born in 1976.

Member of PLAVO theatre since 2000. He has been a member of PLAVO Theatre – theatre laboratory since 2000. Since then he has performed in PLAVO theatre performances: Oscar Wild and Inconstant Prince (2000), Hirpertrophy of authority (2001), Sarcasticus or Birth of the Virus (2002), Fantastic Gospel According to Virginia (2003), Dialectics of Soul – Study of Freedom (2004), I Sing Like a Bird (2006), The Wizard or Harmonic Cacophony (2007), Dancing With Father (2008), Pagan Phantasma or The Secret of Betrayal (2011, 2012), Concert of Decadence (2011),  The Day of Ahasverus (2014), Daydream – A Sory from Terezin (2016). To broaden his acting work, so far he participated in workshops led by Odin Teatret actor Iben Nagel Rasmussen and those led by teacher and former actor of Jerzy Grotowski’s Laboratory Theatre, Rena Mirecka. He assisted PLAVO theatre educational projects, such workshops Contemporary Theatre – The Space of Open Mind, Contemporary Theatre – Mind and Technique and continuous project School of Contemporary Theatre. 

Test results

We had the opportunity to examine the whole methodology related to the Flow Ability program. The EEG apparatus was attached to one of the subjects before workout, during work and after the workout of the training. The results positively astonished us. The subject was given a certain task to work on before and after the training. There was an increase in productivity and creative finding of the solution by almost 200% while the subject was working on the task after the training. The overall state of the subject also changed (picture 1), as well as his mental performance (pictures 2 and 3). This enabled the subject to perform a greater degree of creativity and productivity.

 

PICTURE 1

EMOTIONAL REACTION

After flow training we clearly see increased emotional reaction quality (horizontal axis). 

PICTURE 2

BRAIN ENGAGEMENT

After flow training we clearly see decreased brain exertion (do more with less brain activity). 

PICTURE 3

COGNITIVE LOAD

After flow training we clearly see decreased brain effort (better output with less strain).

Testimonials

 

Interested in the presentation of the Flow Ability workshop, held in PLAVO theatre, I ventured to apply for the work. The thing that motivated me was the story of the people present at the presentation about the possibility of willingly ‘dropping’ into the Flow, about possibility to be in the state of high concentration whenever we needed it. I was also motivated by recommendation of my good friend who I appreciate and who has been working with PLAVO theatre for several years now.

What thrilled me the most was the full commitment of the leaders of the workshop to transfer their knowledge, to lead us to our personal limits and to show how to overcome them. It is necessary to have a lot of knowledge in working with people to motivate and push them forward, and to achieve it in ‘velvet gloves’. It is especially admirable that they dedicated themselves to each of us personally at the workshops so that the impression was almost of a mentor’s work.

Already after a few terms, I started to grasp the essence. At least for me, this was awareness of acts and processes that I had previously performed without thinking and which disturbed me in concentration and work, which all reflected on quality. I saw how to achieve and create in myself a motivation that would lead me to persist in pushing some work to the end. I saw how a breakthrough occurred to me. It does not mean that I no longer procrastinate, but it is clear to me now where it starts from. When it begins I have a way to be awake and focused on the job in order to leave procrastination for home.

Rade Martinovic

Through Flow Ability, I linked up with my own source of creative energy. My work requires accuracy and speed, and this experience helped me to be more focused, calmer and more productive.

I learned to experience tiredness as a current state that can be overcame by connecting with this source, not only at work, but also in other daily activities.

Jasmina Knezevic

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TWO OPEN WEEKS OF PLAVO THEATRE 2016

Belgrade, July 17 – 30, 2016

Program

  • Sunday, July 17, 20:00

Concert, by PLAVO Theatre and welcome dinner for the participants of the first week;

  • July 18 – 22, 11:00 – 17:00 with one hour break

Dance of Memory, workshop led by Maša Jelić, actress of PLAVO Theatre.

The workshop will be followed by the additional program:

  • July 18, 18:00 – 20:00 Video presentation of the relevant video material from the history of contemporary theatre;
  • July 19, 20:00 Ema, PLAVO Theatre performance;
  • July 20, 18:00 – 21:00 Open Space, practical or theoretical presentation of the individual artistic experience of the participants, lasting up to 20 minutes each;
  • (OPTIONAL: participants who wish to present their work should apply in advance.)
  • July 21, 18:00 – 20:00 The Seed of Creation, demonstration of the actors’ training by PLAVO Theatre actors;
  • July 22, 20:00 Daydream – A Story from Terezin, PLAVO Theatre performance.

 

  • July 24, 20:00 Concert, by PLAVO Theatre and welcome dinner for the participants of the second week;

 

  • July 25 – 29, 11:00 – 17:00 with one hour break

From Myself towards Theatre, workshop led by Nenad Čolić, PLAVO Theatre director.

The workshop will be followed by the additional program:

  • July 25, 18:00 – 20:00 Video presentation of the relevant video material from the history of contemporary theatre;
  • July 26, 20:00 Ema, PLAVO Theatre performance;
  • July 27, 18:00 – 21:00 Open Space, practical or theoretical presentation of the individual artistic experience of the participants, lasting up to 20 minutes each;
  • (OPTIONAL: participants who wish to present their work should apply in advance.)
  • July 28, 18:00 – 20:00 The Seed of Creation, demonstration of the actors’ training by PLAVO Theatre actors;
  • July 29, 20:00 – 21:00 Open rehearsal of PLAVO Theatre performance;
  • July 30, 20:00 I Sing Like a Bird, PLAVO Theatre performance.

 The work will be held in English.

rekvijem TOW2016Registration

Registration fees for participants coming from Albania, Bosnia and Herzegovina, Macedonia, Montenegro, Ukraine, Croatia, Slovenia and Serbia:

Workshop ‘Dance of Memory’: 55€

Workshop ‘From Myself towards Theatre’: 65€

Complete program: 100€

Registration fees for participants coming from all other countries:

Workshop ‘Dance of Memory’: 65€

Workshop ‘From Myself towards Theatre’: 75€

Complete program: 120€

Two Open Weeks 2016 Registration form (download)

Note: The number of participants is limited. There is no a specific application deadline. After sending us registration form and getting a confirmation from us about their participation, interested participants should pay the fee to our bank account in order to book their place.

Please contact us for all additional information including registration form, applying for participation in Open Space program or any practical information.

E-mails: plavopozoriste@hotmail.com, plavopozoriste@gmail.com.


Two Open Weeks of PLAVO Theatre is an international practical and theoretical program for people interested in work inside of a theatrical laboratory through specific methodology of PLAVO Theatre.

TWO OPEN WEEKS 2016 naslovnaDuring Two Open Weeks PLAVO Theatre will open the doors of its theatrical laboratory, which will be an opportunity for participants to meet with its work through series of events: theatre workshops, performances, presentations, demonstrations, meetings, video presentations. The program will be divided into two parts, in two workshops, and participants will have the possibility to participate in the whole program or in the workshop by their choice.

Our aim is to share with participants the idea of theatre as a place of communication, a place of self-researching and a space of open mind where some important things about us and the world that surrounds us could be said.

Participants will be introduced into PLAVO Theatre methodology of work developed through years, which relies on laboratory theatre tradition and on human experience. This methodology puts into the background talent and artistic exhibitionism not only of an actor but anyone who works in theatre and instead it puts forth inner, organic life of an individual which becomes a field of research and improvement.

The program is opened for professional and semi-professional actors, directors, other theatre artists, dancers, as well as theatre and dance students and other people who are interested in theatre or self-research using the theatrical tools.

After years of experience in theatre pedagogy, our program Two Open Weeks of PLAVO Theatre was created out of the need to bring closer our educational work to international participants and to make theatrical laboratory a place of intercultural communication, theatrical exchange and development. The program has been realized every summer in Belgrade since 2004 gathering participants from three continents. From one year to another, the program has been developed and enriched parallel with growth and development of PLAVO Theatre.


Dance of Memory

workshop, led by Maša Jelić, actress of PLAVO Theatre

MASAThe workshop consists of introducing of participants into basic principles of actor’s work in laboratory theatre:

  • body and voice training – overcoming of individual mental and physical barriers;
  • work on the actor’s aware scenic presence and leadership – building of the intention and initiative, releasing, activating and leading one’s own energy;
  • work with music, song, text, prop and musical instrument;
  • work on actor’s improvisations and creation of actor’s materials, which thematic frame will be defined in the course of the workshop through focusing of the personal reason;
  • team building exercises.

It is important for participants to know well by hart:

  • a text from a favorite part from a favorite book or their own text (5 – 10 sentences long) in their native language or in English;
  • a traditional song from the participant’s country. The work will be held every day from Monday, July 18, to Friday, July 22, from 11:00 – 17:00 with one hour lunch break. Every evening the additional program will be organized in the form of video presentations, demonstrations of work, performances.
  • Participants should have a notebook and wear comfortable working clothes. 

From Myself towards Theatre

workshop, led by Nenad Čolić, director of PLAVO Theatre

NECAParticipants will be introduced into ideological principles of work through series of exercises aimed at exploring of the meeting point between theatre and ritual, discovering theatre as a personal space and space of human experience, researching of individual archetypes as precondition for creation. The work aims to reveal possibilities for deeper levels of communication in theatre, emphasising free individual existence inside of specific conditions of theatre as a collective space, by discovering ecstatic capacities of human being and overcoming of personal obstructions, such are fears, shame or prejudices, which burden human communication even in everyday life.

It is important for participants to know well by hart:

  • a text from a favorite part from a favorite book, or their own text
  • (5 – 10 sentences long) in their native language or in English;
  • a traditional song from the participant’s country.Note: participants attending both workshops can use the same text and song for both workshops.

Participants should have a notebook and wear comfortable working clothes.

The work will be held every day from Monday, July 27, to Friday, July 31, from 11:00 – 18:00 with one hour lunch break. Every evening the additional program will be organized in the form of video presentations, demonstrations of work, performances.


Performances

 Ema 

plakat A3Scenario and directing: Nenad Čolić

Performing: Maša Jelić

Scenery and costume design: Ivana Čolić

Executive manager: Dubravka Vujinović

‘The performance is inspired by a short story by F.M. Dostoevsky ’A Gentle Creature’, in which the question of human freedom is revealed through the destiny of a miserable woman, who committed suicide by throwing herself out of a window while holding an icon in her hands. Dostoevsky read about the actual event taking place in the newspapers and from that moment on he was haunted by the question: why did a young woman need to do this? My favorite texts from letters of Marina Tsvetaeva are also used in the performance. Those letters were addressed to her female friends. A voice of an apostate and an eccentric of her time speaks out from those letters. We can recognize in them the inner life of a woman and a suffering, uncompromisingly exposed to the eyes of people. Russian songs that are connected to one period of my childhood, which I spent in Moscow, are also utilized as a part of the performance. There are also a traditional Bosnian ‘sevdah’ song, a Mexican traditional song and one of my favorite songs by Janis Joplin.’

Maša Jelić

 

 Daydream

A Story from Terezin

PLAKAT ENGLScenario and directing: Nenad Čolić

With: Maša Jelić, Dejan Stojković, Jelena Martinović, Marko Potkonjak, Ranko Trifković

Scenery and costume: Ivana Čolić

Executive manager: Dubravka Vujinović

Text: Fragments from: the lecture on trial to Eichmann and ‘The Origins of Totalitarianism’, Hannah Arendt; ‘The Karamazov Brothers’, F.M. Dostoyevsky

Music: spiritual and secular Jewish songs, “Träumerei”, R. Schumann

‘An actress of PLAVO theatre had in her family experience of encounter with consequences of suffering of the Jews. Her grandparents were Holocaust survivors. This left a mark in her childhood memories which she wanted to translate into the actor’s language. This was an initial impulse for working process which lasted more than a year and which soon included other theatre members. The result was a performance Daydream – A Story from Terezin, an attempt to sensitize Jewish question through a different relation of Jews to Christ and with a different outcome. It’s a fictional story from Terezin concentration camp, well known by detaining of prominent members of the Jewish community. We placed Hannah Arendt, Karl Marx, Jesus Christ and Barabbas, as some of the most famous Jewish representatives in that imaginary story and made a scenic-musical piece based on spiritual and secular Jewish songs. Working on this performance was a kind of our debt to humanity, in which history full of tragedies there is one so incomprehensible place such as the Holocaust.’

Nenad Čolić

 

I Sing Like a Bird

I SING LIKE A BIRD ENGLScenario and directing: Nenad Čolić

Actors: Jelena Martinović, Marko Potkonjak, Maša Jelić, Dejan Stojković

Scenery and costume design: Ivana Čolić

Executive manager: Dubravka Vujinović

Instructor of classical Indian dance: Violeta Purhmajer (Venurati)

Music: Traditional spiritual music of ancient India – Bhajan; W. A. Mozart: Symphony No. 40; Prince: ‘Te Amo Corazon’;

Dances: Classical Indian dances: Bharata-natyam, Rajasthan;

Text: H. Hesse – ‘Steppenwolf’, ‘Essays’, ‘Pilgrimage’; I. Heilbut – ‘Mission of Hermann Hesse in Our Time’.

‘…I Sing Like a Bird is an adventure of a group of artists who do not leave their ground but go on a pilgrimage following the footsteps of Herman Hesse and so arrive to the magic theatre where everything is possible, under condition that you previously leave your problematic personality in the cloakroom. It is possible to erase the boundaries between culture and spirituality, it is possible for joy to oppose to the centuries of fighting, it is possible for emancipation to develop, in spite of xenophobia and possessiveness.

I Sing Like a Bird is a process of meditation within which we tried to influence the cliché of our mental and body system that has been shaped by coordinates of European tradition. Following the traces of our writer we also set off towards the East. We learned and acquired basic knowledge in the field of Indian traditional and spiritual music and Indian classical dances Bharata-natyam and Rajasthan. For us, it was an important acting and human experience. It helped us enter a different civilization space where we encountered many principles and laws we had known little about up to then. It all enriched our lives very much and changed our attitude towards the theatre work…’

Nenad Čolić


Some impressions of participants of the program in previous years:

Ana, actress, Croatia

The most important lesson I learnt was that the obstacle is always mental one – body is always more endurable that we think.

Joanna, actress, Poland

I was day after day more and more fascinated and involved with the work. I started to little understand how important it is for me searching myself through theatre and asking myself why I’m doing it…

Irena, student, Serbia

What I learnt… Many things, but I think I couldn’t express them by words right now.

I remembered myself. Something like that. I remembered myself who was forgotten for a long time, myself who I thought that I lost long time ago.

 Josipa, dancer, Croatia … People from Plavo theatre succeeded to motivate me to try to overcome some of my performing habits and limitations… I have never worked with songs, resonators and isolations of the movements the way we did it in the workshop…

 Jana, dancer, Czech Republic

One of the most important things I have learned about art was to see that … you have to be ready for changing and re-evaluating for all the time. It doesn’t mean to be confused, it means to be open for things around you as well as things inside of yourself…

 Simon, actor and musician, Germany

…Towards the end of the workshop From Myself towards Theatre I thought – and still think, without exaggerating – that it was one of the rare workshops that really made sense to me… We were not taught a lot of exercises, but touched one simple thing out of different perspectives which is the phenomena of a highly elevated attention necessary to work, or what director calls ‘trance-like intention’. We were encouraged to touch every day a kind of limit, a very personal one, and to do one step further.

Leonardo, actor, Italy

… Looking behind at the work in Belgrade, I perceive today that what I have been taking part was something characterised by a constant fresh and positive intensity, an embrace of strong energies…


 

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