TEATRO POTLACH in collaboration with ISTA (International School of Theatre Anthropology) directed by Eugenio Barba

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TEATRO POTLACH in collaboration with ISTA (International School of Theatre Anthropology) directed by Eugenio Barba LAZIO REGION Department of Culture, Sport and Entertainment PROVINCE OF RIETI

1 TEATRO POTLACH in collaboration with ISTA (International School of Theatre Anthropology) directed by Eugenio Barba LAZIO REGION Department of Culture, Sport and Entertainment PROVINCE OF RIETI Culture Department MUNICIPALITY OF FARA SABINA 20 June / 10:30am-1:00pm / 2:30-7:30pm 21 June/ 10:30am-1:00pm THEATRE IN THE SHAPE OF A BOOK: ON DIRECTING: BURNING THE HOUSE With Eugenio Barba In this book Barba analyzes the concrete reality of theatre craft as dramaturgy. This does not only comprise a literary text, but also encompasses the actors contribution and the composition of various levels of organization, turning the performance into a living organism. As a consequence, directing and dramaturgy become almost synonymous. Barba writes about his actors training, his directing devices and the tensions and stalemates during rehearsals. However, he emphasizes that what matters is that intuitive and inimitable individual strategy in which professional knowledge merges with the roots of one s own biography. Pages dedicated to the actor s and director s technique alternate with open autobiographical accounts, and the book can be read both as a scientific treatise on the theatrical craft as well as an autobiographical novel of education and resistance. Its main themes are: Italy at the end of the Nineteen-Forties after World War II, the problems and issues of the South, and the sudden impoverishment of middle class families; Barba s military college education and his subsequent escape to Northern Europe; the culture of the Cold War and Real Socialism as experienced inside Poland where Barba befriended a young man of his own age, the then unknown Jerzy Grotowski, and the dialogue with the dead theatre masters and their books concealing the essential beneath countless pages of technical description; his striving to escape from the limited horizon of the autodidact, and his stubborness in defending his own diversity - as if the act of burning one s own house through theatre were a prophetic act. Eugenio Barba, founder of Odin Teatret (1964) and ISTA (International School of Theatre Anthropology, 1979), is the world authority on Theatre Anthropology and Interculturalism. He has directed more than 70 productions with his own actors and with the intercultural ensemble Theatrum Mundi. 20 June / 9:00pm KILLING TIME: 17 MINUTES IN THE LIFE OF MR PEANUT With Julia Varley, directed by Eugenio Barba Mr Peanut, Odin Teatret's archetypal character with a skull head, is presented in three incarnations: the wayfarer in black, the housewife in red and the bride in white, Time passes with the speed of a string unravelling and the child that played in the morning is no longer recognisable in the evening. Julia Varley joined Odin Teatret in Apart from her work as an actress she is also actively involved in directing, teaching, organizing and writing. Since 1990 she has collaborated in the creation and organization of ISTA (International School of Theatre Anthropology). She has been a member of the Magdalena Project since its first year, She is also the artistic director of the Transit Festival in Holstebro, editor of The Open Page (a magazine dedicated to the work of women in theatre) and author of West Wind (a novel written by a theatre character) and Stones of Water The Notebook of an Actress of Odin Teatret. Her articles have been published on Mime Journal, New Theatre Quarterly, Teatro e Storia, Conjunto, Lapis e Mascara.

2 22-25 June / 4:00-8:00pm THEATRE AS POLITICS WITH OTHER MEANS" UNIVERSITY OF THE EURASIAN THEATRE - XIX SESSION Directed by EUGENIO BARBA in collaboration with Teatro Proskenion and Teatro Potlach with Eugenio Barba and Julia Varley (Odin Teatret), Franco Ruffini and Nicola Savarese (University of the Eurasian Theatre), Mirella Schino (University Roma 3) and Ferdinando Taviani (University of L'Aquila). The University of the Eurasian Theatre will deal with the field of study defined by the dual perspective of practical work and historical reflection. Relevant episodes of theatre practice will be revisited as examples of theatre as an alternative cultural policy. The historical recollection will be wowen by Eugenio Barba, Franco Ruffini, Nicola Savarese, Mirella Schino and Fernando Taviani together with the participants. 21 / 2:30-5:00pm 24 June / 10:00am - 12:30pm / 2:00-3:30 pm WORKING WITH BALINESE MASKS With I Wayan Bawa I Wayan Bawa will be working with the participants on the principles of classical Balinese dances, on the basic position, the steps, the expressions of strong energy (keras) and gentle energy (manis). He will also deal with the physical and vocal aspects of some of his characters with the Topeng mask. I Wayan Bawa is known in Bali for the interpretation of the keras male roles in the classical Gambuh form and will share with the participants some of the techniques of this century-old tradition. I Wayan Bawa is the son of I Nyoman Sadeg, a renowned interpreter of the masked dance drama Topeng. Since his youth he has studied Gambuh, Topeng and Calonarang (the drama of magic) under the guidance of I Made Djimat, one of the great Balinese dance masters. He has also been a student of the Dance Academy in Denpasar, STSI, and now teaches the male dancers of the Gambuh Desa Batuan Ensemble. He has collaborated with ISTA since 1995 and is a permanent member of the Theatrum Mundi Ensemble. 25 June / 10.30am pm / pm 28 June / 10.30am pm / pm THE WORK OF THE CLOWN With Hernán Gené This workshop s aim is to enable the participants to acquire the foundations of a technique which will unlock the doors to the exploration of new forms of theatrical expression besides comedy. The performer creates the character of the clown by drawing from their inner self and builds a personal and deep connection with the ridiculous, in a close relationship with their audience. Work on the theme of the clown is an experience which goes beyond fun and ridicule and prompts the actors to face their innermost principles and truths. Laughter is a subtle indicator, refined and immediate. Those who measure themselves with the clown must always take particular care and make sure to play with sincerity and spontaneity. The audience sense the degree of the performer s exposure and react intuitively according to their own ideas, forcing the actor to go down an unusually intimate path during their performance. Ultimately this is a highly valuable experience not only for those who are involved in comedy but for every actor. The workshop deals with the following themes: how to come to a compromise with ridicule; how to build the relationship with the audience; techniques of improvisation; approaches towards playing; elements of the neutral mask; imitation, with special focus on the technique of imitation in the clown s work. As a consequence of all of the above, from the very beginning of the workshop participants will go on a journey that through various improvisations will eventually allow them to meet a theatrical truth which is as rich as unexpected. Hernán Gené is an actor, director, playwright and pedagogue from Argentina. He has been enquiring into the art of the Clown since 1984, devoting himself to the comic theatre in his search for new forms of expression. Since 1985 he has been teaching in Latin America and Europe. He lives and works in Madrid, where he directs the Extra-Vagante Teatro, a company founded by him and supported by the Latin America Centre of Creation and Theatre Research (CELCIT).

3 29 June - 3 July / 10.30am pm / pm SONG, DANCE AND NARRATIVE TECHNIQUES IN THE INDIAN TRADITION With Parvathy Baul Baul style belongs to a non conventional narrative tradition which has developed from the deepest layer of the Indian Yoga practice. Geographically, Baul tradition originated from the North East of India (now Bengal and Bangladesh). It is a very old tradition; from time to time it has been influenced by Siddha (Avadhoota Yogi s parampara ), Tantrism, Buddhism, Sufi and Vaishnav Bakti movements of the 15th century. It is a living tradition that actively integrates into the life of contemporary India. Every Baul performer plays his own musical instrument (Ektara, Duggie), singing and dancing at the same time. Training in the Baul style is very different from training in any other performing art: it is still practised as Guru-Shishya parampara. In Bengalese songs, Sadhu and Guru are known as Shavdagaan as well. Shavda is Brahma. For Baul storytellers those songs are Mathamantras written by the masters that practise them. Thus, the poetics of these songs is known as Mahater pad or Mahajan pad (great soul s song). Baul poems are composed in the Bengalese dialect and celebrate the boundless love of Radha for Krishna, Baul visions (ideas) are turned into poetic shape and belong to a sphere that stands between philosophy and poetry, music and dance. Baul poem s language is non conventional, it is an esoteric language, the Sandhya Basha, in which the common language and symbols are stripped of their natural meaning and conceal a profound mystic meaning. Parvathy Baul has been studying traditional singing and dance since her childhood. She has taken great interest in the traditional culture of her country, and has devoted herself to the Baul tradition. Her performances are based on the storytelling of ancient tales where music and dance meet. Since 2000 she has been travelling through India and many European countries, participating in many theatre festivals June / am PHYSICAL AND VOCAL TRAINING With Julia Varley 22 June 3 July / am PHYSICAL AND VOCAL TRAINING With Daniela Regnoli and Nathalie Mentha There cannot exist a vocal action which is not physical, in the same way that there is no physical action which is not mental. By training physically and vocally we are allowed to act on the bridge that links our mental and physical sides. Through certain exercises, tasks and principles, we can discover what it is to be extrovert or introvert, or what balance, imbalance, slowness, swiftness, solidity, lightness are. We learn how to expand, enlarge, absorb, look at or see. We work with and through our body in order to get to know our own energy and our own voice and to learn how to manipulate and mould them. Julia Varley joined Odin Teatret in Apart from her work as an actress she is also actively involved in directing, teaching, organizing and writing. Since 1990 she has collaborated in the creation and organization of ISTA (International School of Theatre Anthropology). She has been a member of the Magdalena Project since its first year, She is also the artistic director of the Transit Festival in Holstebro, editor of The Open Page (a magazine dedicated to the work of women in theatre) and author of West Wind (a novel written by a theatre character) and Stones of Water The Notebook of an Actress of Odin Teatret. Her articles have been published on Mime Journal, New Theatre Quarterly, Teatro e Storia, Conjunto, Lapis e Mascara. Daniela Regnoli is the co-founder (1976) of Teatro Potlach with Pino Di Buduo, the director and manager of the company. Since then her development as an actress has coincided with Teatro Potlach s artistic route. She has taken part in every Potlach production as well as in the organization of festivals, theatrical reviews and events. She also devotes substantial time to an intense pedagogical activity in schools of every kind through theoretical seminars and practical workshops with young pupils, and collaborates with Italian and foreign universities with lectures and work demonstrations. Nathalie Mentha s first trained at the Theatre School directed by the Swiss clown Dimitri in Verscio. She took her diploma at the Geneva Conservatory High School of Drama in In 1979 she met Teatro Potlach and began her training with pedagogues of international renown. Since then she has settled in Italy and worked permanently as an actress in Teatro Potlach s productions. For 27 years she has actively worked as a pedagogue both in Italy and abroad. In 1994 she was awarded the prize "Tassello d argento" as best supporting actor and for her valuable artistic and pedagogical activity in 1993.

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6 APPLICATION Fill in and send the attached application form together with a brief CV. The applicants will receive a reply from Teatro Potlach. Please wait for the letter of confirmation from Teatro Potlach; then make the payment of the 50% of your participation fees (plus the cost of the two books) with a bank transfer using the following details: Bank: CARISPAQ (Cassa di Risparmio della Provincia dell Aquila) Branch: Agenzia Passo Corese Account holder: Associazione Teatro Potlach IBAN IT20V Once the payment had been made, fax through the receipt for the bank transfer to Teatro Potlach telephone number , or send it by at info@teatropotlach.org The balance (50 %) will be due on your arrival at Fara Sabina. RECEPTION All the participants who are attending the whole festival must arrive at Teatro Potlach on 19 June 2011 by 6.00 p.m. For further information please contact: Teatro Potlach Via Santa Maria in Castello Fara Sabina (Rieti, Italy) info@teatropotlach.org tel fax * The complete programme has not yet been fully scheduled and may be subject to further changes. HOW TO GET HERE BY CAR From Rome, travel along the Salaria road (direction Rieti) and follow the signs for Passo Corese and Fara in Sabina; or take the toll motorway A1 and leave it at Fiano Romano (direction Rieti) and go on to Fara Sabina still travelling on the Salaria and following the signs as explained above. HOW TO REACH FARA SABINA FROM THE ROME AIRPORTS From Fiumicino Airport: Direct train connecting Fiumicino Airport with Fara Sabina (Fiumicino/Fara Sabina/Poggio Mirteto/Orte) every fifteen minutes (for timetables and fares, please visit the site and From Ciampino Airport: Train connecting Ciampino Airport to Termini Railway Station in Rome (for timetables and fares, please visit the site and or shuttle coach from the airport (for timetables and fares, please visit the site From Termini Railway Station continue by Metro B to Roma Tiburtina; from Roma Tiburtina continue by train (Fiumicino/Fara Sabina/Poggio Mirteto/Orte) to the Fara Sabina stop. Please note that the train station called Fara Sabina is actually located in the town of Passo Corese, and from here you will have to continue with the coach service C.O.T.R.A.L. in order to reach the Fara Sabina village (for timetables and fares visit HOW TO REACH FARA SABINA FROM THE MAIN RAILWAY STATIONS IN ROME From Roma Termini: From Termini Railway Station continue by Metro B to Roma Tiburtina; from Roma Tiburtina continue by train (coming from Fiumicino, direction Fara Sabina/Poggio Mirteto/Orte) and get off at the Fara Sabina stop. Please note that the train station called Fara Sabina is actually located in the town of Passo Corese, and from here you will have to continue with the coach service C.O.T.R.A.L. in order to reach the Fara Sabina village (for timetables and fares, please visit the site From Roma Tiburtina: From Roma Tiburtina Station continue by train (coming from Fiumicino, direction Fara Sabina/Poggio Mirteto/Orte) and get off at the Fara Sabina stop. Please note that the train station called Fara Sabina is actually located in the town of Passo Corese, and from here you will have to continue with the coach service C.O.T.R.A.L. in order to reach the Fara Sabina village (for timetables and fares, please visit the site

Keeping an Ancient Tradition Alive

The Open Page Ni Wayan Sudi Keeping an Ancient Tradition Alive Interview by Julia Varley 1 How did you start to dance and what were the first things you learnt? I studied Gambuh, Balinese classical dance