Flow Ability – international session 2018

May 6, 2018 dejan

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

15:30 – 17:30 video sessions;

18:00 – 21:00 workshop

Saturday, July 14^th, 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

Uncategorized

TWO OPEN WEEKS OF PLAVO THEATRE 2017

May 16, 2017 dejan

International training program for performance artists and students

Program

July 16, 20:00 I Play Electra performance by PLAVO Theatre
July 17 – 21, 11:00 – 16:00 Tuning the Body. Awareness workshop led by Kamila Klamut, Teatr Zar/ The Grotowski Institute, Wroclaw, Poland
July 21, 20:00 Doubts and Progress work demonstration by Kamila Klamut and Ewa Pasikowska, Poland
July 23, 20:00 I Play Electra performance by PLAVO Theatre
July 24 – 28, 11:00 – 17:00 From Myself towards Theatre workshop led by Nenad Čolić, PLAVO Theatre director
July 26, 20:00 Sky Jewelled with Stars concert-demonstration, treasury of Serbian traditional songs, by PLAVO Theatre
July 28, 16:00 Open Door presentaon of the participants’ work during the workshop From Myself towards Theatre open for public
July 29, 20:00 Concert by PLAVO Theatre.

The program will be held in English

Registration

Two Open Weeks 2017 Registration form

Thanks to the support of the donors who sustained the program, we will provide additional support (accommodation and travel costs) for participants coming from Central European countries: Albania, Austria, Bulgaria, Bosnia and Herzegovina, Croatia, Czech Republic, Hungary, Italy, Macedonia, Montenegro, Poland, Romania, Slovakia, Slovenia, Ukraine and Serbia.

Please contact us for information including additional support, fees, registration form or any practical information. E-mails: plavopozoriste@gmail.com, plavopozoriste@hotmail.com.

Ja igram Elektru 1, Plavo pozorište, foto Andrijana Pajović — I PLAY ELECTRA, Jelena Martinović, PLAVO theatre

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. 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.

NECA — Nenad Čolić, director of PLAVO theatre

The program will consist of series of events: theatre workshops, performances, presentations, demonstrations, concerts, meetings, video presentations. There will be two main programs, two workshops, and participants will have the possibility to participate in the whole program or in the workshop by their choice.

kamila 01 — Kamila Klamut, Teatr Zar/ The Grotowski Institute

Beside PLAVO Theatre work and a workshop led by Nenad Colic, PLAVO Theatre director, as a special innovation of Two Open Weeks 2017, participants will have the opportunity to meet with the work of our guest-teacher from Poland, coming directly from the source of Grotowski tradition. It is Kamila Klamut, actress from Teatr Zar/ The Grotowski Institute, who will lead training session in the first week of the program, assisted by Ewa Pasikowska from Teatr Zar

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. The program Two Open Weeks of PLAVO Theatre was created out of the need to bring closer laboratory theatre work to international and Serbian participants and to make theatrical laboratory a place of intercultural communication, theatrical exchange and development.

The program has been realized in Belgrade every summer since 2004 gathering participants from three continents.

Due to the support of the donors which sustained the program, this year there will be support provided (accommodation and travel costs) for participants coming from Central European region.

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PLAVO THEATRE ON WROCLAW – EUROPEAN CAPITAL OF CULTURE 2016 / THEATRE OLYMPICS 2016

October 19, 2016 dejan

http://www.theatreolympics2016.pl/en/calendar/daydream-story-terezin

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The Seed of Creation – Demonstration of the Actors’ Training

July 17, 2016 dejan

Tuesday, July 19^th, 2016, 8 PM

The Seed of Creation

Demonstration of the Actors’ Training

With: Maša Jelić, Jelena Martinović, Dejan Stojković

“There is a form of work which is different from rehearsals, the actor should be confronted with that which is the seed of creation. In body there are certain predetermined forms or details. The first essential point is how to establish a certain number of details and make them precise. Next, you must rediscover those personal impulses, which can be incarnated in these details. To incarnate them means to change but not destroy them.

In the beginning you improvise only the order of details and their rhythms. Then you change the order and the rhythms and even the composition of the details. This must not be premeditated, but dictated by the flow of your embody. You must find this spontaneous line of the body which is embodied in the details and goes beyond them but which at the same time maintains their precision. If this precision is absent, then it is useless, and a result can only be a sort of plasma.

Every authentic reaction begins inside of body, and that which is external, the so called detail of gesture in exercises is only the result of this process. If the external reaction is not born inside of the body, it will always be false, dead, artificial, rigid.

If one retains the precision of the details and allows the body to dictate the different rhythms, continually ordering them, taking another detail as if from the air, who then has been dictating all this? It is not your brain, but nor is it chance, all this has some connection with our life. We do not even know how this happens, but it was the body memory which dictates vivid relations to certain experiences or certain cycles of experiences in our life. The body has no memory. It is memory.

One should seek for the truth, and not for special circumstances.”

Jerzy Grotowski

Demonstration of the actors’ training will be held within international program of theatrical education Two Open Weeks of PLAVO theatre.

Date: Tuesday, July 19^th, 2016

Venue: PLAVO theatre, BIGZ building, Boulevard of Zivojin Misic 17, 6^th floor

Ticket price: 100,00 RSD.

Ticket booking and information: 061 192 79 09.

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SOUNDS OF THE MOON, THE LAND AND THE SEA – concert

July 14, 2016 dejan

SOUNDS OF THE MOON, THE LAND AND THE SEA

Concert

With: Maša Jelić and Dejan Stojković

PLAVO theatre venue, Boulevard of Vojvoda Misic 17, Belgrade (6th floor)

Ticket reservation and information: 061 192 79 09

This concert is a kind of tribute to three very extraordinary women. These women were human beings with strong individuality and great empathy. They were great musicians and the preachers of freedom. Through their songs they spoke about love and peace and represented the voice of three generations of ordinary people form three continents, but also the voice of some of us, who came later.

The concert is a part of International educational program Two Open Weeks of PLAVO Theatre

video

DAYDREAM – A STORY FROM TEREZIN (trailer)

Link June 9, 2016 dejan

education, event

TWO OPEN WEEKS OF PLAVO THEATRE 2016

March 11, 2016 dejan

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.

Registration

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)

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.

During 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.

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

The 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

Participants 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

Scenario 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

Scenario 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

Scenario 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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20 years of PLAVO Theatre

November 25, 2015 dejan

International Theatre Meeting

TRANSGRESSION / OVERSTEPPING

December 4 – 7, 2015, Belgrade

Program:

Friday, December 4^th, 2015

20:00 Concert by PLAVO Theatre/ Centre for Cultural Decontamination

Saturday, December 5^th, 2015

11:00 – 13:00 A laboratory of diversity, presentation/ lecture: Siegmar Schröder (Theaterlabor Im TOR 6, Bielefeld, Germany)/ PLAVO Theatre

14:00 – 16:00 Motivation and Creativity: Duel or Dance?, seminar: Artistic-Cultural Association Aletheia (Milan, Italy)/ PLAVO theatre

17:00 – 19:00 Within the occasion of a theatrical tradition, session/ PLAVO Theatre

Participants: DAH Theatre, ISTER Theatre, Theatre Objective Drama Project, Theatrical Association Miraz, HLEB Theatre, Jelena Bogavac (theatre director and dramatist of BITEF Theatre), PLAVO Theatre

Moderator: Dijana Milošević (DAH Theatre, Belgrade)

20:00 Camille, performance: Kamila Klamut (Teatr ZAR/ The Grotowski Institute, Wroclaw, Poland)/ Centre for Cultural Decontamination

Sunday, December 6^th, 2015

11:00 – 13:00 Grotowsky, past and present. And those who are inspired by him, lecture: Kamila Klamut (Teatr ZAR/ The Grotowski Institute, Wroclaw, Poland) illustrated by film fragments/ PLAVO Theatre

14:00 – 16:00 Motivation and Creativity: Duel or Dance?, seminar: Artistic-Cultural Association Aletheia (Milan, Italy)/ PLAVO Theatre

17:00 – 18:00 Presentation of ‘Santa Libera: centre for development of human and creative dimension’: Massimo Giannetti (Artistic-Cultural Association Aletheia, Milan, Italy)/ PLAVO theatre

18:00 – 19:00 One theatre friendship, talk: Massimo Giannetti (Artistic-Cultural Association Aletheia, Milan, Italy) and Nenad Čolić (PLAVO Theatre, Belgrade)/ PLAVO Theatre

20:00 Séance, performance: Theaterlabor Im Tor 6 (Bielefeld, Germany)/ Cultural Centre REX

Monday, December 7^th, 2015

20:00 Ines and Garcin, performance: Artistic-Cultural Association Aletheia (Milan, Italy)/ Cultural Centre REX

Addresses:

Centre for Cultural Decontamination – Birčaninova Street, 21

Cultural Centre REX – Jevrejska Street, 16

PLAVO Theatre – Boulevard of Vojvoda Mišić 17 (BIGZ building, right wing, 6^th floor)

All sessions will be held in English.

Daily sessions: free entry.

Seminar Motivation and Creativity: ‘Duel or Dance?’: 20 EUR.

Performances: 300 RSD.

Information about programs:

Saturday and Sunday, December 5th and 6th, 2015, 14:00

Artistic-Cultural Association Aletheia (Milan, Italy)

Motivation and Creativity: Duel or Dance?

Seminar

Can these two pushes find a point of great synergy and lead to increasing level of our realization or remain two enemies fighting each other in the battlefield of our soul?

Why to create? What can motivate us to create? How to use motivation to create? Which kinds of motivations exist? How to work on them? Can creativity develop our motivation?

The seminar is led by Artistic-Cultural Association Aletheia:

Massimo Giannetti, director, Daniela Damiani and Saverio Fiano, actors. Contacts for applications and information:

plavopozoriste@hotmail.com, 061 192 79 09, 062 300 180.

Saturday, December 5^th, 2015, 20:00

Centre for Cultural Decontamination

Kamila Klamut (Teatr ZAR/ The Grotowski Institute, Wroclaw, Poland)

Camille

Performance

_MMP_6660 Performed by: Kamila Klamut, Ewa Pasikowska

Music: Mariana Sadovska

Directorial assistance: Mariana Sadovska, Carol Brinkmann Ellis, Vivien Wood, Alexandra Kazazou

Lighting design: Bartosz Radziszewski

Set design consultant: Bajka Tworek

Sculptures created by: Marianna Lisiecka, Magdalena Węgrzyn

Duration: 50 minutes

Camille Claudel was a sculptress. She was also a sister of Paul Claudel and for ten years the companion and artist-partner of August Rodin. She died seventy years ago. The last thirty years of her life Camille Claudel spent in a mental asylum.

The last photo ever taken of Camille provided an impulse that directly influenced the final shape of the performance. It features Camille together with a friend who visited her in the hospital. I imagined that the visits, which didn’t occur very often during her 30 years in the asylum, may have evoked in her a cascade of memories. The memories whose shapes I sensed and clothed in my own sensitivity…

Kamila Klamut

Kamila Klamut

Since the mid-1990s she had been closely associated with the Centre for Study of Jerzy Grotowski’s Work and for Cultural and Theatrical Research, and then, since 2007, with the Grotowski Institute. In 1996, at the invitation of Grzegorz Bral and Anna Zubrzycki, she took part in forming Song of the Goat Theatre. Since 1999 she has collaborated with Jarosław Fret, with whom she has been on several expeditions searching for the oldest extant forms of music. She co-initiated the founding of

Teatr ZAR, and appears in all three parts of Teatr ZAR’s triptych Gospels of Childhood, which has been performed in numerous cities around the world. She is currently part of Teatr ZAR’s new project Armine, Sister.

Ewa Pasikowska

She was part of the group that formed Teatr ZAR in 2002, and then a member of the company until 2012. While with ZAR she took part in several expeditions to Georgia, Bulgaria, Corsica, Sardinia and performed as an actor-musician in Teatr ZAR’s triptych Gospels of Childhood. In 2012 she moved to London where, with theatre director Andrei Biziorek, she formed Waving Not Drowning!Physical Theatre. She is also a self-taught musician-instrumentalist.

Teatr ZAR

Cultivating an ethos of ensemble work, Teatr ZAR develops productions through a long process of creating its own theatrical language, which draws on music from numerous traditions found in the East and West. The company is a multinational group that was formed during annual research expeditions to Georgia between 1999 and 2003. Teatr ZAR attempts to demonstrate that theatre does not only relate to thea (Greek seeing) but it is something that above all should be heard. Performances are just part of a long process of research, expeditions, personal explorations and transformation. ZAR brings back theatre as it was before art ruptured into different disciplines and styles.

www.teatrzar.art.pl

The Grotowski Institute

The Grotowski Institute is a city-funded cultural institution that runs artistic and research projects responding to the challenges laid down by the creative practice of Jerzy Grotowski as well as documenting and spreading knowledge about his achievements. It hosts arts events, with a primary focus on education, theatre and publishing, and supports research and artistic projects of Polish and international artists. The Institute’s program lines are inspired by Grotowski’s work. It is also a platform for the free exchange of knowledge and experiences for exponents of diverse ways of thinking, schools and methodologies.

The Grotowski Institute was established on the basis of the Centre for Study of Jerzy Grotowski’s Work and for Cultural and Theatrical Research, which operated from 1989 in the former home of the Laboratory Theatre in Wrocław.

www.grotowski-institute.art.pl

Sunday, December 6^th, 2015, 20:00

Cultural Centre REX

Theaterlabor Im TOR 6 (Bielefeld, Germany)

Séance

A one-of-a-kind evocation

By and with: Yuri Birte Anderson, Thomas Behrend, Michael Grunert, Lukas Pergande and Alina Tinnefeld

Direction: Siegmar Schröder

Dramaturgical Counseling: Helge-Björn Meyer

Sound Effects: Stan Pete

Duration: 60 minutes

Five lost souls meet for an evocation of a special kind: SÉANCE portrays stories at the edge of darkness, on the borderline between illusion and reality.

These figures drifting through the night obsessively conjure up life and death. In doing so, they resemble the shadowy, mystically entangled characters that populate the paintings of Edward Hopper. In their songs, texts, and actions they disclose a unique universe of mad nightmares – deeply dark and highly comical, fascinating and disturbing. By changing the perspectives in their thoughts and actions they look at and speak about decay and transience, about their rational motifs for their never-ending voyage and their unfulfilled dreams. Being unpredictable and almost otherworldly they talk about themselves and about the struggle with their own demonic spirits. Heaven and hell – that is not always the others. Or: hope dies last.

Theaterlabor Im TOR 6

Since its foundation by art director Siegmar Schröder in 1983, actors, directors and dramaturges of Theaterlabor have been working on experiencing, exploring and presenting contemporary forms of theatre in all their facets in ever new and surprising ways for their audience. During the first years after the foundation, a focus for the ensemble was being laid on physical, bodily action. Inspired by Jerzy Grotowski, Eugenio Barba, the Commedia dell’ Arte and Asian dance, Theaterlabor developed different modes of expression towards an intense, dynamic, and immediate theatrical language.

For 30 years Theaterlabor has been standing for expressive, cross-border, experimental theatre. They work across genres with different partners: visual artists, musicians. For every play and every event Theaterlabor develops a specific, topic-oriented aesthetic. During the working process intense exchanges between all people involved take place so that every play arises from a communal effort – collective working is one of our goals.

www.theaterlabor.de

Monday, December 7^th, 2015, 20:00

Cultural Centre REX

Artistic-Cultural Association Aletheia (Milan, Italy)

Ines and Garcin

A theatrical performance, based on a free adaptation of Jean Paul Sartre’s text ’Behind Closed Doors’

Directing: Massimo Giannetti

Performed by: Daniela Damiani and Saverio Fiano

Duration: 70 minutes

Two characters, a man, Garcin and a woman, Ines, have been convicted to eternal mutual life in Hell where they recreate conditions of a close and inevitable relationship between two people in an extreme way. The performance bitterly hints that we exist only through and owing to others, whose perception and judgement defines us. A true punishment of Hell comes out of this metaphor of reality: to be conditioned by the presence and judgement of the other, from whom we long for attention and recognition, aware that whatever we do, the last word always belongs to the other.

The game of needing and rejection. This ’inevitable game’ of relationship with the other doesn’t ever end, just like Hell, and becomes a punishment and a challenge at the same time. A great challenge of life. There are no winners or losers. Only humans.

The dramaturgy of the performance wishes to point out to this metaphor which is apparently bitter, which could and should present an important hint for thinking about conditioning of our freedom, but also to encourage an active and constructive reviving of those conditions.

The other is my Hell, and at the same time the other is my mirror.

Perhaps only that way we can know life better, discover whether it is a dream or not, and go beyond… ourselves…

Artistic-Cultural Association Aletheia

The Artistic-Cultural Association Aletheia was established in 1987 by Massimo Giannetti, a theatre director, dramatist and pedagogue, as the theatrical association Specchi e Memorie. Its distinguishing characteristic is the use of theatrical instrument for profound research within the human dimension. Over the years, the working process of the organization has been expanded by activities and research that are not strictly theatrical. The association pursues three main directions of creative and pedagogical process including the theatrical process, personal development and human research in Art and Thought. The association has its working space in the city of Milan and the residential centre of Santa Libera in the green hills of Piedmont, where international seminars and meetings take place.

http://associazionealetheia.wix.com/italia

Special thanks for supporting the event

Also thanks to:

edukacija

TWO OPEN WEEKS OF PLAVO THEATRE 2015

April 1, 2015 dejan

Belgrade, July 19 – August 1, 2015

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….read more