Hybridization workshop of analog and digital painting on mobile surfaces
Concept definition: In a permanently interconnected world, the fragile border between what is real and what is virtual is completely blurred.
The continuous progress of digital technology leads the human being to a radical change of perspective on existence.
In the art world the implications of this continuous change are also profound: The performing, visual and musical arts find other ways to interconnect. New creative processes emerge, uniting minds from any corner of the planet.
In this context, with this workshop we intend to hybridize the analog world with the digital one, using new technologies that merge the material world with a universe made of bits, experimenting together with artists from other countries and from different disciplines.
And create worlds that question what is real and what is not … if there is something real.
Workshop by Insectotropics
Workshop on site-specific Performance with stilts
Workshop by Clara García & Claudio Machado
What is the difference between theater and film? And how can we enrich the performance by adding filmic adjustments? In this workshop we will work towards the production of a short film that will be shown on the last Monday of Winterwerft, starting from a research within physical theater. With the theme “Entangled” as a starting point, you work with elements like light, silence and space in a collaboration. As a next step, you will, in conversation with filmmakers, explore the visualization of what you found.
We will transform our human bodies towards different elements. What if we are not a human, but a root, cel or ecosystem?
Led by Edith, Maximilian, Marijn, Zaida
Participants: max 12
The workshop will be focused on the use of physical theatre methods and skills in order to create powerful images and constellations in (public) space simply using the bodies of the performers. Through guided physical improvisations, participants will be encouraged to playfully interact and connect with each other and with the surrounding space. A creative and surprising dialogue with mundane urban scenery will be established.
Menthors: Grega Močivnik, Nina Vombergar
In this workshop, Dijana Milošević of DAH Teatar takes the participants through improvisational exercises that explore the ways in which the personal and the political intersect. Through this work, the physical exploration of various levels of attention becomes the groundwork for political action. Participants should be willing to use their body and move. Comfortable clothes and flat shoes or socks are required.
Is there a “dramaturgy” in training? Is there a training that can be understood as specifically “theatrical”, beyond the training or specific stage languages? How does the group and the individual, the age, the different artistic biographies combine in a training? Does a certain training inevitably lead to a specific stage poetics?
-Plastics: articulatory dynamics, compensation and segmentation, improvisation and composition exercises.
-Dynamics-impulse-relation: with a free body and with connections.
-Corporeal rhythmic: pulsations and accents, binary and ternary dynamics, corporeal voice-rhythmic relationship, rhythmic in space.
-Pre-acrobatics and exercises of corporeal grammar: stretching and openings, descents/climbs, keys, jumps and falls, composition.
-Actor’s acrobatics: floor, dynamic and in pairs. Postural and dynamic exercises. Composition and improvisation.
-Exercises with objects: introduction with long sticks and chairs.
-Traditional source songs, useful for training practice and group work: monodic songs and choral bases, from drones to polyphonies.
-Techniques of Chironomy.
-Intonation, octave dynamics and modulation.
-Singing and space in group dynamics.
-Applied prosody: articulation and pronunciation exercises.
-Speech-training relationship. Singing-training relationship.
On actions and creative work
-Composition and dramaturgy of the actor. Codified, mixed and free techniques.
-Other dramaturgical levels: spatial, sonorous, chromatic, rhythmic.
-The sequencing of the exercises.
-Comfortable training clothes
-Soft kneepads, volleyball type.
-Each actor must bring an elegant costume, complete with shoes.
Workshop by Raul Iaíza. Assistant Simone Lampsis.
Dance Theatre and Stone Collage[/qode_banner]
The workshop is articulated in two parts:
1. Emotional Collage: using the approach of traditional collage-making we will explore possibilities and associations
rising from different materials with a special focus on stone, earth and similar elements from the nature. Each
participant will create its own personal “emotional-collage”
2. Composition: In the second part we will work on body reactions to specific sensory input developing a short sequence.
For this work the collage from the first part of the workshop will be integrated in the process and creation.
This workshop explores the possibility of embodying sensory input from the natural elements in the movement and use them
as inspirational tools for composition and improvisation.
Workshop by Anna D’Errico
The most important lesson we have to learn by working with masks is that the true art of the actor is precisely “behind the mask”, in his effort to make something that exists only in our imagination come to life, and that we really need only one thing to make theatre: the actor’s body.
“Behind the Mask” is the work of an actor who has to develop a technique of movement and construction of the character that gives life to this powerful object.
This workshop allows the participants to carry out a detailed work on the compositional elements of the construction of the character, the fundamental rules of the use of the mask, an introduction to the “training” of the character and the possibility to experience the creation and staging of short scenes
Workshop by Teatro Strappato
Workshops on stage design and site-specific performance
Theatre and Voice Workshop
by Teatr Brama