Towards ODIN TEATRET

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International Experimental Teaching Performance Studio The Introduction Program of The Master's Practice and Theory • 2013

A lesson named "THINKING IN ACTIONS" of Eugenio Barba, who is the famous master of theater anthropology.

date: 2013/5/13 16pm--19pm
location: new space (open to the public)

The Acting Workshop of the Outstanding Artists from ODIN TEATRET - -Roberta Carreri , Tage Larsen and Jan Ferslev

date: 2013/5/10,11,12,20,21,
10am--14pm,19,1pm—5pm
location: red building

The Lecture of Prof. Nicola Savarese.
date: 2012/5/14 13:30pm--14:00pm
location: new space (open to the public)

The presentation of film THE CONQUEST OF DIFFERENCE
date:2013/5/13 10am--12am
location: new space(open to the public)

Five performances Demonstrations of Odin Teatret
《QUASI ORPHEUS: THE ACTOR-MUSICIAN》
date:2013/5/11 19:15pm

《THE LIFE OF PROPS》
date: 2013/5/12 19:15pm

《THE ECHO OF SILENCE》
date:2013/5/13 12:30pm

《TRACES IN THE SNOW》
date:2013/5/20 19:15pm

《NORA'S WAY》
date:2013/5/21 19:15pm

Eugenio Barba and Professor He Yan

Group photo

***************************************************************************Eugenio Barba was born in 1936 in Italy and grew up in the village of Gallipoli. His family's socio-economic situation changed drastically when his father, a military officer, was a victim of World War II.

Upon completing high school at the Naples military college (1954) he abandoned the idea of embarking on a military career following in his father's footsteps. Instead, in 1954, he emigrated to Norway to work as a welder and a sailor. At the same time he took a degree in French, Norwegian Literature and History of Religions at Oslo University.

In 1961 he went to Poland to learn directing at the State Theatre School in Warsaw, but left one year later to join Jerzy Grotowski, who at that time was the director of the Theatre of 13 Rows in Opole. Barba stayed with Grotowski for three years. In 1963 he traveled to India where he studied Kathakali, a theatre form which was unknown in the West at that time. Barba wrote an essay on Kathakali which was immediately published in Italy, France, the USA and Denmark. His first book about Grotowski, In Search of a Lost Theatre, appeared in 1965 in Italy and Hungary.

When Barba returned to Oslo in 1964, he wanted to become a professional theatre director but, being a foreigner, he was unable to find work. He gathered together a few young people who had not been accepted by the State Theatre School, and created Odin Teatret in October 1964. As the first theatre group in Europe, they worked out the new practice of training as a total apprenticeship. They rehearsed in an air-raid shelter their first production, Ornitofilene, by the Norwegian author Jens Bjorneboe, which was shown in Norway, Sweden, Finland and Denmark. They were subsequently invited by the Danish municipality of Holstebro, a small town in north-west Jutland, to create a theatre laboratory there. To start with, they were offered an old farm and a small sum of money. Since then Barba and his collaborators have made Holstebro the base for their multiple activities.
During the past forty-eight years Eugenio Barba has directed 76 productions with Odin Teatret and with the intercultural Theatrum Mundi Ensemble, some of which have required up to two years of preparation.

Among the best known are Ferai (1969), My Father's House (1972), Brecht's Ashes (1980), The Gospel according to Oxyrhincus (1985), Talabot (1988), Kaosmos (1993), Mythos (1998), Andersen's Dream (2004), The Chronic Life (2011), Ur-Hamlet (2006), Don Giovanni all'Inferno (2006) and The Marriage of Medea (2008).

Since 1974, Eugenio Barba and Odin Teatret have devised their own way of being present in diverse social contexts through the practice of the "barter", an exchange of cultural expressions with a community or an institution, structured as a common performance.

In 1979 Eugenio Barba founded ISTA, International School of Theatre Anthropology thus opening a new field of studies: Theatre Anthropology Barba is on the advisory boards of scholarly journals such as "The Drama Review", "Performance Research", "New Theatre Quarterly", "Teatro e Storia" and "Urdimento". Among his most recent publications, translated into many languages.

Eugenio Barba has been awarded honorary doctorates from the Universities of Århus, Ayacucho, Bologna, Havana, Warsaw, Plymouth, Hong Kong, Buenos Aires
as well as the "Reconnaissance de mérite scientifique" from the University of Montreal and the Sonning Prize from the University of Copenhagen.

He is also the recipient of the Danish Academy Award, the Mexican Theatre Critics' prize and the Pirandello International Prize.

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Odin Teatret was created in Oslo, Norway, in 1964, and moved to Holstebro (Denmark) in 1966, changing its name to Nordic Theatre Laboratory/Odin Teatret. Today, its members come from a dozen countries and three continents.

The Laboratory's activities include: Odin's own productions presented on site and on tour in Denmark and abroad; "barters" with various milieus in Holstebro and elsewhere; organisation of encounters for theatre groups; hosting other theatre groups and ensembles; teaching activity in Denmark and abroad; the annual Odin Week Festival; publication of magazines and books; production of didactic films and videos; research into theatre anthropology during the sessions of ISTA (the International School of Theatre Anthropology); periodic performances with the multicultural Theatrum Mundi Ensemble; collaboration with the CTLS, Centre for Theatre Laboratory Studies of the University of Århus; the Festuge (Festive Week) in Holstebro; the triennial festival Transit devoted to women in theatre; OTA, the living archives of Odin Teatret's memory; WIN, Workout for Intercultural Navigators; artists in residence; children's performances, exhibitions, concerts, round tables, cultural initiatives and community work in Holstebro and the surrounding region.
Odin Teatret's 48 years as a laboratory have resulted in the growth of a professional and scholarly milieu characterised by cross-disciplinary endeavours and international collaboration.

One field of research is ISTA (International School of Theatre Anthropology) which since 1979 has become a performers' village where actors and dancers meet with scholars to compare and scrutinise the technical foundations of their scenic presence.

Another field of action is the Theatrum Mundi Ensemble which, since the early 1980s, presents performances with a permanent core of artists from many professional traditions.

Odin Teatret has so far created 74 performances, performed in 63 countries and different social contexts.

In the course of these experiences, a specific Odin culture has grown, founded on cultural diversity and the practice of "barter": Odin actors present themselves through their work to a particular milieu which, in return, replies with songs, music and dances from its own local culture.

The barter is an exchange of cultural manifestations and offers not only an insight into the other's forms of expression, but is equally a social interaction which defies prejudices, linguistic difficulties and differences in thinking, judging and behaving.

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Nicola Savarese was born in Rome. Professor at the University Romatre (Rome), he teaches History of Theatre and Performance at Department of Performing Arts. His studies deal with the complex dynamic of the meetings between Asian theatres and Occidental theatre and the contemporary performers in different contex. He as travelled widely in Asia and particularly in Japan, where he lived for two years.On the relationship between Oriental and Occidental theatres he has published, among many other works, “Eurasian Theatre” (Wroclaw 2010, first 1992), “Parigi/Artaud/Bali” (L'Aquila 1997), “Training” (Roma 2004). He is permanent member of ISTA (International School of Theatre
Anthropology) since its foundation and he is editor of review Teatro e storia. He was guest scholar at Getty Research Institute in Los Angeles in 1999.
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Roberta Carreri is an actor, teacher, writer and organiser. She was born in 1953 in Milan, Italy, where she graduated in Advertising Design and studied Art History at the Milan State University. She joined Odin Teatret in 1974 during the group's stay in Carpignano, Italy. Roberta Carreri has taken part in ISTA (International School of Theatre Anthropology) since its beginning in 1980, coming into contact with performing techniques from Japan, India, Bali and China. This has influenced her work as an actress and teacher. She gives workshops for actors all over the world and presents, as a work demonstration, her professional autobiography, Traces in the Snow. She organises and leads the annual international workshop Odin Week Festival in Holstebro and abroad.In 2009 she directed Rumor with Cinzia Ciaramicoli for Masakini Theatre Company (Malaysia). Her professional experiences are presented in The Actor's Way, edited by Erik Exe Christoffersen. Roberta Carreri has written her own book Tracce (published in 2007 by Edizioni Il Principe Costante, Milano and by Editora Perspectiva, Brazil in 2011), in which she relives the most relevant aspects of her theatre life - her training, pedagogy and her story as an actress of Odin Teatret. Her articles have been published in journals such as New Theatre Quarterly, Teatro e Storia, Máscara, The Open Page and Performance Research.

Performances
《The Book of Dances》
《Presenze e Figure》
《Come! And the Day will be Ours》
《Anabasis》
《The Million》
《Brecht's Ashes》
《The Gospel According to Oxyrhincus》
《Judith》
《Kaosmos》
《Rooms in the Emperor's Palace》
《Inside the Skeleton of the Whale》
《Ode to Progress》
《Mythos>
《Salt》
《The Great Cities under the Moon》
《Andersen's Dream》
《Don Giovanni all'Inferno》
《The Chronic Life》
《Theatrum Mundi performances》
《Ur-Hamlet》
《Four Poems for Sanjukta》
《Ego Faust》
《The Island of Labyrinths》
《Odin performances for children》
《Dennis, the Woolf》
《J.S. Bach》

Performance Demonstrations
《Traces in the Snow》
《The Whispering Winds》
《Dialogue between Two Actors》
《Letter to the Wind》
Performances directed by Roberta Carreri for other companies
Rumor (with Cinzia Ciaramicoli for Masakini Theatre Company)
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Jan Ferslev is a musician, composer, actor and teacher. He was born in 1949 in Copenhagen, Denmark. His background includes rock, jazz, latin and classical music. As a guitar player he has participated in various recordings and composed music for different forms of theatre.He has worked as an actor in both traditional and group theatre before joining Odin Teatret in 1987, where he is also a member of the ISTA (International School of Theatre Anthropology) ensemble.
In his workshops, Jan Ferslev concentrates on the stage presence of musicians and actors. For Holstebro Festuge, Jan Ferslev organises a Cabaret which involves local and international musicians. He is one of the instigators of Odins Husorkester (Odin's House Orchestra) which presents concerts of tango, and Danish and Latin American compositions, in Holstebro and the region.

Performances
《Talabot》
《Rooms in the Emperor's Palace》
《Fathers and Sons》
《Itsi Bitsi》
《Ode to Progress》
《Kaosmos》
《Mythos》
《Inside the Skeleton of the Whale》
《Salt》
《The Great Cities under the Moon》
《Andersen's Dream》
《Don Giovanni all'Inferno》
《The Chronic Life》
《Theatrum Mundi performances》
《Ego Faust》
《The Island of Labyrinth》
《The Jungle Book》
Performance Demonstrations
《The Whispering Winds》
《Letter to the Wind》
《Quasi-Orpheus: the Actor-Musician》
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Tage Larsen was born in 1949 in Randers, Denmark. He started at Odin Teatret in 1971 as a "helping hand' and soon was accepted as an actor.
Tired of travelling theatre life, he took a break in 1974, but returned to the theatre a year later. He remained with Odin Teatret until 1987 when he started his own group, Yorick Teatret. In the ten years away from Odin Teatret, Tage also taught at the Nordisk Teater Skole in Århus and worked as a freelance actor with Teater La Balance and Cantabile 2. In 1997 he returned to Odin Teatret to be part of the performance Mythos. He still acts and directs performances outside Odin Teatret and gives workshops for actors all over the world. He regularly creates and directs the main local performance during Holstebro Festuge (Festive Week) and has directed Madame Bovary with Anna Lica (Denmark); Ali og den forunderlige ånd with emigrants and refugees (Denmark); The Starry Messenger with Donald Kitt (Canada); Lady Swettenham with Sabera Shaik of Masakini Theatre Company (Malaysia);Sancho Panza e non Chisciotte with Mario Barzaghi of Teatro Dell'Albero (Italy); Othello with Masakini Theatre Company and Jabatan Kebudayaan Dan Kesenian Negara (Malaysia). In collaboration with Rosalba Genovese, Teatro Dell'Albero, he has regularly gathered a group of Italian actors for workshops.

Performances
《My Father's House》
《The Book of Dances》
《Presenze e Figure》
《Come! And the Day will be Ours》
《Anabasis》
《The Million》
《Brecht's Ashes》
《The Gospel According to Oxyrhincus》
《Inside the Skeleton of the Whale》
《Ode to Progress》
《Mythos》
《The Great Cities under the Moon》
《Andersen's Drea》
《Don Giovanni all'Inferno》
《The Chronic Life》
《Theatrum Mundi performances》
《The Marriage of Medea》
《Performance Demonstrations》
《Text, Action, Relations》
《The Whispering Winds》
Performances directed by Tage Larsen for other companies
《Madame Bovary 》(wih Anna Lica, Yorick Teatret, Denmark)
《Ali og den forunderlige ånd》 (with emigrants and refugees, Denmark)
《The Starry Messenger》 (with Donald Kitt, Canada)
《Lady Swettenham》 (with Sabera Shaik, Masakini Theatre Company, Malaysia)
《Sancho Panza e non Chisciotte 》(with Mario Barzaghi, Teatro Dell'Albero, Italy)
《Othello 》(with Masakini Theatre Company and Jabatan Kebudayaan Dan Kesenian Negara, Malaysia)

Julia Varley was born in 1954 in London, Great Britain and joined Odin Teatret in 1976. Apart from acting she is active in directing, teaching, organising and writing. At the age of three she moved to Milan, Italy where she did her schooling, including Philosophy Studies at Milan University. Before joining Odin Teatret she worked in Milan with theatre with Teatro del Drago, Centro Sociale Santa Marta and Circolo La Comune, and earned her living as an assistant film producer. With Odin Teatret, Julia Varley teaches in schools and universities and has synthesised her experience in four work demonstrations: The Echo of Silence, The Dead Brother, Text, Action, Relations and The Flying Carpet. Since 1990 she has been involved in the conception and organisation of ISTA (International School of Theatre Anthropology) and of the University of Eurasian Theatre, both directed by Eugenio Barba. Since its beginning in 1986 she has been active in The Magdalena Project, a network of women in contemporary theatre. She is also artistic director of Transit International Festival, Holstebro, and editor of The Open Page, a journal devoted to women's work in theatre.In the framework of The Magdalena Project, Julia also takes part in the collaborative project "Women with Big Eyes" which has been performed in Denmark and Cuba.In connection with Odin Teatret's intercultural productions and Holstebro Festuge, Julia has started an ongoing pedagogical collaboration with groups of young actors ("Ageless", "Jasonites", "Ur-Hamlet Foreigners") both in Denmark and abroad. Julia Varley directs her regular longlasting students. She has directed two productions with Pumpenhaus Theater in Germany (Auf den Spuren des Yeti and Blau), two productions with Ana Woolf from Argentina (Seeds of Memory and White is the Night), a children's production with Hisako Miura from Japan (Fox Wedding) and two productions with Lorenzo Gleijeses and Manolo Muoio (Il figlio di Gertrude and L'esausto o il profondo azzurro) and another with Gabriella Sacco (The Taste of Oranges) from Italy. She has worked as assistant director for the films Anabasis and On the Two Banks of the River, and for the production of the film Come! And the Day Will Be Ours. Julia Varley has written two books: Wind in the West - a novel by a theatre character (Odin Teatret Forlag, Denmark) and Notes of an Odin Actress - Stones of Water (Ubulibri, Milan; Escenologia, Mexico; Alarcos, Cuba; San Marcos-Yuyachkani, Peru; Entretemps, France; Routledge, UK).
Her articles and essays have been published in journals such as The Mime Journal, New Theatre Quarterly, Teatro e Storia, Conjunto, Lapis, The Open Page, Performance Research, Teatro XXI and Máscara.

Performances

《Anabasis》
《The Million》
《Brecht's Ashes》
《The Gospel According to Oxyrhincus》
《Talabot》
《Rooms in the Emperor's Palace》
《The Castle of Holstebro》
《Kaosmos》
《Inside the Skeleton of the Whale》
《Ode to Progress》
《Doña Musica's Butterflies》
《Mythos》
《The Great Cities under the Moon》
《Andersen's Dream》
《Don Giovanni all'Inferno》
《Killing Time》
《The Chronic Life》
《Theatrum Mundi performances》
《The Marriage of Medea》
《Ur-Hamlet》
《Four Poems for Sanjukta》
《Ego Faust》
《The Island of Labyrinths》

Performance Demonstrations

《The Whispering Winds》
《The Echo of Silence》 (solo)
《The Dead Brother》 (solo)
《Text, Action, Relations》
《The Flying Carpet 》(solo)
Odin performances for children
《J.S. Bach》

Performances with Julia Varley for other companies than Odin Teatret

《Women with Big Eyes》 (collective creation, The Magdalena Project, international)
《The Night of the Vagabonds》 (directed by Else Marie Laukvik)

Performances directed by Julia Varley

《Auf den Spuren des Yeti 》(with Harald Redmer, Pumpenhaus Theater, Germany)
《Blau 》(Pumpenhaus Theater, Germany)
《Seeds of Memory》 (with Ana Woolf, Argentina)
《White is the Night 》(with Ana Woolf, Argentina)
《Fox Wedding》 (with Hisako Miura, Teatret Om, Japan/Denmark)
《Il figlio di Gertrude 》(with Lorenzo Glejieses, Teatro Stabile di Calabria, Italy)

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Elena Floris was born il L'Aquila in 1982. She began to study the violin at the age of 6. She received her diploma of violin from the conservatory in 2004 and graduated in physcology in 2006.
Alongside the classical music she has played in different formations of various kinds of music, especially folk, as well as jazz. She has played with various classic chamber ensembles and for various bands (Gretadieu, TNT Orchestra, Taraf, Nidi D'arac, Animal Tango, Orchestra di Piazza Vittorio) and famous Italian soloists like Daniele Silvestri, Dente, Emma Marrone.Elena Floris collaborates with the Odin Teatret actress Iben Nagel Rasmussen, as actress-violinist in the Italian version of the production Esther's Book, and is a member of the group The Bridge of Winds, led by Iben Nagel Rasmussen and finally joined Odin Teatret and the ensemble performance Andersen's Dream as a musician in 2009.

Performances
《Ester's Book》
《Andersen's Dream》
《The Great Cities under the Moon》
《Ode to Progress》
《Inside the Skeleton of the Whale》
《Performances with The Bridge of Winds》 directed by Iben Nagel Rasmussen
Ancestors
《Ur-Nat》
《Parades》
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PIERANGELO POMPA, born in Rome, (Italy) in 1979, is a theatre director.Since 2006, he has worked at Odin Teatret as Eugenio Barba's assistant in various productions and projects in Denmark, Italy and Taiwan. In 2008 he founded in Italy the Altamira Laboratory, with performances and teaching activities, also at the Centre of University Theatre at the University of Ferrara. Since 2008 he has directed: I Look at the Sea (Antas Teatro), Don Giovanni - A Scherzo for Servant and Master (Altamira Laboratory) and Twelve Good Words (Altamira Laboratory-Antas Teatro), and The Garden (Altamira Laboratory-CTU Ferrara). In 2012, in residence at Odin Teatret, he has directed the international project The Misty Road to a Performance and the seminar Lost in the Forest. He completed his university studies in theatre history and Chinese language and literature. He specialised in traditional Chinese theatre and has made several stays in China and Taiwan, studying in particular the writings of Mei Lanfang. Since 2009, he has published essays and reports in the Italian magazine "Teatro e Storia".
Presently Pierangelo Pompa is working on the dramaturgy of a new Altamira Laboratory production, Mum in Prison, and making a research residency at Shanghai Theatre Academy.

 

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Prof. Nicola Savarese’s lecture title:

“Eugenio Barba and Theatre Anthropology”.

Today, at the beginning of the 21st century, there are two possible paths for young people who want to set out on a theatrical career: traditional codified genres (classical ballet, Beijing Opera, Kabuki, etc.) or modern un-codified drama (话剧 Huaju). Both these paths have their own training methods in schools organized for this purpose. Theatre Anthropology - the study of technical principles for the actor and dancer - has been developed by the director and theoretician Eugenio Barba. It opens up a personal path to young artists where a self-taught training becomes possible, leading to a knowledge of stage presence applicable to whatever style one chooses.The lecture will show some basic principles of theatre anthropology that are useful for beginning a process of individual research with roots in theatre history.


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Quasi Orpheus is a work demonstration in which Jan Ferslev uses examples from training and performances to explain how movement, music, voice and musical instruments are integrated in his work.
He shows how a musical instrument can become an extension of the body, thus enhancing its possibilities;
how action, voice and sonority merge to suggest different associations and moods;
how the visual aspect of an instrument is integrated in the creative process;
and finally how all these elements are united in a complex synthesis of expression, which belongs to the performer's personality and turns into the backbone of the performance.
Actor and musician Jan Ferslev has performed with Odin Teatret for more than 25 years. Talabot, Itsi Bitsi, Kaosmos and Mythos are some of the performances he has participated in.

Duration: 60 min.(no break)
This work demonstration can be played in Danish, English, Italian, Portoguese D U R A T I O N

************************************************************************** 《THE LIFE OF PROPS
On stage: Tage Larsen

Objects speak, words depict, statues dance and the actor works with all of these elements in order to transform both himself and them.
The actor handles an object, giving it life, composing and creating images. 。
A stick or a flag is a support and an extension, a weapon and a tool; it is part of the actor's body and a partner to collaborate with, it is challenging in its demands and generous in the freedom it bestows.
The stick answers back and judges the actor's precision.
Thinking of how God blows life into a lump of clay, the actor tries to build a sequence that confirms the existence of the whole creation with a plank of wood, in a material, concrete and down to earth style.
The accurate form of a statue secures energy to be revealed, while random physical actions encapsulate rhythms and associations which - in connection with a text - distil a density of meanings.

Duration: 60 min.(no break)
This work demonstration can be performed in Danish and English, Italian and Spanish DURATIONu

 


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The Echo of Silence is a work demonstration which describes the vicissitudes of the voice of an actor and the stratagems she invents to “interpret” a text.
The voice of the actors and the text presented to the spectators compose the music of a performance.
In theatre, which is apparently free of the codes that we know in music, the actor needs to create a labyrinth of rules, references and resistance to follow or refuse so as to achieve a personal expression and recognise her own voice.
The Echo of Silence touches on some of the moments of this process letting the perception of the spectator slip through the technical discipline revealing the person behind the actor and the silence behind the voice.

Duration: one hour and 30 minutes.
This work demonstration can be played in English, French, Spanish, Italian or Danish.

***************************************************************************an actor's artistic autobiography

Every performance tells a story. The characters belonging to the world of fiction become credible reality for the spectator thanks to the actor's technique.
In Traces in the snow the technique itself becomes the protagonist. The actress carries on a dialogue with the secrets which precede and follow the building of a character and the creation of a performance – and its process, she exposes these secrets.
The tension which characterizes every drama is also present in this performance/work demonstration, due to the confrontation between the actress's two forms of behavior: daily and scenic.

Duration: 1 hour and 45 minutes.
The performance can be played in English, French, Spanish, Italian or Danish.

 

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Work demonstration with Roberta Carreri on the improvisation and creation of a character Actress: Roberta Carreri
For many years the work of improvisation has been the base of the creation of Odin Teatret performances.
In Nora's Way Roberta Carreri will explain and demonstrate her use of improvisation in the creative process.
She will then confront herself with a classical text: "A Doll's House" of Ibsen. Exploring on stage different
ways of creating a sequence of actions and then set them in relation to the text. Alternating the creative
work with explanations, she presents her personal process and indicates the motivations behind her choices.

Duration: 75 min.
This work demonstration can be presented in English, Italian or Danish.

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Kafka's parable "Before the Law" tells of a man from the country who, out of subjection and obedience, does not dare to pass through the Door of the Law. Into this theme the performance weaves metaphysical and nihilistic urges, subterranean plots and black apocryphal versions of the Holy Books. Despair disguises itself as hope, and spiritual extremism assumes an appearance of mocking scepticism. The public space of the theatre turns into a paradoxical space of shared solitude.

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STA (Shanghai Theatre Academy) International performing-art experimental teaching studio focuses on the most important and basic elements of “course construction”. At the same time, the studio is also an international platform of performing-teaching. Through the implementation of the project as well as studying and practicing with first-class artists or educators, we are hoping to build up an actor-training-courses system with not only international vision, but also marked the Chinese characteristics.In order to exchange the latest informations of performing arts and actor-training, the studio will also hold presentations, performances and international symposiums regularly.In November 2011, with the studio’s invitation, experts from the Workcenter of Jerzi Grotowski and Thomas Richards held a six-day actor-training workshop and the series of lectures, "Towards Organic Behavior".
In October 2012, the studio invites Thomas Richards and Mario Biagini from " the Work-Center of Jerzy Grotowski and Thomas Richards " again to our school to hold a Master Class of Performance and also invites experts from all over the world that include Antonio Attisani、Carla Pollastrelli、Michelle Kokosowski、Kris Salata、Chung Mingder、Lee Chee Keng to hold an International Symposium entitled "Master class of performance of the Workcenter of Jerzy Grotowski and Thomas Richards--Jerzy Grotowski: Living Legacy --International Academic Seminar”.

During the symposium,we had screened the movies "ACTION in Vallicelle","Akropolis","Art as Vehicle" and "Reconstruction / Il principe costante di Jerzy Grotowski. Ricostruzione". And presented the drama "The Living Room".In 2013,International performing-art experimental teaching studio will invited Eugenio Barba-- the famous master of theater anthropology,Prof. Nicola Savarese--professor at the University Romatre,Roberta Carreri、Julia Varley、Jan Ferslev、Tage Larsen and Elena Floris-- five extraordinary actors and drama educators from Odin Teatret to come. We intended to hold "Master class of performance of Odin Teatret", and enroll 12 students from the national theaters and the professional art institutions to receive the training.In the future, the studio will also co-operate with well-known domestic and international art institutions as "Work Center of Michel Chekhov"," Work Center of Meyerhold","Laban Research Center" in rehearsals and actor-training.In addition, absorbing and cultivating a research team with an international vision and artistic ideals is an important task of the studio which will also be its ability to conduct research in performing arts.