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3 modulis. 10 mokymų dalis. tarpdalykisintegravimas. 04 14

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3 modulis. 10 mokymų dalis. tarpdalykisintegravimas. 04 14

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Teatras 3 modulis.  10 mokymų dalis. 04 14

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2 modulis. 8 mokymų dalis. 03 24. Forumo teatras.

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2 modulis. 8 mokymų dalis. 03 24. Forumo teatras.

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3 modulis. 9 mokymų dalis. Vizualinis teatras ir IKT

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3 modulis. 9 mokymų dalis. Vizualinis teatras ir IKT

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3 modulis. 9 mokymų tema. Vizualinis teatras ir IKT

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Video paskaita apie postmoderinzmą šokyje

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Video paskaita apie postmoderinzmą šokyje

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Postmodernizmas. Šiuolaikinio šokio neapibrėžtumas (XX a. II p. - XXI a.) / Europos šokio istorija

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Komandinio darbo įvertinimą galima naudoti ir kuriant naują komandą, ir įtraukiant tinkamą narį į komandą, ir didinant komandinės veiklos efektyvumą, taip pat planuojant karjerą pagal individualius talentus (polinkius).

Vaidmuo komandoje gali būti keičiamas įgyjant naują profesinę patirtį ar sąmoningo asmenybės ugdymo pasekoje.

Komandos vaidmuo pagal Meredith Belbin

(vadinamieji devyni „Belbin" komandos vaidmenys)

Siekiant tapti efektyvia komanda, kiekvienai komandai reikia prieigos prie kiekvieno iš devynių komandos vaidmenų elgesio. Tačiau tai nereiškia, kad kiekvienai komandai reikia devynių žmonių! Dauguma žmonių atliks du ar tris labiausiai tinkančius komandinius vaidmenis. Vaidmenys laikui bėgant gali keistis. Kiekvienas komandinis vaidmuo turi savo stipriąsias ir silpnąsias puses ir kiekvienas yra vienodai svarbus. Tačiau ne visi vaidmenys reikalingi tuo pačiu metu - svarbu pirmiausia pažvelgti į komandos tikslus ir išsiaiškinti kokias užduotis reikia atlikti. Kai tai bus padaryta, gali vykti diskusijos dėl to, kuris komandinis vaidmuo ir kada turėtų būti naudojamas.

Į užduočių atlikimą orientuoti vaidmenys

Formuotojas

Vaidmens aprašymas
Padeda komandai judėti į priekį ir fokusuotis į tikslą.

Stiprybės
Metantys iššūkį, dinamiški, mėgstantys spaudimą ir kliūčių įveikimą.

Leistini trūkumai
Gali būti linkę į provokacijas ir kartais įžeisti kitų žmonių jausmus.

Vykdytojas

Vaidmens aprašymas
Formuoja darbinę strategiją ir stengiasi ją maksimaliai įgyvendinti.

Stiprybės
Praktiški, patikimi, produktyvūs. Idėjas paverčia veikla ir organizuoja būtinus darbus.

Leistini trūkumai
Gali būti nelankstūs ir lėti siekiant prisitaikyti prie naujų galimybių.

Užbaigiantysis

Vaidmens aprašymas
Užduočių atlikimo pabaigoje efektyviausiai tikrina klaidas remiantis aukščiausiais kokybės kontrolės standartais.

Stiprybės
Sąžiningi, nerimaujantys. Ieškantys klaidų.

Leistini trūkumai
Linkę nerimauti bei deleguojantys darbus.

Nenustebkite, jei sužinosite, kad
Jie gali būti apkaltinti ekstremaliu perfekcionizmu.

Į žmones orientuoti vaidmenys

Koordinatorius

Vaidmens aprašymas
Susikoncentruoja į komandos tikslus, parenka komandos narius ir tikslingai paskirsto veiklas.

Stiprybės
Brandūs, pasitikintys, identifikuoja talentą. Išsiaiškina tikslus.

Leistini trūkumai
Gali manipuliuoti ir perduoti savo darbo dalį.

Komandos darbuotojas

Vaidmens aprašymas
Padeda komandai susivienyti ir atsižvelgiant į jos universalumą, identifikuoti reikalingą atlikti darbą.

Stiprybės
Bendradarbiaujantys, įžvalgūs ir diplomatiški. Įsiklausantys ir vengiantys trinties.

Leistini trūkumai
Gali būti neryžtingi lemiamomis situacijomis bei vengti konfrontacijos.

Informacijos ieškotojas

Vaidmens aprašymas
Pasinaudoja savo smalsia prigimtimi siekiant komandai pristatyti idėjas.

Stiprybės
Draugiški, kupini entuziazmo. Tyrinėja galimybes ir kuria kontaktų tinklą.

Leistini trūkumai
Gali būti per daug optimistiški bei prarasti interesą vos tik praeina įkvėpimas.

Nenustebkite, jei sužinosite, kad
Jie gali pamiršti vadovauti.

Intelektualiniai vaidmenys

Įdiegiantis

Vaidmens aprašymas
Paprastai būna labai kūrybingi ir puikiai bei netradiciniu būdu sprendžia problemas.

Stiprybės
Kūrybiški, lakios vaizduotės, laisvo mąstymo, generuoja idėjas ir sprendžia sudėtingas problemas.

Leistini trūkumai
Gali ignoruoti incidentus ir dėl per didelio užimtumo nekomunikuoti efektyviai.

Stebėtojas vertintojas

Vaidmens aprašymas
Pateikia logišką vaizdą, esant poreikiui priima nešališkus sprendimus ir nešališkai įvertina komandos galimybes.

Stiprybės
Nuosaikūs, strategiški ir įžvalgūs. Įvertina visas galimybes ir kruopščiai pasirenka.

Leistini trūkumai
Kartais pritrūksta įkvėpimo ar gebėjimo įkvėpti kitus bei gali būti per daug kritiški.

Specialistas

Vaidmens aprašymas
Suteikia komandai išsamias žinias apie pagrindinę sritį.

Stiprybės
Kryptingi, iniciatyvūs ir atsidavę. Įgyjantys žinias ir tobulinantys įgūdžius.

Leistini trūkumai
Paprastai prisideda prie siauros srities ir kliaunasi techniniais aspektais.

Nenustebkite, jei sužinosite, kad
Jie pateikia didelį informacijos kiekį.

Kad galėtų efektyviai atlikti savo užduotis, komandai reikia optimalios vaidmenų įvairovės.

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Komandinio darbo įvertinimą galima naudoti ir kuriant naują komandą, ir įtraukiant tinkamą narį į komandą, ir didinant komandinės veiklos efektyvumą, taip pat planuojant karjerą pagal individualius talentus (polinkius). Vaidmuo komandoje gali būti keičiamas įgyjant naują profesinę patirtį ar sąmoningo asmenybės ugdymo pasekoje.

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Peeping Tom

Peeping Tom is a Belgian dance theatre company, founded by Gabriela Carrizo (I/AR) and Franck Chartier (F). With Eurudike De Beul, who would become a frequent collaborator at the company, they created a first location project that took place in a trailer home, Caravana (1999).

An unstable universe

Everything in Peeping Tom's work starts from a hyperrealist setting. The space feels familiar, such as a garden, a living room and a basement in the first trilogy (Le Jardin, 2002; Le Salon, 2004; Le Sous Sol, 2007), two trailer homes in a snow-covered landscape in 32 rue Vandenbranden (2009) or a retirement home in Vader (2014).

The creators then break open this realism. They create an unstable universe that defies the logic of time, space and mood. You become the witness - or rather, the voyeur? - of what usually remains hidden and unsaid. Isolation leads to an unconscious world of nightmares, fears and desires, which the creators deftly use to shed light on the dark side of a character or a community. The huis clos of family situations remains for Peeping Tom a major source of creativity. Presented using a rich imagery, a fascinating battle arises against one's environment and against oneself.

New collaborations

Since 2013, Peeping Tom has started to develop productions with other companies and theatres. Gabriela Carrizo created The missing door (2013) with Nederlands Dans Theater. In 2015, she made The Land with Residenztheater in Munich.

Franck Chartier directed The lost room (2015) and The hidden floor (2017) with NDT I. In 2013, he worked on 33 rue Vandenbranden, an adaptation of Peeping Tom's original with the dancers of the Göteborg Opera. In 2018, Gabriela and Franck directed 31 rue Vandenbranden. This adaptation of Peeping Tom's show was created with the dancers of the Ballet de l'Opéra de Lyon and opened the Biennale de la Danse in Lyon.

Awards and nominations

'Herald Angel' for The missing door at the Edinburgh International Festival (UK) (along with Stop-Motion and Shoot the moon by Paul Lightfoot and Sol León)

With the support of the Flemish authorities

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Peeping Tom is a Belgian dance theatre company, founded by Gabriela Carrizo (I/AR) and Franck Chartier (F). With Eurudike De Beul, who would become a frequent collaborator at the company, they created a first location project that took place in a trailer home, Caravana (1999). Everything in Peeping Tom's work starts from a hyperrealist setting.

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Dear Audience, Dear Friends of the Tanztheater,

we are delighted to be able to perform for a live audience again, here in the region and all over Europe. We are overjoyed to be able to realise our planned tours on the start of the 2021/22 season. This is the first time that the ensemble will visit both Saint Petersburg and Clermont-Ferrand.

On 6th November is the premiere of Richard Siegal's new work ECTOPIA performed with SHOOTING INTO THE CORNER (2008-09) by Anish Kapoor, which was due to open in the 2020/2021 season but had to be postponed. Due to devastating flood damage, it will not take place in the opera house in Wuppertal as planned but at the Forum Leverkusen. We are more than pleased with the expressions of solidarity from the Forum Leverkusen to make the performances that had originally been planned for Wuppertal possible at such short notice.

For our Wuppertal audience, a shuttle service will operate between the opera house and the Forum Leverkusen.

Ticket sale starts on September 17 at 10am. Further information about ECTOPIA

The performances of Palermo Palermo, which were also planned to take place in Wuppertal in November 2021, have had to be postponed.

On 24th and 25th September 2021, WUPPERwerft and the Tanztheater Wuppertal Pina Bausch jointly present the film version of Rainer Behr's piece Schlafende Frau (Sleeping Woman) at the open-air cinema Dach der Stadt Open Air on the Nordbahntrasse.

Tickets are available at Wuppertal-Live. Further information about the film

The world premiere of the stage version of the piece is planned for January 2022.

I am very happy that we are now continuing the collaboration with Ben J. Riepe's ensemble that we began in March, and that it is resulting in a live performance. The live premiere of Ben J. Riepe's CREATURE with dancers of the Tanztheater will take place next Friday, September 10 from 8-22pm at the future Pina Bausch Centre/Schauspielhaus Wuppertal.

Welcome to Wuppertal Nicholas Losada and Reginald Lefebvre. The two dancers from the USA and Corsica have been members of the ensemble since the beginning of the 2021/22 season.

I wish you an exciting 2021/22 season and look forward to welcoming you back in person soon.

Bettina Wagner-Bergelt

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Dear Audience, Dear Friends of the Tanztheater, we are delighted to be able to perform for a live audience again, here in the region and all over Europe. We are overjoyed to be able to realise our planned tours on the start of the 2021/22 season.

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Dear Friends,
Lloyd Newson has retired and consequently,DV8 Physical Theatre has come to an end.

We would like to thank our audiences, friends, presenters, co-commissioners and funders (especially Arts Council England), who have supported DV8's work since 1986. Most importantly we would like to acknowledge our remarkable artists, technical teams, administrative staff and Board members; to whom we will forever be indebted.

DV8's award winning films (Dead Dreams of Monochrome Men, Strange Fish, Enter Achilles and The Cost of Living) are now available via Digital Theatre and Digital Theatre Plus.

DV8's Archive materials from the 1980s onwards are available at the Theatre Collection, University of Bristol.

Collage images include photographs by Anthony Crickmay, Mark Douet, Hugo Glendinning, Peter Jay, Jane Joyce, Eleni Leoussi, Oliver Manzi, Gergoe Nagy, Matt Nettheim, Jimmy Pozarik, Kris Rozental, Jiri Volek and Robert Workman.

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DV8 and the work of Lloyd Newson - information on the current productions, tours and films.

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Augusto Boal. Games for actors and non-actors

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Augusto Boal. Games for actors and non-actors

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The French edition of Jeux pour Acteurs et Non-Acteurs published in is currently in its seventh edition. For this first translation into English Boal has added. Augusto Boal's FORUM THEATRE for teachers. (notes from a .. Warm up games from Boal's Arsenal of games for actors and non actors. * Forum theatre. Games for Actors and Non-actors. Augusto Boal Routleg Publishers. In this book Augusto Boal describes more than a hundred games, as part of his `arsenal` of.

What do I gamss Well explained, and it's a classic. Who can replace whom? Collective creation of a mask 15o 6 Addition of masks 15o 7 Pushing the mask to its extremity and nullifying it 15o 8 Following the master in his ow For other essays in the series, visit the In Theory column page.

Games for Actors and Non-Actors by Augusto Boal

Used this text in the classroom and during my training days. The Kinetic Image Usually, one participant moulds the others into a particular image. I was able to adapt the activities more easily and more successfully because Boal had clearly put in a lot of deep thought into how and why each one worked.

Presenting lots of individual visions together gives a multiple view of a subject, which is the closest we can get to an objective view, or a social rather than psychological view. It is a way of making thoughts or conceptions visibleinstead of expressing them in words which can have multiple meanings.

Multiple image of happiness.

Andrew Robinson is a political theorist and activist based in the UK. Published October 27th by Routledge first published June 5th Boal's early work took place under the military regime in Brazil.

Be the first to ask a question about Games for Actors and Non-Actors. This is used in Theatre of the Oppressed to show the need for change. Four very simple demonstrations of embryos of Forum. The Memory of the Senses.

It was also designed to deal with problems of cultural imitation in the South, by introducing a figure who could mediate local and foreign contexts.

It also appears frequently in the political comedy of artists such as Michael MooreMark Thomasand the Nkn-actors. The two revelations of Saint Teresa.

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Brechtian estrangement and intercontextual translation. Boal says that this is because unemployed people in Denmark get more money and engage in more social activities as a result.

Goodreads helps you keep track of books you want to read. Meanings can also be contested and redefined through the use of rhythm, repetition, cross-readings of different contexts, improvisation, and so on. This is the classic and best tames book by the founder of Theatre of the Oppressed, Augusto Boal, including new discussions, a new introduction and a collection of images.

Augusto Boal: Games and Techniques | Ceasefire Magazine

Other techniques work with images of situations. People could then suggest ways to get from the real to the ideal situation. Spect-actors confronted with an image of their situation might be asked to make changes. The French edition of Jeux pour Acteurs et Non-Acteurs published in is currently in its seventh edition. Games for Actors and Non-Actors is a handbook of methods, techniques, games, and exercises designed to help anyone - whether actor or non-actor non-qctors rehearse for real life: News can be combined with historical sources, to compare relationships, such as non-actrs liken the boss-worker relation to the master-slave relation.

For instance, they might play a worker with the personality of a boss, or vice-versa.

Games for Actors and Non-Actors

The great game of power. For instance, two participants might have to walk as a single person, walk as a four-legged monster or roll together as a wheel. Boal suggests acrors this can be a way to challenge racism.

For this first translation into English Boal has added new examples and fresh ideas to make it the most up-to-date introduction to the techniques of Blal Theatre and Forum Theatre available Bjorn rated it really liked it Oct 15, Augusto Baol who was very much influenced by Paulo friere and his works.

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augusto boal games for actors and non-actors pdf

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AUGUSTO BOAL GAMES FOR ACTORS AND NON-ACTORS PDF

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The French edition of Jeux pour Acteurs et Non-Acteurs published in is currently in its seventh edition. For this first translation into English Boal has added. Augusto Boal's FORUM THEATRE for teachers. (notes from a .. Warm up games from Boal's Arsenal of games for actors and non actors.

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PRESENTATION

"I'm flabbergasted in seeing to what degree people think it's normal to be alive." ODS

Originally trained as a biologist, Olivier de Sagazan turned to painting and sculpting with the ever-present idea of questioning organic life. From his passion to give life to matter came the idea for him to cover his own body with clay in order to observe the resulting "object". This experiment gave rise to the creation of a solo, "Transfiguration", in 1998, (played for over 350 times) in which we see a man gradually disfiguring himself with clay into a kind of half-man, half-beast searching beneath his masks for who he is, who is the puppeteer. Olivier was invited in 2021 for the Biennal Dance de Venise.

His performance "Transfiguration" has led to numerous collaborations with artists such as :

Bibliography :
2024 2023 2022 2021

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I'm flabbergasted in seeing to what degree people think it's normal to be alive. Disfigurement in art is a way to see the world with fresh eyes

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Meno žodynėlis. Kas tas performansas ir kodėl Beuysas negyvam kiškiui aiškino paveikslus?

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Meno žodynėlis. Kas tas performansas ir kodėl Beuysas negyvam kiškiui aiškino paveikslus?

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Meno žodynėlis. Kas tas performansas ir kodėl Beuysas negyvam kiškiui aiškino paveikslus?

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Pamatę keistą, neįprastą kito žmogaus elgesį neretas ima komentuoti: „Čia jau kažkoks performansas vyksta.“ Bet kas iš t...

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Nieslony Boris, Dirmoser Gerhard “Performance Art Context”, 2002

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Nieslony Boris, Dirmoser Gerhard “Performance Art Context”, 2002

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Marilyn Arsem - Performance Artist & Founder of Mobius

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Marilyn Arsem has been creating live events since 1975, from solo gallery performances to large-scale, site-specific works. Arsem has presented work in North and South America, Europe, the Middle East, and Asia. She recently completed a 100 day performance at the Museum of Fine Arts, Boston.

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Teatras 2 modulis.  5 mokymų dalis. 03 03

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Imersinis teatras. Silvia Mercuriali ,,Etiquette" 

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Imersinis teatras. Silvia Mercuriali ,,Etiquette" 

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perAspera / drammaturgie possibili - Rotozaza: Etiquette

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Imersinis teatras. Back to back trupė ,,Small Metal Objects"

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Imersinis teatras. Back to back trupė ,,Small Metal Objects"

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An ingenious theatrical gem, small metal objects unfolds amid the pedestrian traffic against the backdrop of the city. On a raised seating bank with individual sets of headphones, the audience is wired in to an intensely personal drama being played out somewhere in the crowd. Gary and Steve are the kind of men who normally escape notice. But here they play an inadvertent but pivotal role in the night of two ambitious executives they've arranged to meet for a transaction. As the intimacy of their situation develops, small metal objects becomes a sly and luminous depiction of everyday issues most take for granted.

small metal objects explores how respect is withheld from outsiders - the disabled or unemployed - who society deems 'unproductive'. Set against the shifting backdrop of the city, the notion that everything has its price couldn't be called into starker relief.

Devisors: Simon Laherty, Bruce Gladwin, Sonia Teuben, Genevieve Morris, Jim Russell

Director: Bruce Gladwin

Performers: Simon Laherty, Genevieve Picot, Jim Russell, Brian Tilley

Sound Design and Composition: Hugh Covill

Costume Design: Shio Otani

Developed with support from
Arts Victoria and assisted by the Australian Government through the Australia Council, its arts funding advisory body. Initiated through the Victoria Commissions, supported by the Victorian Government, through the Community Support Fund.

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small metal objects - Back to Back Theatre

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An ingenious theatrical gem, small metal objects unfolds amid the pedestrian traffic against the backdrop of the city. On a raised seating bank with individual sets of headphones, the audience is wired in to an intensely personal drama being played out somewhere in the crowd.

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Imersinis teatras. Punchdrunk ,,Under the Eiderdown"

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Imersinis teatras. Punchdrunk ,,Under the Eiderdown"

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Under The Eiderdown - Punchdrunk Enrichment

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The Missing Voice

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You are in a library. A woman's voice tells you:

I want you to walk with me. There are some things I need to show you.

Part urban guide, part detective story, part film noir, this audio walk transports individual listeners on foot through the streets and alley ways of Spitalfields, a historic part of London next to the City. Intimate, even conspiratorial in tone, it entwines the listener in an elusive narrative that shifts through space and time, confession, conjecture and dream.

In 1999, The Missing Voice (Case Study B) began in Whitechapel Library. The visitor was handed a portable CD player and told to go the crime section and to seek out a book called Dream of Darkness (1989) by Reginald Hill. A woman's voice starts confiding: A woman has gone missing. A detective's voice is heard. Some evidence, in the form of recordings and sightings, is found.

Since 2005, the library no longer exists. The building is now part of The Whitechapel Gallery. Listeners these days spend a few minutes in the gallery before heading out to re-trace the same route from Spitalfields towards the City of London. Many of the landmarks and signposts the narrator notes are the same: clothing stores and news stands; an empty church; the concourse of a busy station. Some things have changed. All the time the voice of the woman guides the listener and confides in them as they wander the streets of the city and the spaces of the mind.

Audio Walk: The Missing Voice (Case Study B) (Part One)

He reaches to pick up a book, leafs through a few pages and puts it back on the shelf. He's wandering off to the right. Pick up the book he looked at.

The Missing Voice (Case Study B) part one is available to listen to here (left) or to stream or download from Soundcloud.

But, The Missing Voice (Case Study B) is best experienced by streaming or downloading to your own portable audio device via Soundcloud to listen to whilst following the original route beginning at The Whitechapel Gallery, London. The walk takes around 45 minutes to complete and you are instructed where to go by the voices, no need for a map or guide.

Image: Janet Cardiff, The Missing Voice (Case Study B), 1999. Photograph: Gerrie van Noord

Audio Walk: The Missing Voice (Case Study B) (Part Two)

Here's another banana peel. One night when I was small, I went downstairs to get a glass of water. In the kitchen doorway a man's body hung from the neck.

The Missing Voice (Case Study B) part two is available to listen to here (left) or to stream or download from Soundcloud.

Image: Janet Cardiff, The Missing Voice (Case Study B), 1999. Photograph: Gerrie van Noord

Audio Walk: The Missing Voice (Case Study B) (Part 3)

I lie awake feeling the bed breath beneath me. If I stop breathing, it stops too. Let's go outside now. The exit is at the back of the church.

The Missing Voice (Case Study B) part three is available to listen to here (left) or to stream or download from Soundcloud.

Image: Janet Cardiff, The Missing Voice (Case Study B), 1999. Photograph: Gerrie van Noord

Making The Missing Voice (Case Study B)

By Janet Cardiff, Lethbridge, September 1999

Sometimes I don't really know what the stories in my walks are about. Mostly they are a response to the location, almost as if the site becomes a Rorschach test that I am interpreting. For me The Missing Voice was partly a response to living in a large city like London for a while, reading about its history in quiet libraries, seeing newspaper headlines as I walked by the news stands, overhearing gossip, and being a lone person getting lost amongst the masses. Normally I live in a small town in Canada, so the London experience enhanced the paranoia that I think is quite common to a lot of people, especially women, as they adjust to a strange city. I was trying to relate to the listener, the stream of consciousness scenarios that I invent all of the time in my mind as I see someone pass or walk down a dark alley. It is one of my frustrations and entertainments to constantly have these alternative visions and voices, quite often scary or violent, running through my brain as I encounter the simplest of realities. I think it is a desire to dramatize my life, make it real by making it filmic or probably the result of reading too many detective novels or watching too many movies.

Part of my process for this piece was to walk around and take notes on my mini voice recorder. While relistening to these notes in my apartment I realized how this voice became another woman, a different character from myself, a companion of sorts. Also this voice seemed metaphorically to represent how we all have multiple personalities and voices. I saw the woman in the story as being alienated from her own self, but searching for herself through this voice, play-acting, creating false dangers and love affairs, wanting her own story dramatized. At the same time her "voice over" the one that speaks in the third person removes her from the story, keeps her at a safe distance.

Perhaps it is the nature of the walkman as a medium, but most often the stories I use are about the difficulties of relationships and real communication. I see the device of the walkman as a way to have surrogate relationships. I talk with someone intimately, create a relationship, but I am at a safe distance. It is a coward's way but I hope that my pieces give people a sense of knowing someone a little, even if it is only with a unknown voice, a missing one.

Image: Janet Cardiff, The Missing Voice (Case Study B), 1999. Photograph: Gerrie van Noord

Inner City

Inner City explored the interface of the city and the word in both its spoken and written forms. It will encourage writes and artists to excavate a range of urban places and contemplate the changing nature of city environments and the counterpoint between narrative and place; between language and location.

Writers and thinkers of all kinds - from architectural and social historians and urban geographers to scientists, philosophers, poets and novelists - have been invited to consider different aspects of the inner city, and work with us to define an appropriate form for the expression of their ideas, spoken or written, live or recorded.

A significant opportunity to speak to new audiences in new ways, Inner City builds on the current appetite for new thinking across art forms and relocates it in the many centers of the metropolis - in the places we think we know, as well as the places that elude us.

Projects range from the re-invention of a traditional form of address (the lantern lecture; the walking tour) to pre-recorded audio guides for particular places by artists; the urban environment viewed as a historical network of personal experience, pathways and relocollections; an A-Z of the city's insides.
Surface Noise The Art of Legislation The Vertical Line Rodinsky's Whitechapel The Missing Voice (Case Study B)

Janet Cardiff

Janet Cardiff has built a growing international reputation with her highly distinctive body of site-specific work that comprises walks, sound-pieces and installations. Currently based between Berlin, Germany and Grindrod, British Columbia, Canada, her other audio-walks have taken place in locations such as the Mall in Washington DC (Words Drawn in Water, 2005), the Hebbel Theatre in Berlin (Ghost Machine, 2005) and Musée d'Art Contemporain in Montreal (Conspiracy Theory / Théorie du complot, 2003). Working with her longtime collaborator George Bures Miller - with whom she has forged a critically hailed multimedia practice - Cardiff's installations have included The Murder of Crows (2008) at Berlin's Museum für Gegenwart and Pandemonium ( 2005) at the Eastern State Penitentiary in Philadelphia.

Images: Portraits of the artist Janet Cardiff, 1999. Photographs: Gerrie van Noord

Selected Press

You experience two realities at once. And you can begin to play this game afterwards, imagining that the apparently random street scenes around you are carefully choreographed and soundtracked to a mysterious design. - Steven Poole, the Guardian, 17 November 2001

This is the end point of Janet Cardiff's 'The Missing Voice (Case Study B)', a brilliant soundwalk, part history and part film-noir stream-of-consciousness, that started off at Whitechapel Library next door to Aldgate East tube station. The library no longer exists, either. It has migrated into the realm of dreams. - Time Out, 4 February 2008

Cardiff acts as hypnotist, keeping the visitor off-balance and conjuring up asteady stream of associations that are as diverse as the participants' memories - Gregory Williams, PAJ: A Journal of Performance and Art PAJ 59 (Volume 20, Number 2), May 1998

there's one part where a car comes down Wentworth Street and I say, stop and wait for the car. And even when I was replaying it to test it out I'd have to wait for that car. My body wouldn't allow me to step on the road, even though I knew it wasn't there. - Janet Cardiff interviewed by Robert Enright, Border Crossings magazine, issue 78, May 2001

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Part urban guide, part detective fiction, part film noir, Janet Cardiff's The Missing Voice (Case Study B) is a walking audio tour of London's East End.

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Art Angle trupė

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A door opens off a forgotten London street. The room was full but now it is empty. A newspaper rests on the sidetable. The year is 1895...

You descend into the darkness below. Into a subterranean expanse of deserted spaces. The cavernous interiors of The Clink Street Vaults, once the site of one of London's medieval prisons, have been transformed in time; indeed different times, from pre-history to the recent past. Above and below, there are intimations of activity, and glimpses into distant places. Darkness and light, object and sound merge to create other worlds both strange, and strangely familiar; visions both ancient and modern.

H.G. was the first ever commission made in Britain by acclaimed US theatre artist Robert Wilson and his long-term collaborator, sound and light architect Hans Peter Kuhn. It was their first major installation since their award-winning project for the 1993 Venice Biennale. Joining forces with British film production designer Michael Howells, they staged a fugitive encounter with time.

This re-edited excerpt of a video by celebrated filmmaker Mike Figgis documenting Robert Wilson and Hans Peter Kuhn's installation H.G. is also available to watch on Vimeo.

Image: On a table a copy of The Times dated 1895 and a glass engraved with the initials H G, a scene from H.G. 1995. Photograph: Stephen White

James Lingwood on H.G.

The mid-1990s was still a good time to search out unused, unwanted spaces in London - not as good as the early 1990s, but a lot better than now. The Clink Street vaults were like a huge underground street, in a part of London very near the City and very near the River Thames, but which every development boom had passed by (until the last one). From the street outside, it was impossible to have any idea of the scale of the spaces behind the facade.

Precisely when H.G. Wells entered the equation is unclear. 1995 was the 100th anniversary of The Time Machine, but the relationship was always understated, even if the first room did create an explicit connection with the first chapter of the book. The space was the starting point, rather than the book...

Read the rest of this essay.

Image: Outside The Clink Street Vaults, London 1996. Photograph: Stephen White

DVD: Robert Wilson & Hans Peter Kuhn: H.G.
£19.95 from Cornerhouse
Enter a dark Victorian dining room, full of curios and clues; dinner has begun but the guests have gone. Then onwards and downwards into the cavernous interiors of the Clink Street vaults by the River Thames in London, transformed into an extraordinary sequence of time tableaux by theatre visionary Robert Wilson and audio artist Hans Peter Kuhn.

Celebrated film-maker Mike Figgis takes his camera on a disconcerting subterranean journey through time and space. Edited by Jo Ann Kaplan, the film includes footage of Wilson's lecture at the Royal Geographical Society and interviews with Hans Peter Kuhn and production designer Michael Howells.

Artists: Hans Peter Kuhn, Mike Figgis & Robert Wilson

Running Time: 52 minutes 32 seconds

Colour/PAL

DVD Region: 2

Aspect Ratio: 4:3 (190mm x 135mm)

Sound: Stereo

Language: English

Selected Press

The connecting theme of time travel - the H.G. in question being of course the author of The Time Machine - provides the opportunity to mount a series of stunningly theatrical tableaux. In one barrel-vaulted dungeon, a mummified corpse lies surrounded in billowing fog. Above, hovering in mid-air, hang a severed hand and goblet. Through a barred door it is possible to glimpse, in the distance, a sunlit jungle glade with fluttering foliage and crying birds. A ragged gap in the wall reveals a ruined classical city with arrows above which are miraculously suspended in the air. The effect is close to fiction of the magic realist school - a series of detached, mesmerisingly exact, images. - Martin Gayford, The Spectator, 14 October 1995

What Wilson and Kuhn achieve is the personalisation of history, distilling it from something vast and unfathomable into something intensely personal and meaningful. Like HG Wells's angel, we can only stare and wonder. - Lyn Gardner, The Guardian, 14 September 1995

...evocative and scary, beautiful and funny, hugely inventive and utterly unexpected. - Charles Hall, Art Review, October 1995

Wilson leaves it to us to draw our conclusions, with the warning that if we try too hard we could miss out on the experience. His vaulting imagination affords humour as well as the drama of a theatrical event. This is the Madame Tussaud's I always hoped for as a child. - Daniel Farson, The Mail on Sunday, 8 October 1995

Robert Wilson

Since the late 1960s, Robert Wilson's productions have decisively shaped the look of theatre and opera. Through his signature use of light, his investigations into the structure of a simple movement, and the classical rigour of his scenic and furniture design, Wilson has continuously articulated the force and originality of his vision. Wilson's close ties and collaborations with leading artists, writers and musicians continue to fascinate audiences worldwide.

Of Wilson's artistic career, Susan Sontag has said "it has the signature of a major artistic creation. I can't think of any body of work as large or as influential." Wilson was educated at the University of Texas and arrived in New York in 1963 to attend Brooklyn's Pratt Institute. Soon thereafter, Wilson set to work with his Byrd Hoffman School of Byrds and, together with his company, developed his first signature. Regarded as a leader of Manhattan's then-burgeoning downtown art scene, Wilson turned his attention to large-scale opera and with Philip Glass created the monumental Einstein on the Beach (1976), which achieved worldwide acclaim and altered conventional notions of a moribund form.

Wilson has worked with major European theaters and opera houses collaborating on landmark original works that were featured regularly at the Festival d'Automne in Paris, Der Berliner Ensemble, the Schaubühne in Berlin, the Thalia Theater in Hamburg, the Salzburg Festival. His numerous awards and honors include an Obie award for direction, a Golden Lion at the 1993 Venice Biennale, the 3rd Dorothy and Lillian Gish Prize for Lifetime Achievement, the Premio Europa award from Taormina Arte, two Guggenheim Fellowship awards, the Rockefeller Foundation Fellowship award, a nomination for the Pulitzer Prize in Drama, election to the American Academy of Arts and Letters, and the National Design Award for Lifetime Achievement. He has been named a "Commandeur des arts et des letters" by the French Minister of Culture.

Images: Detail of creature in it's tank, next to a sunken bottle engraved with the initials H.G. (left) Photograph: Stephen White. Portait of Robert Wilson. Photograph: Horst, courtesy Byrd Hoffman Foundation (above).

Hans Peter Kuhn

Hans-Peter Kuhn is an artist based in Berlin whose primary interest lies in the creation of unusual audio environments. He has collaborated internationally with theatre director Robert Wilson, including on the Artangel project H.G., devising a series of compelling and original soundscapes to complement Wilson's epic stage visions. When Kuhn sets about making an installation for a particular place, he succeeds in transforming both architecture and ambience through the subtle juxtaposition of incongruous sound sources. Recent commissions include the Neville Street installation in Leeds and he is working towards a permanent work infront of the oldest building in Pasadena, California.

Images: Installation shot of pristinely made hospital beds neatly arranged in rows for Robert Wilson and Hans Peter Kuhn's H.G. 1996 (left) Photograph: Stephen White. Portrait of the artist Hans Peter Kuhn, 1992. Photograph: Gerhard Kassner

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A door opens off a forgotten London street. The room was full but now it is empty. A newspaper rests on the sidetable. The year is 1895... You descend into the darkness below. Into a subterranean expanse of deserted spaces.

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100% Hong Kong
(c) Ray@TR Concept and Visual Atelier
For any use of photos of 100% Hong Kong, all users need to contact press@wkcda.hk
Every use of the photo shall be subject to payment of a fee. Please contact the photographer.

100% Kaohsiung
(c) National Kaohsiung Center for the Arts (Weiwuying)

100% Marseille
The use of the photo is free of charge.

100% Brisbane
The use of the photo is free of charge.

100% Penang
100% Penang

@YEW KOK HONG / George Town Festival
info@georgetownfestival.com
Tel: +604 261 6308
The use of the photo is only free of charge in the context of the announcement of performances and with denomination of the author. Any further use of the photos, for example for illustration of reviews, shall be subject to payment of a fee. Please contact the photographer.

100% Darwin
© Tim Mitchell
The use of the photo is only free of charge in the context of the announcement of performances and with denomination of the author. Any further use of the photos, for example for illustration of reviews, shall be subject to payment of a fee. Please contact the photographer.

100% Brussels
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RAW anfordern unter pigi.psimenou@gmail.com
The use of the photo is only free of charge in the context of the announcement of performances and with denomination of the author. Any further use of the photos, for example for illustration of reviews, shall be subject to payment of a fee. Please contact the photographer.

100% Tokyo
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100% Dresden
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The use of the photo is only free of charge in the context of the announcement of performances and with denomination of the author. Any further use of the photos, for example for illustration of reviews, shall be subject to payment of a fee. Please contact the photographer.

100% Cologne
100 Percent Cologne

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A Statistical Chain Reaction

100 citizens that represent their city in 5 criteria, a sample, a cross-section of the society, always assembled into ever changing new group pictures on a big revolving stage. Sorted according to age or address, gender, political leanings, preferred local pub, means of transport, sandwich spread, playwright and then, bit by bit, as a sea of voices, as a geometric body on 100 square metres of stage..

Concept: Helgard Haug, Stefan Kaegi, Daniel Wetzel
Setdesign: Mascha Mazur, Marc Jungreithmeier
Dramaturgy (100% Berlin): Cornelius Puschke

Produced by Rimini Protokoll in coproduction with HAU Hebbel am Ufer
Worldpremiere: 01.02.2008, HAU 1 Berlin, 100% Berlin
Since then, new location-specific variants in more than 35 cities in cooperation with local teams.
Making of "100% Melbourne"

From John Paul Tansey

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100% Hong Kong (c) Ray@TR Concept and Visual Atelier For any use of photos of 100% Hong Kong, all users need to contact press@wkcda.hk Every use of the photo shall be subject to payment of a fee. Please contact the photographer.

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Dokumentinis teatras. ,,Apie baimes" Jaunimo teatras. O. Lapina

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Dokumentinis teatras. ,,Apie baimes" Jaunimo teatras. O. Lapina

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Skendimas | Iš Olgos Lapinos spektaklio ,,Apie baimes"

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Dokumetinis teatras. ,,Žalia pievelė''. LNDT. J. Tertelis

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Dokumetinis teatras. ,,Žalia pievelė''. LNDT. J. Tertelis

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Ignalinos AE pristatytas spektaklis „Žalia pievelė“

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Dokumentinis teatras. ,,Dreamland". LNDT. M. Jančiauskas

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Dokumentinis teatras. ,,Dreamland". LNDT. M. Jančiauskas

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LNDT dokumentinio spektaklio DREAMLAND anonsas

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Dokumentinis teatras. ,,Lietaus žemė'' Atviras ratas.

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Dokumentinis teatras. ,,Lietaus žemė'' Atviras ratas.

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Teatras 1 modulis. 4 mokymu dalis. 02 24

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Teatras 1 modulis. 3 mokymu dalis. 02 17

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Teatriniai pratimai ir žaidimai - Jūratė Grigaitienė | Patogupirkti.lt

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Teatriniai pratimai ir žaidimai - Jūratė Grigaitienė knyga. Kviečiame įsigyti internetu gera kaina. Nemokamas pristatymas į paštomatus nuo 20€.

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Trailer: as long as we are playing (8+) - kabinet k/LOD muziektheater/hetpaleis | Tweetakt 2020

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horses, joke laureyns & kwint manshoven, kabinet k - 2017

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Both beginning actors and their teachers will welcome this delightfully fresh book. It tells the how, when, what, and why of theatre games for young performers. The basics of pantomime, improvisation, voice control, monologues and dialogues presented in game formats with exercises and work sheets. This exceptional text is a classic, and a must for any theatre library or drama classroom.

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Theatre Games for Young Performers: Improvisations and Exercises for Developing Acting Skills (Contemporary Drama)

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Both beginning actors and their teachers will welcome this delightfully fresh book. It tells the how, when, what, and why of theatre games for young performers. The basics of pantomime, improvisation, voice control, monologues and dialogues presented in game formats with exercises and work sheets...

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https://www.amazon.co.uk/Learning-Through-Drama-Primary-Years/dp/1447877322

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Learning Through Drama in the Primary Years

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'Learning Through Drama' contains drama strategies and lesson plans for use with primary school children across the curriculum. The book provides guidance to teachers who have never taught drama before but are considering using it in a subject area such as science or history and offers new approaches to those familiar with common drama techniques (such as hot-seating and teacher in role).

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Teaching Drama: The Essential Handbook: 16 Ready-to-Go Lesson Plans to Build a Better Actor

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Amazon.com: Teaching Drama: The Essential Handbook: 16 Ready-to-Go Lesson Plans to Build a Better Actor: 9781496093387: Casado, Denver: Books

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Theories and techniques of some of the greatest theatre practitioners including Sanford Meisner, Constantin Stanislavski, Lee Strasberg and Uta Hagen provide a basis for Samantha Marsden's original exercises for students between these ages. You won't find Duck, Duck, Goose, Zap, Zap, Boing - or any other traditional drama games in this book: instead, the craft of acting technique takes the limelight.

These exercises have been tried and tested in the author's own classroom, and are guaranteed to inspire, ignite imagination and encourage heartfelt performances. Focus points used in leading drama schools such as voice, movement, relaxation, character development and understanding text are recreated for a younger student. They are easy to follow and will be fun, challenging and immensely rewarding for teachers and students alike.

The book features a foreword by Paul Roseby, CEO and Artistic Director of the National Youth Theatre.

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100 Acting Exercises for 8 - 18 Year Olds

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100 Acting Exercises for 8 - 18 Year Olds [Marsden, Samantha] on Amazon.com. *FREE* shipping on qualifying offers. 100 Acting Exercises for 8 - 18 Year Olds

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This best-selling book by Viola Spolin offers the most comprehensive theater instruction for all types of students, from small children to young adults. It includes over 130 theater games, plus exercises and instructional strategies. First developed by Spolin, the originator of modern improvisational theater techniques, these games have been tried and tested for over fifty years.

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Theater Games for the Classroom: A Teacher's Handbook

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This best-selling book by Viola Spolin offers the most comprehensive theater instruction for all types of students, from small children to young adults. It includes over 130 theater games, plus exercises and instructional strategies. First developed by Spolin, the originator of modern improvisati...

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A follow up to the highly successful Drama Games for Classrooms and Workshops. Jessica Swales provides invaluable insight and experience in a series of exercises and games designed to free up creativity and release the imagination. After the success of the first book in NHB's new Drama Games seri...

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101 highly effective games and exercises suitable for use in teaching drama lessons, workshops or rehearsals with children, young people or adults. Chapters include improvisation, mime, ice-breakers, group dynamics, rehearsal, story-telling, voice and warm-ups. This unique book has been developed by a professional theatre director through workshops and training with actors, teachers and children around the world. Foreword by David Wood, OBE. 'Belongs amongst the top 10 books any director or drama teacher should own.' - English Touring Opera. 'I am always on the look out for resources that will help me in the studio and this book is perfect! The language used is straightforward and the instructions are easy to follow.' - Bernadette Collins, UK. 'I have to thank you for providing the most creative resources I have ever seen to educate and entertain young children.' - Matt Brown, Milwaukee, USA.

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101 highly effective games and exercises suitable for use in teaching drama lessons, workshops or rehearsals with children, young people or adults. Chapters include improvisation, mime, ice-breakers, group dynamics, rehearsal, story-telling, voice and warm-ups. This unique book has been developed...

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J. Miltinio dramos teatro tinklalaidės ,,Teatro cechai”

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J. Miltinio dramos teatro tinklalaidės ,,Teatro cechai”

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Teatro cechai - #1 Suvirintojas-santechnikas ir stalius | JMDT

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Projektas MILTINIS #ANTRYŠIO pristato dar vieną naują rubriką - interviu su nematomų profesijų atstovais - TEATRO CECHAI! Žiūrovai turės išskirtinę galimybę ...

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Philipe Genty (Prancūzija)

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Please click here if you are not redirected within a few seconds. Born : 1938 (age 84 years) Aug 6, 2012 · Subscribe for more of Jim Henson's Red Book!

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2:35 Kas yra emocijos ir kiek jų yra?

5:04 Pyktis ir kaip su juo kovoti?

8:05 Džiaugsmas ir kur jį padėti?

9:50 Liūdesys ir kaip jį nugalėti?

13:56 Nepasitenkinimas ir ką su juo daryti?

16:08 Pasibjaurėjimas ir kas jį sukelia?

19:00 Nuostaba ir kada ji ištinka?

23:30 Daina apie biblioteką.
Jums reikės:

vietos pajudėti ir bent vieno šeimos nario ar draugo, su kuriuo norėtumėte savo emocijomis pasidalinti.
Rekomenduojama literatūra:

1. Katulis ir pykčio maišelis, Tuula Korolainen, 2016, 28 p.

2. Mano jausmai: [44 jausmai, kuriuos verta pažinti], Jennifer Moore-Mallinos, Gustavo Mazali, 2018, 96 3.

3. Mano jausmai: kaip elgtis, kai užvaldo įvairios emocijos, Aurélie Chien Chow Chine, 2019, 95 p.

4. Pasakyk, ką jauti, Cristina Núñez Pereira, Rafael R. Valcárcel, 2017, 94 p.

5. Spalvų monstriukas, tekstas ir iliustracijos: Anna Llenas, 2016, 40 p.

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Šeimadienių biblioteka - Savęs pažinimas

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2:35 Kas yra emocijos ir kiek jų yra? 5:04 Pyktis ir kaip su juo kovoti? 8:05 Džiaugsmas ir kur jį padėti? 9:50 Liūdesys ir kaip jį nugalėti? 13:56 Nepasitenkinimas ir ką su juo daryti? 16:08 Pasibjaurėjimas ir kas jį sukelia? 19:00 Nuostaba ir kada ji ištinka? 23:30 Daina apie biblioteką.

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Teatras 1 modulis. 2 mokymu dalis. 02 10.

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Teatras 1 modulis. 1 mokymu dalis. 02 03

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Boats engages children and their families in accessible play that transforms familiar space into something wild, unpredictable and fun. ...