| Intersecting Planes |
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Work demonstration by Simona Sala and Sankar Lal Sivasankaran Nair with Daisuke Yoshimoto, introduced by Jaros³aw Fret Sat 25 April 2015, 16:30 Laboratory Theatre Space Admission free In English with consecutive Polish translation This work demonstration will focus on the actor’s physical preparation for training seen as a dramatic process. How to recognize drama incorporated into a line of action? How to retain its clarity when one must rebuild actions with limited means of expression? How to prevent drama from degrading in the face of the degradation of the body?  Simona Sala is an actress and performer. She developed as an actress working with artists such as Nhandan Chirco (Workcenter of Jerzy Grotowski and Thomas Richards), Giles Smith (Royal National Theatre, London), Iñaki Azpillaga (Spain), Carlos Alsina (Argentina), Norberto Presta and Sabine Uitz (Centro Produzione Teatrale Via Rosse) and Tanya Khabarowa (Derevo). In 2004 she completed a two-year professional course at the Piccolo Teatro of Pontedera led by Luisa Pasello, Silvia Pasello, Silvia Rubes, Roberto Bacci and Francesca della Monica. Sala is a co-founder of the Italian company Sineglossa, with which she has been working for seven years. While collaborating with Laurent Piemontesi, founder of Yamakasi, she introduced ADD (Art du Deplacement) into her actor training. With Sankar Lal Sivasankaran Nair, a master of kalaripayattu, she is developing a programme focused on compensation in the actor’s training as part of the BodyConstitution project. Since 2011 she has been working with Teatr ZAR as a co-creator of the company’s recent piece Armine, Sister, developing a dramaturgy of physical actions. As part of her training, she is conducting research into the dynamics of tempo–rhythm and the accumulation of the performer’s energy and its dramaturgical potential. Sankar Lal Sivasankaran Nair is a kalarippayattu teacher and certified Ayurvedic massage therapist born in Thiruvananthapuram, Kerala, India. Sankar started studying the Southern style of kalarippayattu in 1990. He has counted among his masters Tirupuram C. Madhavan (Anjaneya Kalari Sangham), Jayachandran Nair (Kerala School of Martial Arts), Thankappan Assan and Ajith Kumar (Maruthi Marma Chikilsa Kalari Sangham). His current master is Raja Gopalan Assan. Between 2005 and 2008 Sankar worked with Milón Méla, an Indian theatre group, co-conducting numerous workshops and performing at festivals across India and Europe. In 2008 he moved to Wroc³aw, Poland. He currently teaches Southern kalarippayattu (running regular classes in Wroclaw as well as workshops in Poland and abroad, including in Finland, France, Germany, Italy and Russia) and practises Ayurvedic massage. He is a co-founder of Studio Kalari, which operates within the BodyConstitution research programme of the Grotowski Institute. Daisuke Yoshimoto graduated in art from the Theatre Department at the Nippon University in 1967. Since the early years of his stage career, he collaborated and co-created performances with the greatest Butoh masters such as Hisayo Iwaki, Yukihiko Sakai and Kazuo Ohno (as a stage manager for La Argentina in 1977 and My Mother in 1981). In 1983 he created his first Butoh piece, The Head of the Bird Woman. He has performed in many countries, including Austria, Denmark, France, Spain, the Netherlands, Norway, Ukraine, Hungary, Italy and the USA. He first time came to Poland as a stage manager with the group Ner-Kyōgen (Tokyo) to take part in an international festival of student theatres organized by Bogus³aw Litwiniec and Teatr Kalambur in Wroc³aw. In the 1990s he visited Poland several times with his pieces Eros and Thanatos (2004) and Ruined Body (2008), which he presented in Kraków, Lublin, Olsztyn, Poznañ, Szczecin, Warsaw and Wroc³aw (at the invitation of the Grotowski Centre and the Grotowski Institute). In 1997 he was the artistic consultant of a Butoh festival conceived and held by the Grotowski Centre. In 2003 he collaborated with Teatr ZAR on Gospels of Childhood as a dancer in a piece called Lazarus. In 2010, together with Jacek Ostaszewski and the music group Osjan, he performed Ruined Body in the Grand Theatre and National Opera in Warsaw and at the Cross-Culture Festival to mark the 40th anniversary of Osjan. In 2013 he staged Kyokatabira of the Body in Wroc³aw as part of the 2nd International Theatre Festival “The World as a Place of Truth”. In 2013, also in Wroc³aw, he performed the action Witness as part of the “Armine, Sister” project. Jaros³aw Fret is a founder and leader of Teatr ZAR, theatre director and actor. He is Director of the Grotowski Institute, lecturer at the PWST National Academy of Theatre Arts in Kraków (Branch in Wroc³aw) and President of the Board of Curators of the European Capital of Culture Wroc³aw 2016 and Curator of its Theatre Programme. In 1999–2002 he organized a series of expeditions to Georgia, Armenia and Iran, conducting research into the oldest forms of religious music of Eastern Christianity. In the following years, together with members of Teatr ZAR, he led expeditions to Mount Athos in Greece, Sardinia, Corsica, Armenia, Turkey and Israel. He has directed four performance pieces with Teatr ZAR. Teatr ZAR’s Gospels of Childhood triptych has been seen in Chicago, Los Angeles, San Francisco, Athens, Belgrade, Edinburgh, Florence, Madrid, Paris, Sibiu, Cairo, New Delhi and Seoul. In November 2013 he completed work on Armine, Sister, for which he developed an original musical dramaturgy and special stage architecture. He lectures and leads work sessions in Poland and abroad. His awards and honours include: Best New Music Theater for Teatr ZAR from Los Angeles Times (2009); Wroc³aw Theatre Prize for the Gospels of Childhood triptych (2010); the prestigious Total Theatre Award for Physical/Visual Theatre and the Herald Angel at the Edinburgh Fringe Festival (2012). He has originated and coordinated numerous Polish and international projects of the Grotowski Institute, including the Grotowski Year 2009, Masters in Residence, the International Theatre Festival “The World as a Place of Truth” and the Theatre Olympics 2016 in Wroc³aw. His efforts led to the opening, in 2010, of Na Grobli Studio, a new location of the Grotowski Institute. As part of BodyConstitution, practical seminar |