5th Theatre Summer Camp 2006
Spetses Isl., Greece, 20-25 August 2006
“Narrative techniques and devised theatre”
ORGANIZATION - PROGRAMME
Arrival at Spetses Island, Greece: Sunday 20 August, 12.00-16.00
Departure from Campus: Friday 25 August, after 11.00
Location: Anargyreios School, Spetses Island, Greece
In the friendly and relaxing environment of “Anargyreios School” on Spetses Island, Greece, we organized the 5th Theatre Summer Camp-Seminar with the general title
“Narrative techniques and devised theatre”
Under the trees, by the seaside, teachers, actors, educators and scholars worked, devised and performed. Movements, rhythm, voice, theatre form, lyrics, humor, chorus patterns, are some of the areas we explored.
Three (3) different Workshops took place, followed by relative film screenings.
A workshop lasted six hours per day and each one participated in one all along the Camp.
There was free time for leisure, swimming, resting and entertainment.
On the last evening of the Camp groups will present and share parts of their work and join the farewell party.
WORKSHOPS AND FACILITATORS
WORKSHOP 1: with Marcello Magni, actor, director, Theatre Complicite teacher, Italy/UK
WORKSHOP 2: with Uta Plate, director, actress, education and outreach projects Schaubühne am Lehniner Platz, Berlin, Germany & Michael Stasik dramaturge, Poland/Germany
WORKSHOP 3: with Takis Tzamargias director, Greece & Zoe Hadjiandoniou, choreographer, Greece
Film screenings were facilitated by Georgina Kakoudaki, University of Patras Greece.
Language: English & Greek
Daily Time Table:
· 07.30-08.00 Physical Exercise / Yoga (optional)
· 08.00-09.00 Breakfast
· 09.00-12.00 Workshops
· 12.00-13.30 Swimming / Free time
· 13.30-14.30 Lunch
· 14.30-17.00 Rest / Free time
· 17.00-17.30 Coffee
· 17.30-20.30 Workshops
· 20.30- …….. Free time
Arrival-Registration: Sunday 20th of August, 12.00-16.00
Departure: Friday 25th August after 11.00
Wednesday 23/8/06 was a “free-to-tour-the island” morning! Business as usual in the afternoon!
WHAT TO BRING: Clothes and shoes for physical work outdoors under the trees or indoors on a marble floor, swimming gear, a light traveling mat (to stretch on floors), a song from your country, your best smile. Please see details at “Workshops” page for specific requirements!
Dina Tsolaki, Pavlina Grekou, Paschalia Michalopoulou, Nikos Govas
Nikos Govas, Georgina Kakoudaki, Marcello Magni, Uta Platte, Takis Tzamargias
ORGANIZED BY:Hellenic Theatre/Drama & Education Network
See here the summer camp's old webpage
ACCOMMODATION & TRAVEL INFORMATION
Spetses Isl. is a nice, small island, approximately 2 hours by high-speed catamaran (4hours by normal ferry) from the port of Athens (Piraeus).
No cars are allowed on the Island (but we can rent bicycles!)
“Anargyreios School” of Spetses is located in an idyllic location by the sea, 1km from the port of Spetses Isl. The bus leaves from Spetses Port (right in front of POSIDONION hotel) as soon as the ferry arrives (you can catch it if you are quick!).
To contact the School please ring: Tel. 0030 2298072206 /0030 2298073306.
ACCOMMODATION within the Anargyreios School premises (recommended) includes: two-bedded or one-bedded dormitory- rooms (sheets, pillows provided) with shared bathrooms and toilets. Breakfast and lunch will be served in the School’s Dining Room.
Travel information (please confirm any of the information below)
How to get to Pireus (Athens Port): Take Metro Line 1 from Omonia or Monastiraki to Pireus (end of the line). Walk out of the Station on your left and ask for the marina to Spetses Isl Catamarans.
Port Authorities in Piraeus, tel. 0030 2104226001/ 2104593123
Catamarans (high-speed boat): (approximately 2-hour journey, return ticket cost: approximately 50 euros)
Sunday: Pireus-Spetses at 08.30, 10.00, 12.00, 14.10, 17.00
Friday: Spetses-Pireus at 06.00, 11.00, 13.50, 14.15, 17.00, 18.30, 19.20
Please confirm the above and also notice that there are more than one catamaran companies sailing to Spetses Isl. So, check with travel agents.
· a) 0030 210-4199200, 2104199000 (please confirm the itineraries and make a ticket booking as soon as possible)
· b) 0030 210-4101480 , ++2104132105
· c) 00302104121830, 00302298073141
· d) www.hellenicseaways.gr
“Saronikos Ferries” (normal ferry-boat): 0030 210 – 4117341 (please confirm the itineraries and make a ticket booking as soon as possible). >From Piraeus to Spetses island: 8.00 p.m. (not every morning)
FILMS & SCREENINGS
«From sensing to focusing.
The influence of cinema in 20th century dramaturgy,
acting and scenography»
Instructed by Georgina Kakoudaki
Theatrologist, Visiting professor in Theatre Studies Dpt, University of Patras
The contribution of visual arts towards the creation of a new visual language for the cinema. The influence of the surrealists to a new scenic environment. Short cuts from cinematographic creations of the 20s and 30s by Zane Cocteau, Man Ray, Léger, Rene Claire, Djedja Vertof, Max Ernst, Hans Richter etc.
“The man with the movie” camera by Diedja Vertof, 1929, USSR
α. the creative use of close up during the first decades of cinematography as an acting method. Towards a new insight dramaturgy.
β. Theatre nostalgia and memorabilia in the movies.
(power point presentation)
“The children of paradise” by Marcel Carne, 1945, France
Georgina Kakoudaki: BA, Mphil and PHd candidate in Theatre Studies Dpt, Philosophy School, University of Athens. Studied dramatic art and acting in 3 years Acting Course at STOA Theatre Group, Athens and participated in various educational and acting workshops (1993-1997). Member of the Artistic Committee of Ministry of Education in the annual Greek “school theatre” contests, since 1998. She has been teaching drama in Primary schools, High schools and non- professional adult groups since 1993. She has published (research, consulting, editing) a series of theatre programs and articles in related publications or conferences. Archive researcher and Chief Librarian, National Theatre of Greece (1997-2004). Since 2003 she has been teaching drama techniques (theory and practice) in the Theatre Studies Dpt, University of Patras. Since 2005 she has been teaching dramatology in ‘Empros-Ergastiri’ Higher Drama School. She is member of the Hellenic Theatre/Drama & Education Network.
“Comic play and playful bodies:
Discovery of your own clown”
actor, director, Theatre Complicite teacher
The essence of silliness… a childlike state of curiosity and innocence.
A state for an actor, naive and open that exists in the playfulness of the body.
Every day in the workshop we took steps in physical work and improvisations in which the participants were challenged to make people laugh.
There were sessions to create comic numbers and physical exploits.
We sang songs, danced unseen ballet, spoke unknown languages and invented unparalleled acrobatic numbers and virtuosisms and made an entrance in the big top.
Improvisations to allow each one to discover oneself and our comic potential
Exercises to reveal our own idiosyncrasy and humanity.
Theatrical and circus situations to find a vulnerable state and in this moment of failure to find our authenticity.
In the research of one own clown we can find a comic and a tragic dimension. It is a fundamental step of creation to be in contact with our solitude and limitations.
Every participant brought very comfortable clothes to work in, like training clothes. Also each one brought a few old hats, big jackets, long T-shirt, colourful scarves and clothes that were used and exchanged by everyone as costumes for the research.
Marcello Magni was born in Bergamo, Italy. Ηe has lived in London since 1983 when he co-founded THEATRE DE COMPLICITE' after his studies in Paris at the JACQUES SCHOOL in 1980-82. In the first ten years he collaborated, performed and devised with the company in all the productions created in that period including A MINUTE TOO LATE, MORE BIGGER SNACKS NOW, THE VISIT, HELP I'M ALIVE, STREET OF CROCODILES, THE WINTER'S TALE, OUT OF A HOUSE LIVES A MAN. Marcello did touring all over the country, Europe and the world with these shows and participated in the creation of a film BURNING AMBITION for the BBC. Marcello has since encountered and collaborated with companies such as Royal Shakespeare Company, Royal National Theatre, The Shakespeare's Globe (for three seasons), Shared Experience, The Lyric, The Young Vic, Method and Madness. Marcello also collaborated with directors like Helena Kaut Housen (King Lear, Rose Tattoo, Measure for measure), Neil Bartlett (Scrooge, The game of Love and Chance), Nancy Meckler (Mother Courage), Annie Castledine (Foe, Spoonface Steinberg), George Kimoulis for the choreography of Antigone at Epidavros Theatre, Kathryn Hunter (Wise Guy Scapino, The Birds, Comedy of errors, Pericles and Arlecchino) and Jos Houben (Help I'm Alive, Arlecchino). Arlecchino is a solo show in which Marcello tried to conflate the experience of commedia dell'Arte's roles he had previously performed in Shakespeare, Moliere, Marivaux, Aristofanes and Ruzzante. Marcello has moved his curiosity to stories and wants to create a show with Kathryn Hunter and Gilles Aufrey based on stories from all over the world. Marcello has taught all over the world different types of theatre and also taught in Spetses Isl, Greece.
“GUMMO GAMMA GIMMI”
only the fittest will survive
director, actress, educations and outreach projects
Schaubühne am Lehniner Platz, Berlin, Germany
dramaturg, sound, Poland/Germany
Languages: English (and if needed German)
WHAT’S HAPPENING: During the workshop, the group devised a show through improvisation, which was based on acting and on movement. All participants fed in their thoughts and ideas.
On the one hand there was a clear structure, on the other lot of space for free improvisation; personal experiences and stories became part of the show. Together we created a special play, telling of our own life, our observations, directly or indirectly.
THE STORY: We wanted to speak about the small stories in big cities. Stories about the madness of our everyday lives; every one of us perceives the other as obstacle, which must be weakened.
This world is determined by rules. The stage is the play field, where the actors are players trapped in a survival contest. Over and over they have to race across the stage in the fight for the best available space. Each of them can rely but on themselves – it's everyone against everyone. Those who are not careful get kicked out.
What starts off as a simple argument about a parking space escalates more and more; it’s now about losing out on a flat, a job or a residents’ permit. The pressure grows until everyone cracks under it.
The characters tore down the existing rules and celebrated a new, liberated world. The play field was cleared and the characters invented new movements and a new language, which made up a new community.
We explored ways to express our visions of a different world. What happens when the rules dissolve? What other worlds are possible?
Each participant brought a song or piece of music (on cd) which he/she identified with and clothes and trainers which allowed to move freely.
Uta Plate: After finishing her studies in cultural education in Hildesheim (Germany) Uta Plate worked as director of the African-German theatre company ‘Rangi Moja’, consisting of African asylum-seekers and German students. The intercultural exchange within ‘Rangi Moja’ is described in her publication 'Fremd bleiben' ('Staying a stranger', co-author Wiebke von Bernstorff, IKO-Verlag 1997). In 1996, she joined the theatre Nordhausen to start off the project 'theatre in prison' in cooperation with the local ministry of justice. She then ran this project for two and a half years, developing plays with young men, all inmates at the youth prison Ichtershausen, near Erfurt. During this time, Uta Plate also ran theatre projects with elderly people living in old people's homes, as well as projects with children living in homes for asylum-seekers. In 1999, Uta Plate joined the ensemble of the Schaubühne am Lehniner Platz, being one of the few educational staff across German theatres to form an integral part of the artistic team. As part of her work at the Schaubühne Uta Plate runs workshops and after show talks to accompany each production, offering an approach to the content of the plays on show within the context of the 'laboratory' Schaubühne. Often collaborating with schools and universities, Uta Plate creates contact to new groups of audience-members. Uta Plate further runs the youth theatre company 'Die Zwiefachen', who, through improvisation, movement- and writing-workshops devise a show per year. Their show is performed in the studio space at the Schaubühne and tours across Germany. The members of the company, between 16-23 years old, all are or were part of a housing programme run by social workers. Besides her work at Schaubühne, Uta Plate has been running theatre and movement workshops internationally, at the University of Santiago, Chile (2004), and at the University of Beijing, China (2005).
Michael Stasik was born in Bydgoszcz, Poland. Moved to West-Berlin in 1986. He was trained in the field of theatre-pedagogic at the Schaubuehne-Theatre in Berlin (2001)and at the press office of the "European Capital of Culture 2010" in Görlitz (2005). He studied philosophy, history and African studies at the Humboldt-University in Berlin; polish and philosophy at the Jagiellonian-University in Krakow and has a scholarship for political and European studies at the University of Wroclaw. He took part in the setting up, coordinating and directing of a youth-theatre-group in Accra, Ghana, as well as founding several work-possibilities with artistic-cultural-backgrounds for volunteers in Ghana and the Ivory Coast; since October 2005: artistic cooperation with the polish video and performance artist Daniel Banaczek.
“From tales to epic theatre Narrative techniques”
dance choreographer, Greece
Storytelling is the origin of all narrative techniques. Old storytellers told their stories with passion, plot, tension identifying themselves with the hero. So often they were both themselves and the hero.
Is there any relation or similarities between this traditional storytelling and the “alienation” technique Brecht used? In Brecht’s plays the actors performs while they keep a distance from the role.
In this workshop we investigated the two techniques through the tale based on Brecht’s play “The good man of Setsuan”. Participants through speech and movement tried to arrive to emotional tension via routes other than “pseudo-identification”
Takis Tzamargias was born in Piraeus, Greece. He studied Theatre and Education and gained a Master's Degree from the Athens University on "Theater in Education". Currently he works on his doctoral thesis on the same subject. He is the artistic director of the Municipal Theatre "Theatre Company of Keratsini". He has directed more than twenty plays including production with Greek National Theatre. Currently he teaches at the Primary Education Department of Athens University.
Zoe Hadjiandoniou graduated from the Theatre Studies Department of Athens University and went to study dance and choreography. She has performed and directed a great number of dance performances. She has also taught theatre in primary education.