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ONESTAGE - BOTTEGA DELLE ARTI CREATIVE Il Project Leader di Undercreative network è  LA BOTTEGA DELLE ARTI CREATIVE - ONESTAGE PERFORMING ARTS PROJECT - ROMA - ITALIA. La Bottega Arti Creative - Onestage, nasce a Roma nel settembre 2012, sita all’interno di un quartiere periferico della città. Centro culturale e luogo di aggregazione per la popolazione di tutte le età attraverso attività formative e performative. Aperta tutti i giorni dalle 10.00 alle 23.00. Sin da subito affianca ai numerosi corsi di formazione artistica, dai 3 anni fino alla terza età, una stagione teatrale con spettacoli per ogni genere di pubblico. La Bottega delle Arti Creative si propone di utilizzare l’arte del teatro e tutte le arti performative e visive come mezzo di liberazione e di espressione del singolo individuo e della collettività, incoraggiando i propri allievi a ricercare un proprio originale linguaggio comunicativo. La Bottega propone anche dei corsi di avviamento professionale, e workshop internazionali. Nei 4 anni della sua attività ha gestito un festival artistico “Festival della giovane creatività”, portando l’arte nelle strade e nei luoghi urbani del quartiere e coinvolgendo migliaia di persone ogni anno, avviando così un fruttuoso rapporto con il territorio e le sue istituzioni.
MIND MOVEMENT RESEARCH Wer wir sind Mind Movement Research wurde 2012 als Duo in Warschau gegründet und bestand zunächst aus Eric Wilcox (USA) und Jan Romberg (DE), später kam Lukasz Szydlik (POL) dazu. Künstlerischer Schaffensweg Pantomimetheater ist eine Art von Theater, die ohne Sprache kommuniziert. Daher ist es schwer zu beschreiben - es gibt keine schlicht keine Worte dafür. Das Wesen dessen, was wir tun und zeigen findet noch vor der Sprache statt – geht also tief in persönliche Themen der Menschheit und Identität. Jeder Mensch ist ein Pantomime. Kontinuierlich und oft unbewusst benutzen wir unseren Körper, unser Gesicht und unsere Hände in Gesten, kopieren andere und machen nach. Auf der Grundlage dessen hat sich vor langer Zeit eine theatralische Kunstform entwickelt. Die Kunstform des Pantomimetheaters wie wir es heute kennen, ist aber gerade im letzten Jahrhundert entstanden. Diese Kunstform erfordert ein hartes Training - körperlich und geistig. Und so ist es körperliches, aber auch psychisches Theater. Die wesentlichsten Konzepte der modernen Pantomime sind: Reflexion, Identifikation, Kompression von Zeit und Raum, um Gedanken auszudrücken und die Phantasie des Publikums auszunutzen. Wir dürfen dabei aber nicht faul werden und uns darauf verlassen, dass wir nur irgendetwas auf der Bühne anstellen und hoffen, dass die Leute sich schon irgendetwas darunter vorstellen und davon von selbst unterhalten werden. Wir arbeiten sorgfältig, um einen pre-verbalen, gemeinsamen kulturellen Raum zu schaffen und dem Publikum unsere Welt zu zeigen. Erwartungen für die Zukunft Wir wollen zeigen, dass Pantomimetheater reich sein kann, indem wir nach großen Ensemble-Produktionen streben, die alles haben, was man im Theater erwarten kann - Kostüme, Live-Musik, Bühneneffekte. Und wir sind offen für Pantomimekünstler und schauen nicht herab zu einem, auch wenn seine Technik vielleicht alt oder überholt sein sollte. Welttheater zu zeigen und einladend zu sein sind unsere Ziele - wir haben sie heute noch nicht erreicht.
PARADA ROMANIA Fundatia PARADA este o organizatie romana neguvernamentala, apolitica, nonprofit, infiintata prin Hotararea Judecatoreasca nr. 29 din 15 februarie 1996, cu avizul  Ministerului  Tineretului si Sportului si recomandata de Ministerului Culturii si Cultelor, membra din anul 2002 a Federatiei Organizatiilor Neguvernamentale pentru Protectia Copilului (FONPC)  si din 2010 a Retelei Romanian Harm Reduction Network.  Pe plan european, Fundatia PARADA a aderat la reteaua Caravan (Retea de Scoli de circ social) si la Dynamo International (Travail de rue). Scopul statutar al Fundatiei PARADA il reprezinta sprijinirea copiilor, tinerilor si familiilor fara adapost, prin intermediul unor servicii integrate de asistenta sociala, educativ-formative si de integrare socio-profesionala. Misiunea Fundatiei Parada este re/integrarea sociala completa si stabila a a persoanelor in risc de excluziune sociala, prin folosirea unui demers participativ, prin care beneficiarii serviciilor sunt la inceput partenerii Fundatiei si apoi actorii propriei dezvoltari personale si ai propriei vieti.  Fundatia Parada nu este un loc de recuperare sociala, este un loc in care beneficiarii serviciilor dobandesc instrumentele necesare pentru construirea individuala a unui parcurs de viata valorizant.   Serviciile oferite de Fundatia Parada sunt concepute ca un ciclu complet, menite sa asigure o integrare sociala completa si stabila beneficiarilor, folosind un demers participativ prin care sunt valorificate toate resursele individuale ale copiilor si tinerilor implicati in programele de asistenta sociala. “CARAVANA” – Asistenta stradala de  zi si de noapte  Centrul de Zi Apartament social Proiectul de circ social Centrul educational (Situat in Scl 95 din sect 3, Bucuresti) Sprijin gazduire Tineri si Familii in Dificultate  Premii obtinute: PREMIUL UNICEF 2000 – 18 noiembrie PREMIUL ARTUSI pentru ANUL 2000 – 25 iunie PREMIUL PENTRU “CLOWNUL SPERANTEI” – 26 noiembrie 1999 PREMIUL ALBERT SCHWEITZER 2000 – 3 septembrie 1999 Fundatia PARADA desfasoara de 15 ani activitati, programe si proiecte sociale, de sustinere a copiilor si tinerilor fara adapost din Bucuresti, finantate fie din surse private (persoane fizice – din tara si strainatate – fundatii, fundatii de intreprindere, societati) sau institutionale, insa exclusiv externe (fonduri de cooperare ale diferitelor state, institutii europene sau internationale). Fundatia PARADA nu a beneficiat in toti acesti ani de fonduri publice romanesti, nici din partea institutiilor centrale, nici a celor locale. Aceasta caracteristica nu reprezinta din pacate o exceptie, ci mai curand o regula in peisajul organizatiilor non guvernamentale romanesti, si care desfasoara programe adresate direct beneficiarilor sau comunitatilor romanesti. Acest lucru nu s-a schimbat nici dupa 2007, momentul aderarii Romaniei la UE. Subventionarea ONG-urilor din suse publice ramane in 2011, in continuare, un deziderat, in context romanesc. Aceasta caracteristica face ca resursele de tip CSR sa reprezinta o parte importanta si continuu crescatoare in bugetul Fundatiei PARADA.
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Poznan Academy of Performing Arts

Akademia Sztuk Scenicznych PAPA w Poznaniu istnieje od października 2009 roku. Jako nieliczni w Polsce oferujemy wszechstronny program zajęć, pozwalający zgłębiać niemal każdy rodzaj teatru za kilku poziomach zaawansowania i zaangażowania. Warsztaty prowadzą uznani artyści z całej Polski oraz zagraniczni goście. Warsztaty adresowane są do wszystkich, niezależnie od wcześniejszego doświadczenia. Zarówno dla osób wiążących swoją przyszłość z aktorstwem, jak i tych wszystkich, którzy szukają niebanalnego sposobu na rozwój osobisty, kreatywne i aktywne spędzenie wolnego czasu, zrelaksowanie się i odcięcie od codziennych problemów. Akademia PAPA to nie tylko nauka, ale i zdobywanie doświadczenia scenicznego. Z nami masz okazję nakręcić filmy, wystąpić w spektaklu na scenie Akademii, zorganizować happeningi w plenerze, a nawet wyjechać wraz z zespołem naszego Teatru na festiwale teatralne w całej Polsce i Europie! 

LifeTender - Olga Domanska & Mareike Jung

Life Tender is a Polish German duet creating wordless theater productions. Their latest production Kopflos was already performed at the OFF Sytuacja Festival in Poznan and will be soon shown at the International MimeTheaterFestival Dresden. Kopflos is a visual theater performance, where two particulare figures with no head encounter each other. Head means concesnes and capacity of independent choice. A human strategic point. The body separated from the head loses the capacity of thinking in autonom way. Who in our society can be interested in bodies with no head? Performance Kopflos is poetical caricature of society who fallow established norms with no deeper reflection

Dodo Cabegna - Olga Domanska & Donia Sbika

Dodo Cabegna is a physical theater company founded in 2015 by Olga Domanska and Donia Sbika. It is an international company with its seat in Switzerland. Dodo Cabegna is looking for an original physical language, dedicating its creations to current and universal topics, and transforming them into a fusion of movement, dance, mime and visual- theatre. The company’s focus is on communicating ideas and feelings in a clear and honest way, dealing with human nature. Great emphasis is placed on the process of creation, including research of the material and explorations of corporal possibilities. Dodo Cabegna’s interest lies in blending the abstract with the concrete world. Tragedy meets humor and tenderness in their performances. Their performance „Silent Pact“ is based on a true story of two twin sisters extremely dependent on each other June and Jennifer Gibbons, who made a pact to keep themselves separate from the rest of the world, creating a secret language and mirroring each other’s movements. The twin sisters had lived like this for 29 years. They realized they were trapped, unable to „break out”. They said: „We tried to get back to the outside world but it was too late.

Hannah Senft

Hannah Senft is a mime actress and director from Berlin, Germany. She completed her artistic training at the Etage – School for Performing Arts and her Bachelor of Arts in Theatre and Literature at Freie Universität Berlin. She works for Companies as well as a Solo-Artist. Currently she is working on Solo-Shows which she writes and develops, in which she combines different means like mime, physical theatre, acting, singing and object theatre. Her current solo „Blueberry Rainbow“ celebrated its premiere in Italy. GERMAN: Hannah Senft ist Pantomime, Schauspielerin und Regisseurin aus Berlin. Sie absolvierte hier ihre künstlerische Ausbildung an der Etage – Schule für die Darstellenden Künste und erlangte ihren Bachelor of Arts in Theater- und Literaturwissenschaft an der Freien Universität Berlin. Aktuell arbeitet sie an Solo-Stücken, die sie schreibt und entwickelt, in denen sie verschiedene Elemente wie Mime, Physical Theatre, Schauspiel, Gesang und Objekttheater verbindet. Ihr aktuelles Solo „Blueberry Rainbow“ feierte Premiere in Italien. artistic vision/ way of artistic work Hannah Senft creates pieces which combine mime technique and poetic and simplistic aesthetics, with a strong emphasis on transporting emotions through acting. She works with Pantomime Technique, Mime Corporel, Emotional Work, Comedy and Storytelling, Imagination and Spirituality. And Blueberry Rainbows.
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Mime-Theatre "MI MInor"

Mime-theatre "MI MInor" (since 2008) - is a union of actors working and creating their projects, synthesizing the genre of pantomime, clownery, drama and physical theater. "MI MInor" is permanent participant of festivals and concerts in St. Petersburg (International Festival "Event", "Funny Festival", "Citrus Humor"), prize-winners of the festival "The White Mask", Moscow. Participants of the 30th International Pantomime Festival in Dresden and the International Pantomime and Physical Theater Festival in Berlin, as well as the International Leonid Yengibarov Festival in Armenia. RUSSIAN "МИ МИнор" (с 2008 г.)- это содружество актеров, работающих и создающих свои авторские проекты, синтезируя жанр пантомимы, клоунады, драму и физического театра. МИ МИнор - постоянные участники фестивалей и концертов в Санкт-Петербурге (Международный фестиваль "Событие", "Смешной фестиваль", "Цитрус Хъюмор"), призеры фестиваля "Белая маска", г. Москва. Участники 30-го Международного Фестиваля Пантомимы в Дрездене и Международного Фестиваля Пантомимы и Физического театра в Берлине, а также Международного Фестиваля имени Леонида Енгибарова в Армении. artistic vision/ way of artistic work Recent projects: 1) Regular performance of separate pieces and full show “Life ONLINE” (solo play) and working over new pieces in mime and physical theatre genre (ex. solo performance “Green Sleeves’ about Anna Boleyn queen (12+); play “The Little Mermaid” for 4 actors (6+); mime-performance “Lilit and Eve”, duet; the kids show “Palette of Fairy-tales”, duet) 2) Running mime studio/regular trainings for adults in Saint-Petersburg 3) Collaborating with film studio and drama school which works with people with hearing problems (giving mime classes for such people and taking part in the special video project where with the use of pantomime actors explain meaning of set phrases in our language) 4) Taking part in International festivals and workshops with professionals

Erica Bianco

Born in Crotone, Southern Italy, on December 18, 1990. She begins her training path in Rome (Italy), at the International Theater Academy (Accademia Internazionale di Teatro) where she learns the fundamentals of Jacques Lecoq's physical theatre. Afterwards she attends the Orazio Costa mimical school at the Teatro della Pergola in Florence, to study in deep the “Orazio Costa” mimic method process, while she masters her physical, prose and dramaturgy studies at the Teatro dell’Orologio’ school in Rome. She moves to Venice to further studies at the Venetian Theatre Academy (Accademia Teatrale Veneta), where she trains on dance theater, dramaturgy and directing. In 2016 she wins a national award to study at the Lee Strasberg Theatre & Film Institute in Los Angeles (CA), where she gains the American school's method acting. Since 2011 she is a performer and actress in theatres around the country, features in independent movie productions, works alongside companies producing contemporary arts shows. ITALIAN: Nata a Crotone il 18/12/1990. Inizia la sua formazione teatrale presso l’Accademia Internazionale di Teatro di Roma dove apprende le basi del teatro fisico di Lecoq. Prosegue la sua formazione presso Il Teatro della Pergola di Firenze, dove approfondisce lo studio del metodo mimico “Orazio Costa”, e nella Scuola del Teatro dell’Orologio di Roma, dove perfeziona i suoi studi sul teatro di movimento, teatro di prosa e scrittura scenica. Si trasferisce a Venezia per completare il percorso accademico presso l’Accademia Teatrale Veneta, dove porta avanti studi nell’ambito del teatro-danza, scrittura di scena e teatro di regia. Consegue una borsa di studio per il Lee Strasberg Theatre & Film Institute di Los Angeles (CA), dove apprende il method acting di scuola americana. Dal 2011 è interprete di diversi spettacoli di teatro, teatro-danza, e teatro ragazzi; collabora con diverse compagnie della scena romana di teatro e danza contemporanea e figura in diverse produzioni cinematografiche indipendenti artistic vision/ way of artistic work I love employing a theatrical and performative language that is intensely evocative that through physical, auditory and dramaturgical images and an extra-ordinary physical activity, would communicate to the audience transversally and universally the deepest values of a given piece. A performance and its designing should trace a perpendicular trajectory pointing towards the audience, to activate a critical dialogue between performer and audience that would change both their point of views in enriching ways.

Matteo Cionini

Professional Mime Performer and Teacher. Degree in Disciplines of Arts, Music and Theatre at the University of Bologna, at the Ecole Superieure de Nouveau Cirque of Bologna, and at the Performing Arts University of Turin. Also studied with many Mime and Clown teachers, such us Yves LeBreton, Corinne Soum and Steve Wasson, Johnny Melville, Familie Floz and others. As a performer, since 2007 he brings his shows all over the world, attending theatres and important festivals such as Edinburgh Fringe, Mim'Off, Yengibarian Mime Festival (Armenia), KonRak Mime Festival (Thailand), Cirkonvencion Mexikana, and others in Germany, Netherlands, Croatia, Spain etc etc... He teaches in the professional Physical Theatre School "Atelier Teatro Fisico" directed by Philip Radice, with a two-years course. He also collaborates with many Performing Schools in Italy and abroad. He speaks Italian, French, English, Spanish, Portugues, Pantomime. Some press quotes for his show "Senza Parole" (directed by Patrizia Besantini): “Engaging and funny” (Total Theatre Review, UK ) “A winning personality and a real charm” (Stage Review, IT) "Brimming with laughter" (The Skinny, UK) “His skill is extraordinary” (Il Monviso, IT) "It leaves no faces without smiles" (El Roll, MEXICO) A universal show that can stimulate the imagination in spectators all over the world. it is a funny and charming piece which manages to get several smiles out of the spectator, who never misses Cionini. He demonstrated to be a master of mime art, with massive physical expressive resources. (Laura Mas, SPAIN) description (local language) Matteo Cionini è attore e mimo professionista. Laureato in Discipline dell'Arte, Musica e Spettacolo all'Università di Bologna, al Corso Superiore di Nouveau Cirque alla Scuola di teatro di Bologna e presso la Performing Arts University Torino diretta da Philip Radice. Ha perfezionato la sua formazione nel Mimo e Teatro Gestuale con maestri come Patrizia Besantini, Yves LeBreton, Steve Wasson e Corinne Soum, Johnny Melville, André Casaca, Familie Floz e molti altri. Dal 2002 porta i suoi spettacoli in tutto il mondo: la sua esperienza sul campo spazia dal teatro classico all'arte di strada, dagli spettacoli per bambini al nuovo circo, dal teatro sperimentale alle performance per grandi eventi. Questa versatilità ha generato una visione del Teatro Gestuale come linguaggio universale e trasversale, minimo comune denominatore essenziale a qualsiasi genere e stile performativo. La sua ricerca nella didattica inizia nel 2008, e si è consolidata nel tempo collaborando con molte realtà formative nazionali. Alcune citazioni stampa del suo spettacolo "Senza Parole" (diretto da Patrizia Besantini): “Coinvolgente e divertente” (Total Theatre Review, UK ) “Una personalità vincente e un vero fascino” (Stage Review, IT) "Un sacco di risate" (The Skinny, UK) “La sua bravura è straordinaria” (Il Monviso, IT) "Riesce a non lasciare facce senza sorrisi" (El Roll, MEXICO) " Uno spettacolo universale che può stimolare l'immaginazione di spettatori di tutto il mondo. E' una pièce divertente e affascinante che riesce ad ottenere molti sorrisi dagli spettatori che non perdono mai di vista Cionini. Ha dimostrata di essere un maestro del mimo, con un mucchio di risorse espressive." (Laura Mas, SPAIN) artistic vision/ way of artistic work Apparently, I'm involved in many different kind of theatre: Mime, Drama, Street Shows, Multimedia, Edutainment, Experimental Performances... In my vision, it's all about the same thing: communication, reaching the audience, engaging them, expressing feelings and thoughts. As a tree, my art comes from a huge and deep set of inspirations (roots), and then it grows up everytime through a unique way: my body (the trunk), and then it multiplies in a vaste range of different ways and languages (branches and leaves). So, apparently my shows are so different each other: they are the final products. In my vision, it's always theatre, and theatre always starts with the body and the movements. Actions. Starting from that basis, it is possible to add other ingredients: multimedia, spoken words, magic... I love to explore Mime Art as a Universal basis for every kind of theatre. I also perform and direct "pure" mime shows: that's my artistic home. As a mime teacher, I teach to my students how to re-create our world, how to draw and make things exist in a realistic way, thanks to movements and gestures. After that, I teach them how to exceed reality and going to some kind of Magic Realism, where the rules of the real world can be re-written. expectations for the future I'm going to keep on exploring various kind of theatre, because i'm so curious: 1. Mime Art: I'll continue to teach mime and direct mime shows, thinking about international projects too. I also want to bring my show "Senza Parole" to some big festivals like Avignon. After having been represented more than 70 performances in many countries, i'm sure that this show would be ready to a real worldwide distribution. 2. Multimedia Theatre: I'm developing a brand new performing language that mixes pantomime and video-projected motion graphics. The first step of this research is an edutainment project for schools. I want to make this project grow up, because it receives always a huge interest from teachers and students. 3. Street Shows: Two new productions for next year. The first one is about Mime and Magics. The second one is a Site-specific Videomapping Mimic Performance project.

Auraco

Dance and mime theatre Auraco was founded in 2006 and is run by non-profit association Kuukulkurit ry. The company’s artistic directors are choreographer, dancer Päivi Aura and dancer, mime Kati Lehtola. The touring company is based in Helsinki, Finland. Since 2010 Auraco is one of the most internationally touring Finnish dance companies, with 14 countries so far in Europe and Asia. Auraco has participated in three different European Union co-funded projects as a partner. Auraco has a wide range of educational programme and collaborates with companies from several countries. local language Tanssi- ja miimiteatteri Auraco on perustettu vuonna 2006 ja sitä ylläpitää Kuukulkurit ry. Ryhmän taiteellisina johtajina toimivat koreografi, tanssija Päivi Aura sekä tanssija-miimikko Kati Lehtola. Kiertävän ryhmän kotipaikka on Helsingissä. Vuodesta 2010 lähtien Auraco on yksi eniten ulkomailla esiintyvistä suomalaisista tanssiryhmistä. Tähän mennessä Auraco on vieraillut 14 eri maassa, niin Euroopassa kuin Aasiassakin. Auraco on osallistunut kolmeen eri Euroopan Unionin osarahoittamaan projektiin partnerina. Auracolla on laaja koulutus- ja yhteistyöohjelma useiden ulkomaisten ryhmien/instituutioiden kanssa. Esityksissään Auraco luottaa esiintyjiensä läsnäoloon ja liikkeen herkkyyteen. Lavastuksen käyttö on vähäistä, ja esiintyjät täyttävät näyttämön luoden vastaanottavaisen ilmapiiriin. Suhde yleisöön on avoin ja herkkä; esitykset rikkovat katsojien ja esiintyjien välisiä rajoja. Yleisötyö on yksi Auracon työn peruselementeistä. artistic vision/ way of artistic work Auraco’s performances trust the performers’ presence and the vulnerability of the movement itself. With minimalistic or no décor, the performers fill the empty stage, creating a responsive atmosphere. The relationship with the audience is open and sensitive. The performances break boundaries between the performers and the audience. Audience development is a key element of Auraco’s work.

Cía. Mai Rojas y Los Escultores del Aire

"A delicious piece of fine pastry to be appreciated slowly". The above is a review describing our artistic work. The Co. Mai Rojas and The Sculptors of the Air is an international company based in Barcelona specializing in the production of professional shows of physical theatre. More specifically, using the language of Corporeal Mime as the basis for creation, we explore the infinite possibilities of cross-pollinating this with other theatrical arts such as circus, dance and object manipulation. The exceptional work of the company has toured around the world on various occasions and our shows have been seen in around thirty cities in Spain, the United Kingdom, Germany, United States, Cabo Verde, Macedonia, Poland, Morocco, Andorra, Portugal, Colombia, Puerto Rico and Costa Rica. The company has also been able to work with organizations of the prestige of Cirque du Soleil due to our adaptability and technical excellence. local language "Una deliciosa pieza de repostería fina para ser degustada lentamente". Así define la crítica nuestro trabajo. La Cía. Mai Rojas y Los Escultores del Aire es una compañía internacional con base en Barcelona. Se especializa en la producción de espectáculos profesionales de Teatro Físico y utiliza el lenguaje del Mimo Corporal como base de creación. Así consigue aprovechar sus infinitas posibilidades de mestizaje con otras artes teatrales como el Circo, la Danza o la Manipulación de Objetos. Su excelente labor de investigación en este género la ha hecho girar por numerosos escenarios alrededor del mundo y sus espectáculos han sido representados en una treintena de ciudades de España, Reino Unido, Portugal, Estados Unidos, Polonia, Cabo Verde, Alemania, Macedonia, Marruecos, Andorra, Colombia, Puerto Rico y Costa Rica. También ha podido trabajar con agrupaciones del prestigio del Cirque du Soleil gracias a su adaptabilidad y excelencia técnica. artistic vision/ way of artistic work - Excelencia Técnica - Propuestas de mestizaje entre diferentes artes escénicas

Septian Dwi Cahyo

"Septian Dwi Cahyo is a famous artist in Indonesia. Known in addition to his acting in several movies and tv programs is also known as a pantomime artist. He has been in the art world since the age of 9 years and has been crowned by Marcel marceau as the youngest pantomime player in the world. Besides being an actor he is also a director of several tv programs and was awarded as the favorite comedy director in the Panasonic award. Now he is focusing on education to develop children's creativity through pantomime art and chairman of the Indonesian pantomime artist association Imagination does not only belong to creativity and freedom, but it can be a power to realize a hope. With imagination we will be able to provide happiness, peace, preservation of nature and everything without limits. live without imagination like a tree without land. Mime art is communication of imagination between the player and the audience, non-verbal communication that is able to provide censorship to the body into feelings and sentiments. local language Imajinasi bukan hanya milik kreatifitas dan kebebasan, tetapi bisa menjadi sebuah kekuatan untuk mewujudkan sebuah harapan. dengan imajinasi kita akan mampu memberikan kebahagiaan, kedamaian, pelestarian alam dan semua tanpa batas. Hidup tanpa imajinasi bagaikan pohon tanpa tanah. Seni pantomim adalah komunikasi imajinasi antara pemain dan penontonnya, komunikasi non verbal yang mampu memberi sensor pada tubuh menjadi rasa dan sentimen. artistic vision/ way of artistic work Sharing imagination to enhance peace, happiness, creativity and humanity.

Bangkok Theatre Network

B-Floor is Thailand's vanguard physical theatre company. For almost 20 years, B- Floor has been at the forefront of creating highly visual theatre combining movement and multimedia elements, and stimulating social and political awareness. B-Floor's performances are developed through a process of creative collaboration known as Devised Theatre. B-Floor's plays often involve little or no script, focusing instead on highly visual and sensory storytelling that can communicate across borders of language and culture. B-Floor's productions strive to raise social awareness by communicating personal experiences and inner struggles, and the points of view of suppressed ideas, people and events. B-Floor has been called, “One of Thailand's best professional theatre companies” by The Nation, and “thoughtful, affecting and uncompromising” by The Bangkok Post. When reviewing B-Floor’s performance in the world-renowned Edinburgh Fringe Festival, The Scotsman wrote, “expect to be impressed, challenged and maybe even enlightened.” Since 2011, B-Floor has continuously been awarded in several categories for its various productions by the International Association of Theater Critics, Thailand Center (IATC), including Best Movement-Based Performance, Best Direction, Best Performance by an Ensemble, Best Performance by a Female Artist, Best Art direction, and Best Original Script. For both Thai and international audiences, B-Floor provides a necessary forum for reflection of Thai contemporary thought, values and society. B-Floor’s productions generate an exchange of experiences, opinions, attitudes, knowledge and concerns from a modern Thai standpoint. local language

Charles Nomwendé

MEA CULPA Mea Culpa is the author’s project of Charles Nomwendé TIENDREBEOGO, from Burkina Faso. Since 2018 he has been a member of Divadlo Continuo. From 2015 to 2017, he was a student in the framework of the Master’s programme of Physical Theater at the Accademia Teatro Dimitri, where he conceived the original concept of this creation. The project draws inspiration from the roots of African culture, its rituals, music, stories, rhythms, colours and ubiquitous spirituality, combining original natural religions and imported world religious systems. In this context, Charles Nomwendé TIENDREBEOGO tells the modern history of Africa, intertwined with bloodshed, genocide, corruption and the bloody struggle for power. Masks are playing a very essential role in the production of Mea Culpa. Their shape combines the tradition and original principles of the African mask and Commedia dell'arte masks with contemporary physical theatre practices that emphasize their use in relation to physical expression and dance. Erhard Stiefel, a long-time collaborator of Ariane Mnouchkine's Théâtre du Soleil, contributed to their creation as an external eye. And Colette Roy, a teacher at the Accademia Teatro Dimitri, was in charge of their construction. The music and sound composition are the work of Elia Moretti. He created the score based on real sound recordings from the daily reality of the city and nature in Burkina Faso. Story When they were still living on this earth, these ghosts were very influential people, guided by excessive ambitions. What then would justice be, and how could they deserve eternal rest, if everything that happens, everything that still harms the living beings on earth and for which these ghosts are responsible, is not repaired? From decision to action, present to past, life to death - to which musical rhythm will our soul dance to in the beyond? During one ordinary night the guardian of a cemetery is forced to lend his local language Mea Culpa Porjet et histoire Mea Culpa est un projet de Charles Nomwendé TIENDREBEOGO, originaire du Burkina Faso. Depuis 2018, il est membre de la compagnie Divadlo Continuo. De 2015 à 2017, il a été étudiant en Master of Physical Theater à l'Accademia Teatro Dimitri où, il a également conçu le concept original de cette création. Le projet s'inspire des racines mêmes de la culture africaine, de ses rituels, de sa musique, de ses histoires, de ses rythmes, de ses couleurs et de sa spiritualité omniprésente, combinant religions naturelles originales et systèmes religieux mondiaux importés. Dans ce contexte, Charles Nomwendé TIENDREBEOGO raconte l'histoire moderne de l'Afrique, entrelacée de sang versé, de génocide, de corruption et de lutte sanglante pour le pouvoir. Les masques jouent un rôle très essentiel dans la production de Mea Culpa. Leur forme combine la tradition et les principes originaux du masque d'Afrique et des masques de Commedia dell'arte avec des pratiques de théâtre physique contemporain qui mettent l'accent sur leur utilisation en relation avec l'expression physique et la danse. Erhard Stiefel, collaborateur de longue date du Théâtre du Soleil d’Ariane Mnouchkine, a contribué à leur création comme œil extérieur. Et Colette Roy, enseignante à l’Accademia Teatro Dimitri s’est chargée de leur construction. La musique et la composition sonore de la production sont l'œuvre d'Elia Moretti, qui l'a créée en s’inspirant de véritables enregistrements sonores de la réalité quotidienne de la ville et de la nature du Burkina Faso. Histoire Lorsqu'ils vivaient encore sur cette terre, ces fantômes étaient des gens très influents, guidés par des ambitions excessives. Que serait alors la justice, et comment pourraient-ils mériter le repos éternel, si tout ce qui arrive, tout ce qui nuit encore aux êtres vivants sur terre et dont ces fantômes sont responsables, n'est pas réparé ? De la décision à l'action, du présent au passé, de la vie à la mort - sur quel rythme musical notre âme dansera-t-elle dans l'au-delà ? Pendant une nuit ordinaire, le gardien d'un cimetière est obligé de prêter son corps à ces êtres invisibles, qui doivent renverser leur destin de damnation éternelle tout en essayant de se racheter.
UNDERCREATIVE.NET

PARTNERS OF THE PROJECT

ONESTAGE - BOTTEGA DELLE ARTI CREATIVE Il Project Leader di Undercreative network è  LA BOTTEGA DELLE ARTI CREATIVE - ONESTAGE PERFORMING ARTS PROJECT - ROMA - ITALIA. La Bottega Arti Creative - Onestage, nasce a Roma nel settembre 2012, sita all’interno di un quartiere periferico della città. Centro culturale e luogo di aggregazione per la popolazione di tutte le età attraverso attività formative e performative. Aperta tutti i giorni dalle 10.00 alle 23.00. Sin da subito affianca ai numerosi corsi di formazione artistica, dai 3 anni fino alla terza età, una stagione teatrale con spettacoli per ogni genere di pubblico. La Bottega delle Arti Creative si propone di utilizzare l’arte del teatro e tutte le arti performative e visive come mezzo di liberazione e di espressione del singolo individuo e della collettività, incoraggiando i propri allievi a ricercare un proprio originale linguaggio comunicativo. La Bottega propone anche dei corsi di avviamento professionale, e workshop internazionali. Nei 4 anni della sua attività ha gestito un festival artistico “Festival della giovane creatività”, portando l’arte nelle strade e nei luoghi urbani del quartiere e coinvolgendo migliaia di persone ogni anno, avviando così un fruttuoso rapporto con il territorio e le sue istituzioni.
MIND MOVEMENT RESEARCH Wer wir sind Mind Movement Research wurde 2012 als Duo in Warschau gegründet und bestand zunächst aus Eric Wilcox (USA) und Jan Romberg (DE), später kam Lukasz Szydlik (POL) dazu. Künstlerischer Schaffensweg Pantomimetheater ist eine Art von Theater, die ohne Sprache kommuniziert. Daher ist es schwer zu beschreiben - es gibt keine schlicht keine Worte dafür. Das Wesen dessen, was wir tun und zeigen findet noch vor der Sprache statt – geht also tief in persönliche Themen der Menschheit und Identität. Jeder Mensch ist ein Pantomime. Kontinuierlich und oft unbewusst benutzen wir unseren Körper, unser Gesicht und unsere Hände in Gesten, kopieren andere und machen nach. Auf der Grundlage dessen hat sich vor langer Zeit eine theatralische Kunstform entwickelt. Die Kunstform des Pantomimetheaters wie wir es heute kennen, ist aber gerade im letzten Jahrhundert entstanden. Diese Kunstform erfordert ein hartes Training - körperlich und geistig. Und so ist es körperliches, aber auch psychisches Theater. Die wesentlichsten Konzepte der modernen Pantomime sind: Reflexion, Identifikation, Kompression von Zeit und Raum, um Gedanken auszudrücken und die Phantasie des Publikums auszunutzen. Wir dürfen dabei aber nicht faul werden und uns darauf verlassen, dass wir nur irgendetwas auf der Bühne anstellen und hoffen, dass die Leute sich schon irgendetwas darunter vorstellen und davon von selbst unterhalten werden. Wir arbeiten sorgfältig, um einen pre-verbalen, gemeinsamen kulturellen Raum zu schaffen und dem Publikum unsere Welt zu zeigen. Erwartungen für die Zukunft Wir wollen zeigen, dass Pantomimetheater reich sein kann, indem wir nach großen Ensemble-Produktionen streben, die alles haben, was man im Theater erwarten kann - Kostüme, Live-Musik, Bühneneffekte. Und wir sind offen für Pantomimekünstler und schauen nicht herab zu einem, auch wenn seine Technik vielleicht alt oder überholt sein sollte. Welttheater zu zeigen und einladend zu sein sind unsere Ziele - wir haben sie heute noch nicht erreicht.
PARADA ROMANIA Fundatia PARADA este o organizatie romana neguvernamentala, apolitica, nonprofit, infiintata prin Hotararea Judecatoreasca nr. 29 din 15 februarie 1996, cu avizul  Ministerului  Tineretului si Sportului si recomandata de Ministerului Culturii si Cultelor, membra din anul 2002 a Federatiei Organizatiilor Neguvernamentale pentru Protectia Copilului (FONPC)  si din 2010 a Retelei Romanian Harm Reduction Network.  Pe plan european, Fundatia PARADA a aderat la reteaua Caravan (Retea de Scoli de circ social) si la Dynamo International (Travail de rue). Scopul statutar al Fundatiei PARADA il reprezinta sprijinirea copiilor, tinerilor si familiilor fara adapost, prin intermediul unor servicii integrate de asistenta sociala, educativ-formative si de integrare socio-profesionala. Misiunea Fundatiei Parada este re/integrarea sociala completa si stabila a a persoanelor in risc de excluziune sociala, prin folosirea unui demers participativ, prin care beneficiarii serviciilor sunt la inceput partenerii Fundatiei si apoi actorii propriei dezvoltari personale si ai propriei vieti.  Fundatia Parada nu este un loc de recuperare sociala, este un loc in care beneficiarii serviciilor dobandesc instrumentele necesare pentru construirea individuala a unui parcurs de viata valorizant.   Serviciile oferite de Fundatia Parada sunt concepute ca un ciclu complet, menite sa asigure o integrare sociala completa si stabila beneficiarilor, folosind un demers participativ prin care sunt valorificate toate resursele individuale ale copiilor si tinerilor implicati in programele de asistenta sociala. “CARAVANA” – Asistenta stradala de  zi si de noapte  Centrul de Zi Apartament social Proiectul de circ social Centrul educational (Situat in Scl 95 din sect 3, Bucuresti) Sprijin gazduire Tineri si Familii in Dificultate  Premii obtinute: PREMIUL UNICEF 2000 – 18 noiembrie PREMIUL ARTUSI pentru ANUL 2000 – 25 iunie PREMIUL PENTRU “CLOWNUL SPERANTEI” – 26 noiembrie 1999 PREMIUL ALBERT SCHWEITZER 2000 – 3 septembrie 1999 Fundatia PARADA desfasoara de 15 ani activitati, programe si proiecte sociale, de sustinere a copiilor si tinerilor fara adapost din Bucuresti, finantate fie din surse private (persoane fizice – din tara si strainatate – fundatii, fundatii de intreprindere, societati) sau institutionale, insa exclusiv externe (fonduri de cooperare ale diferitelor state, institutii europene sau internationale). Fundatia PARADA nu a beneficiat in toti acesti ani de fonduri publice romanesti, nici din partea institutiilor centrale, nici a celor locale. Aceasta caracteristica nu reprezinta din pacate o exceptie, ci mai curand o regula in peisajul organizatiilor non guvernamentale romanesti, si care desfasoara programe adresate direct beneficiarilor sau comunitatilor romanesti. Acest lucru nu s-a schimbat nici dupa 2007, momentul aderarii Romaniei la UE. Subventionarea ONG-urilor din suse publice ramane in 2011, in continuare, un deziderat, in context romanesc. Aceasta caracteristica face ca resursele de tip CSR sa reprezinta o parte importanta si continuu crescatoare in bugetul Fundatiei PARADA.
MMR
MMR

Poznan Academy of Performing Arts

Akademia Sztuk Scenicznych PAPA w Poznaniu istnieje od października 2009 roku. Jako nieliczni w Polsce oferujemy wszechstronny program zajęć, pozwalający zgłębiać niemal każdy rodzaj teatru za kilku poziomach zaawansowania i zaangażowania. Warsztaty prowadzą uznani artyści z całej Polski oraz zagraniczni goście. Warsztaty adresowane są do wszystkich, niezależnie od wcześniejszego doświadczenia. Zarówno dla osób wiążących swoją przyszłość z aktorstwem, jak i tych wszystkich, którzy szukają niebanalnego sposobu na rozwój osobisty, kreatywne i aktywne spędzenie wolnego czasu, zrelaksowanie się i odcięcie od codziennych problemów. Akademia PAPA to nie tylko nauka, ale i zdobywanie doświadczenia scenicznego. Z nami masz okazję nakręcić filmy, wystąpić w spektaklu na scenie Akademii, zorganizować happeningi w plenerze, a nawet wyjechać wraz z zespołem naszego Teatru na festiwale teatralne w całej Polsce i Europie! 

LifeTender - Olga Domanska & Mareike

Jung

Life Tender is a Polish German duet creating wordless theater productions. Their latest production Kopflos was already performed at the OFF Sytuacja Festival in Poznan and will be soon shown at the International MimeTheaterFestival Dresden. Kopflos is a visual theater performance, where two particulare figures with no head encounter each other. Head means concesnes and capacity of independent choice. A human strategic point. The body separated from the head loses the capacity of thinking in autonom way. Who in our society can be interested in bodies with no head? Performance Kopflos is poetical caricature of society who fallow established norms with no deeper reflection

Dodo Cabegna - Olga Domanska &

Donia Sbika

Dodo Cabegna is a physical theater company founded in 2015 by Olga Domanska and Donia Sbika. It is an international company with its seat in Switzerland. Dodo Cabegna is looking for an original physical language, dedicating its creations to current and universal topics, and transforming them into a fusion of movement, dance, mime and visual- theatre. The company’s focus is on communicating ideas and feelings in a clear and honest way, dealing with human nature. Great emphasis is placed on the process of creation, including research of the material and explorations of corporal possibilities. Dodo Cabegna’s interest lies in blending the abstract with the concrete world. Tragedy meets humor and tenderness in their performances. Their performance „Silent Pact“ is based on a true story of two twin sisters extremely dependent on each other June and Jennifer Gibbons, who made a pact to keep themselves separate from the rest of the world, creating a secret language and mirroring each other’s movements. The twin sisters had lived like this for 29 years. They realized they were trapped, unable to „break out”. They said: „We tried to get back to the outside world but it was too late.

Hannah Senft

Hannah Senft is a mime actress and director from Berlin, Germany. She completed her artistic training at the Etage – School for Performing Arts and her Bachelor of Arts in Theatre and Literature at Freie Universität Berlin. She works for Companies as well as a Solo- Artist. Currently she is working on Solo-Shows which she writes and develops, in which she combines different means like mime, physical theatre, acting, singing and object theatre. Her current solo „Blueberry Rainbow“ celebrated its premiere in Italy. GERMAN: Hannah Senft ist Pantomime, Schauspielerin und Regisseurin aus Berlin. Sie absolvierte hier ihre künstlerische Ausbildung an der Etage – Schule für die Darstellenden Künste und erlangte ihren Bachelor of Arts in Theater- und Literaturwissenschaft an der Freien Universität Berlin. Aktuell arbeitet sie an Solo-Stücken, die sie schreibt und entwickelt, in denen sie verschiedene Elemente wie Mime, Physical Theatre, Schauspiel, Gesang und Objekttheater verbindet. Ihr aktuelles Solo „Blueberry Rainbow“ feierte Premiere in Italien. artistic vision/ way of artistic work Hannah Senft creates pieces which combine mime technique and poetic and simplistic aesthetics, with a strong emphasis on transporting emotions through acting. She works with Pantomime Technique, Mime Corporel, Emotional Work, Comedy and Storytelling, Imagination and Spirituality. And Blueberry Rainbows.

Mime-Theatre "MI MInor"

Mime-theatre "MI MInor" (since 2008) - is a union of actors working and creating their projects, synthesizing the genre of pantomime, clownery, drama and physical theater. "MI MInor" is permanent participant of festivals and concerts in St. Petersburg (International Festival "Event", "Funny Festival", "Citrus Humor"), prize-winners of the festival "The White Mask", Moscow. Participants of the 30th International Pantomime Festival in Dresden and the International Pantomime and Physical Theater Festival in Berlin, as well as the International Leonid Yengibarov Festival in Armenia. RUSSIAN "МИ МИнор" (с 2008 г.)- это содружество актеров, работающих и создающих свои авторские проекты, синтезируя жанр пантомимы, клоунады, драму и физического театра. МИ МИнор - постоянные участники фестивалей и концертов в Санкт- Петербурге (Международный фестиваль "Событие", "Смешной фестиваль", "Цитрус Хъюмор"), призеры фестиваля "Белая маска", г. Москва. Участники 30-го Международного Фестиваля Пантомимы в Дрездене и Международного Фестиваля Пантомимы и Физического театра в Берлине, а также Международного Фестиваля имени Леонида Енгибарова в Армении. artistic vision/ way of artistic work Recent projects: 1) Regular performance of separate pieces and full show “Life ONLINE” (solo play) and working over new pieces in mime and physical theatre genre (ex. solo performance “Green Sleeves’ about Anna Boleyn queen (12+); play “The Little Mermaid” for 4 actors (6+); mime-performance “Lilit and Eve”, duet; the kids show “Palette of Fairy-tales”, duet) 2) Running mime studio/regular trainings for adults in Saint- Petersburg 3) Collaborating with film studio and drama school which works with people with hearing problems (giving mime classes for such people and taking part in the special video project where with the use of pantomime actors explain meaning of set phrases in our language) 4) Taking part in International festivals and workshops with professionals

Erica Bianco

Born in Crotone, Southern Italy, on December 18, 1990. She begins her training path in Rome (Italy), at the International Theater Academy (Accademia Internazionale di Teatro) where she learns the fundamentals of Jacques Lecoq's physical theatre. Afterwards she attends the Orazio Costa mimical school at the Teatro della Pergola in Florence, to study in deep the “Orazio Costa” mimic method process, while she masters her physical, prose and dramaturgy studies at the Teatro dell’Orologio’ school in Rome. She moves to Venice to further studies at the Venetian Theatre Academy (Accademia Teatrale Veneta), where she trains on dance theater, dramaturgy and directing. In 2016 she wins a national award to study at the Lee Strasberg Theatre & Film Institute in Los Angeles (CA), where she gains the American school's method acting. Since 2011 she is a performer and actress in theatres around the country, features in independent movie productions, works alongside companies producing contemporary arts shows. ITALIAN: Nata a Crotone il 18/12/1990. Inizia la sua formazione teatrale presso l’Accademia Internazionale di Teatro di Roma dove apprende le basi del teatro fisico di Lecoq. Prosegue la sua formazione presso Il Teatro della Pergola di Firenze, dove approfondisce lo studio del metodo mimico “Orazio Costa”, e nella Scuola del Teatro dell’Orologio di Roma, dove perfeziona i suoi studi sul teatro di movimento, teatro di prosa e scrittura scenica. Si trasferisce a Venezia per completare il percorso accademico presso l’Accademia Teatrale Veneta, dove porta avanti studi nell’ambito del teatro-danza, scrittura di scena e teatro di regia. Consegue una borsa di studio per il Lee Strasberg Theatre & Film Institute di Los Angeles (CA), dove apprende il method acting di scuola americana. Dal 2011 è interprete di diversi spettacoli di teatro, teatro-danza, e teatro ragazzi; collabora con diverse compagnie della scena romana di teatro e danza contemporanea e figura in diverse produzioni cinematografiche indipendenti artistic vision/ way of artistic work I love employing a theatrical and performative language that is intensely evocative that through physical, auditory and dramaturgical images and an extra-ordinary physical activity, would communicate to the audience transversally and universally the deepest values of a given piece. A performance and its designing should trace a perpendicular trajectory pointing towards the audience, to activate a critical dialogue between performer and audience that would change both their point of views in enriching ways.

Matteo Cionini

Professional Mime Performer and Teacher. Degree in Disciplines of Arts, Music and Theatre at the University of Bologna, at the Ecole Superieure de Nouveau Cirque of Bologna, and at the Performing Arts University of Turin. Also studied with many Mime and Clown teachers, such us Yves LeBreton, Corinne Soum and Steve Wasson, Johnny Melville, Familie Floz and others. As a performer, since 2007 he brings his shows all over the world, attending theatres and important festivals such as Edinburgh Fringe, Mim'Off, Yengibarian Mime Festival (Armenia), KonRak Mime Festival (Thailand), Cirkonvencion Mexikana, and others in Germany, Netherlands, Croatia, Spain etc etc... He teaches in the professional Physical Theatre School "Atelier Teatro Fisico" directed by Philip Radice, with a two-years course. He also collaborates with many Performing Schools in Italy and abroad. He speaks Italian, French, English, Spanish, Portugues, Pantomime. Some press quotes for his show "Senza Parole" (directed by Patrizia Besantini): “Engaging and funny” (Total Theatre Review, UK ) “A winning personality and a real charm” (Stage Review, IT) "Brimming with laughter" (The Skinny, UK) “His skill is extraordinary” (Il Monviso, IT) "It leaves no faces without smiles" (El Roll, MEXICO) A universal show that can stimulate the imagination in spectators all over the world. it is a funny and charming piece which manages to get several smiles out of the spectator, who never misses Cionini. He demonstrated to be a master of mime art, with massive physical expressive resources. (Laura Mas, SPAIN) description (local language) Matteo Cionini è attore e mimo professionista. Laureato in Discipline dell'Arte, Musica e Spettacolo all'Università di Bologna, al Corso Superiore di Nouveau Cirque alla Scuola di teatro di Bologna e presso la Performing Arts University Torino diretta da Philip Radice. Ha perfezionato la sua formazione nel Mimo e Teatro Gestuale con maestri come Patrizia Besantini, Yves LeBreton, Steve Wasson e Corinne Soum, Johnny Melville, André Casaca, Familie Floz e molti altri. Dal 2002 porta i suoi spettacoli in tutto il mondo: la sua esperienza sul campo spazia dal teatro classico all'arte di strada, dagli spettacoli per bambini al nuovo circo, dal teatro sperimentale alle performance per grandi eventi. Questa versatilità ha generato una visione del Teatro Gestuale come linguaggio universale e trasversale, minimo comune denominatore essenziale a qualsiasi genere e stile performativo. La sua ricerca nella didattica inizia nel 2008, e si è consolidata nel tempo collaborando con molte realtà formative nazionali. Alcune citazioni stampa del suo spettacolo "Senza Parole" (diretto da Patrizia Besantini): “Coinvolgente e divertente” (Total Theatre Review, UK ) “Una personalità vincente e un vero fascino” (Stage Review, IT) "Un sacco di risate" (The Skinny, UK) “La sua bravura è straordinaria” (Il Monviso, IT) "Riesce a non lasciare facce senza sorrisi" (El Roll, MEXICO) " Uno spettacolo universale che può stimolare l'immaginazione di spettatori di tutto il mondo. E' una pièce divertente e affascinante che riesce ad ottenere molti sorrisi dagli spettatori che non perdono mai di vista Cionini. Ha dimostrata di essere un maestro del mimo, con un mucchio di risorse espressive." (Laura Mas, SPAIN) artistic vision/ way of artistic work Apparently, I'm involved in many different kind of theatre: Mime, Drama, Street Shows, Multimedia, Edutainment, Experimental Performances... In my vision, it's all about the same thing: communication, reaching the audience, engaging them, expressing feelings and thoughts. As a tree, my art comes from a huge and deep set of inspirations (roots), and then it grows up everytime through a unique way: my body (the trunk), and then it multiplies in a vaste range of different ways and languages (branches and leaves). So, apparently my shows are so different each other: they are the final products. In my vision, it's always theatre, and theatre always starts with the body and the movements. Actions. Starting from that basis, it is possible to add other ingredients: multimedia, spoken words, magic... I love to explore Mime Art as a Universal basis for every kind of theatre. I also perform and direct "pure" mime shows: that's my artistic home. As a mime teacher, I teach to my students how to re-create our world, how to draw and make things exist in a realistic way, thanks to movements and gestures. After that, I teach them how to exceed reality and going to some kind of Magic Realism, where the rules of the real world can be re-written. expectations for the future I'm going to keep on exploring various kind of theatre, because i'm so curious: 1. Mime Art: I'll continue to teach mime and direct mime shows, thinking about international projects too. I also want to bring my show "Senza Parole" to some big festivals like Avignon. After having been represented more than 70 performances in many countries, i'm sure that this show would be ready to a real worldwide distribution. 2. Multimedia Theatre: I'm developing a brand new performing language that mixes pantomime and video-projected motion graphics. The first step of this research is an edutainment project for schools. I want to make this project grow up, because it receives always a huge interest from teachers and students. 3. Street Shows: Two new productions for next year. The first one is about Mime and Magics. The second one is a Site-specific Videomapping Mimic Performance project.

Auraco

Dance and mime theatre Auraco was founded in 2006 and is run by non-profit association Kuukulkurit ry. The company’s artistic directors are choreographer, dancer Päivi Aura and dancer, mime Kati Lehtola. The touring company is based in Helsinki, Finland. Since 2010 Auraco is one of the most internationally touring Finnish dance companies, with 14 countries so far in Europe and Asia. Auraco has participated in three different European Union co-funded projects as a partner. Auraco has a wide range of educational programme and collaborates with companies from several countries. local language Tanssi- ja miimiteatteri Auraco on perustettu vuonna 2006 ja sitä ylläpitää Kuukulkurit ry. Ryhmän taiteellisina johtajina toimivat koreografi, tanssija Päivi Aura sekä tanssija-miimikko Kati Lehtola. Kiertävän ryhmän kotipaikka on Helsingissä. Vuodesta 2010 lähtien Auraco on yksi eniten ulkomailla esiintyvistä suomalaisista tanssiryhmistä. Tähän mennessä Auraco on vieraillut 14 eri maassa, niin Euroopassa kuin Aasiassakin. Auraco on osallistunut kolmeen eri Euroopan Unionin osarahoittamaan projektiin partnerina. Auracolla on laaja koulutus- ja yhteistyöohjelma useiden ulkomaisten ryhmien/instituutioiden kanssa. Esityksissään Auraco luottaa esiintyjiensä läsnäoloon ja liikkeen herkkyyteen. Lavastuksen käyttö on vähäistä, ja esiintyjät täyttävät näyttämön luoden vastaanottavaisen ilmapiiriin. Suhde yleisöön on avoin ja herkkä; esitykset rikkovat katsojien ja esiintyjien välisiä rajoja. Yleisötyö on yksi Auracon työn peruselementeistä. artistic vision/ way of artistic work Auraco’s performances trust the performers’ presence and the vulnerability of the movement itself. With minimalistic or no décor, the performers fill the empty stage, creating a responsive atmosphere. The relationship with the audience is open and sensitive. The performances break boundaries between the performers and the audience. Audience development is a key element of Auraco’s work.

Cía. Mai Rojas y Los Escultores del Aire

"A delicious piece of fine pastry to be appreciated slowly". The above is a review describing our artistic work. The Co. Mai Rojas and The Sculptors of the Air is an international company based in Barcelona specializing in the production of professional shows of physical theatre. More specifically, using the language of Corporeal Mime as the basis for creation, we explore the infinite possibilities of cross-pollinating this with other theatrical arts such as circus, dance and object manipulation. The exceptional work of the company has toured around the world on various occasions and our shows have been seen in around thirty cities in Spain, the United Kingdom, Germany, United States, Cabo Verde, Macedonia, Poland, Morocco, Andorra, Portugal, Colombia, Puerto Rico and Costa Rica. The company has also been able to work with organizations of the prestige of Cirque du Soleil due to our adaptability and technical excellence. local language "Una deliciosa pieza de repostería fina para ser degustada lentamente". Así define la crítica nuestro trabajo. La Cía. Mai Rojas y Los Escultores del Aire es una compañía internacional con base en Barcelona. Se especializa en la producción de espectáculos profesionales de Teatro Físico y utiliza el lenguaje del Mimo Corporal como base de creación. Así consigue aprovechar sus infinitas posibilidades de mestizaje con otras artes teatrales como el Circo, la Danza o la Manipulación de Objetos. Su excelente labor de investigación en este género la ha hecho girar por numerosos escenarios alrededor del mundo y sus espectáculos han sido representados en una treintena de ciudades de España, Reino Unido, Portugal, Estados Unidos, Polonia, Cabo Verde, Alemania, Macedonia, Marruecos, Andorra, Colombia, Puerto Rico y Costa Rica. También ha podido trabajar con agrupaciones del prestigio del Cirque du Soleil gracias a su adaptabilidad y excelencia técnica. artistic vision/ way of artistic work - Excelencia Técnica - Propuestas de mestizaje entre diferentes artes escénicas

Septian Dwi Cahyo

"Septian Dwi Cahyo is a famous artist in Indonesia. Known in addition to his acting in several movies and tv programs is also known as a pantomime artist. He has been in the art world since the age of 9 years and has been crowned by Marcel marceau as the youngest pantomime player in the world. Besides being an actor he is also a director of several tv programs and was awarded as the favorite comedy director in the Panasonic award. Now he is focusing on education to develop children's creativity through pantomime art and chairman of the Indonesian pantomime artist association Imagination does not only belong to creativity and freedom, but it can be a power to realize a hope. With imagination we will be able to provide happiness, peace, preservation of nature and everything without limits. live without imagination like a tree without land. Mime art is communication of imagination between the player and the audience, non-verbal communication that is able to provide censorship to the body into feelings and sentiments. local language Imajinasi bukan hanya milik kreatifitas dan kebebasan, tetapi bisa menjadi sebuah kekuatan untuk mewujudkan sebuah harapan. dengan imajinasi kita akan mampu memberikan kebahagiaan, kedamaian, pelestarian alam dan semua tanpa batas. Hidup tanpa imajinasi bagaikan pohon tanpa tanah. Seni pantomim adalah komunikasi imajinasi antara pemain dan penontonnya, komunikasi non verbal yang mampu memberi sensor pada tubuh menjadi rasa dan sentimen. artistic vision/ way of artistic work Sharing imagination to enhance peace, happiness, creativity and humanity.

Bangkok Theatre Network

B-Floor is Thailand's vanguard physical theatre company. For almost 20 years, B- Floor has been at the forefront of creating highly visual theatre combining movement and multimedia elements, and stimulating social and political awareness. B-Floor's performances are developed through a process of creative collaboration known as Devised Theatre. B-Floor's plays often involve little or no script, focusing instead on highly visual and sensory storytelling that can communicate across borders of language and culture. B-Floor's productions strive to raise social awareness by communicating personal experiences and inner struggles, and the points of view of suppressed ideas, people and events. B-Floor has been called, “One of Thailand's best professional theatre companies” by The Nation, and “thoughtful, affecting and uncompromising” by The Bangkok Post. When reviewing B-Floor’s performance in the world-renowned Edinburgh Fringe Festival, The Scotsman wrote, “expect to be impressed, challenged and maybe even enlightened.” Since 2011, B-Floor has continuously been awarded in several categories for its various productions by the International Association of Theater Critics, Thailand Center (IATC), including Best Movement-Based Performance, Best Direction, Best Performance by an Ensemble, Best Performance by a Female Artist, Best Art direction, and Best Original Script. For both Thai and international audiences, B-Floor provides a necessary forum for reflection of Thai contemporary thought, values and society. B-Floor’s productions generate an exchange of experiences, opinions, attitudes, knowledge and concerns from a modern Thai standpoint. local language

Charles Nomwendé

MEA CULPA Mea Culpa is the author’s project of Charles Nomwendé TIENDREBEOGO, from Burkina Faso. Since 2018 he has been a member of Divadlo Continuo. From 2015 to 2017, he was a student in the framework of the Master’s programme of Physical Theater at the Accademia Teatro Dimitri, where he conceived the original concept of this creation. The project draws inspiration from the roots of African culture, its rituals, music, stories, rhythms, colours and ubiquitous spirituality, combining original natural religions and imported world religious systems. In this context, Charles Nomwendé TIENDREBEOGO tells the modern history of Africa, intertwined with bloodshed, genocide, corruption and the bloody struggle for power. Masks are playing a very essential role in the production of Mea Culpa. Their shape combines the tradition and original principles of the African mask and Commedia dell'arte masks with contemporary physical theatre practices that emphasize their use in relation to physical expression and dance. Erhard Stiefel, a long-time collaborator of Ariane Mnouchkine's Théâtre du Soleil, contributed to their creation as an external eye. And Colette Roy, a teacher at the Accademia Teatro Dimitri, was in charge of their construction. The music and sound composition are the work of Elia Moretti. He created the score based on real sound recordings from the daily reality of the city and nature in Burkina Faso. Story When they were still living on this earth, these ghosts were very influential people, guided by excessive ambitions. What then would justice be, and how could they deserve eternal rest, if everything that happens, everything that still harms the living beings on earth and for which these ghosts are responsible, is not repaired? From decision to action, present to past, life to death - to which musical rhythm will our soul dance to in the beyond? During one ordinary night the guardian of a cemetery is forced to lend his local language Mea Culpa Porjet et histoire Mea Culpa est un projet de Charles Nomwendé TIENDREBEOGO, originaire du Burkina Faso. Depuis 2018, il est membre de la compagnie Divadlo Continuo. De 2015 à 2017, il a été étudiant en Master of Physical Theater à l'Accademia Teatro Dimitri où, il a également conçu le concept original de cette création. Le projet s'inspire des racines mêmes de la culture africaine, de ses rituels, de sa musique, de ses histoires, de ses rythmes, de ses couleurs et de sa spiritualité omniprésente, combinant religions naturelles originales et systèmes religieux mondiaux importés. Dans ce contexte, Charles Nomwendé TIENDREBEOGO raconte l'histoire moderne de l'Afrique, entrelacée de sang versé, de génocide, de corruption et de lutte sanglante pour le pouvoir. Les masques jouent un rôle très essentiel dans la production de Mea Culpa. Leur forme combine la tradition et les principes originaux du masque d'Afrique et des masques de Commedia dell'arte avec des pratiques de théâtre physique contemporain qui mettent l'accent sur leur utilisation en relation avec l'expression physique et la danse. Erhard Stiefel, collaborateur de longue date du Théâtre du Soleil d’Ariane Mnouchkine, a contribué à leur création comme œil extérieur. Et Colette Roy, enseignante à l’Accademia Teatro Dimitri s’est chargée de leur construction. La musique et la composition sonore de la production sont l'œuvre d'Elia Moretti, qui l'a créée en s’inspirant de véritables enregistrements sonores de la réalité quotidienne de la ville et de la nature du Burkina Faso. Histoire Lorsqu'ils vivaient encore sur cette terre, ces fantômes étaient des gens très influents, guidés par des ambitions excessives. Que serait alors la justice, et comment pourraient-ils mériter le repos éternel, si tout ce qui arrive, tout ce qui nuit encore aux êtres vivants sur terre et dont ces fantômes sont responsables, n'est pas réparé ? De la décision à l'action, du présent au passé, de la vie à la mort - sur quel rythme musical notre âme dansera-t-elle dans l'au-delà ? Pendant une nuit ordinaire, le gardien d'un cimetière est obligé de prêter son corps à ces êtres invisibles, qui doivent renverser leur destin de damnation éternelle tout en essayant de se racheter.
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