Sunday, October 29, 2006


by Dogtroep
Over het IJ Festival

from top to down:
Sjors Stassen
Gabriela Tarcha & Klara Alexova
Sebastian Kox & Jan Barta
Bojana Mladenovic

pictures by Moon Saris & René den Engelsman

Friday, October 27, 2006


Tadeusz Kantor's work and how he problematizes displacement and
disappearance are both a point of reference and a source of
inspiration. Accordingly to Kantor's 'ever-deepening conviction that
it is possible to express life in art only through the absence of
life', lifeless objects are called in the composition of the scene. A
labyrinth is formed by the moving bodies in contrast with the
dismantled mannequins' lifeless body parts.

with Cliodhna Hoey, Eva-Maria Küpfer and Simone Truong
assistance by João Fernando Cabral
sound by Jord Homan
slides by Theo Solnik

2004 - NL

next performances: 19th & 20th December, Tanz Tank 21 Tanzhaus-nrw Düsseldorf


Ereignis presents itself to the audience as an opening for reflection and dream. The dancer, the visible and tangible protagonist, navigates through a predetermined series of spaces and physical actions. These spaces and actions are present-tense luminous points, situated in a much larger matrix of thought, remembered or projected.

by João da Silva
music by Laurie Anderson

performed in Arnhem, Rio de Janeiro (Festival Tapias), Essen (impact05), Groningen (Hear the Unsaid), Doesburg (BuitenBeeld Festival) and Holstebro (Odin Week)

Thursday, October 26, 2006


collaboration with Ricardo Ambrosio at Teatro da Trindade, Lisbon

Shifts in Traces

'Time appears to pass at different rates because our experience of its passing involves not a single but two dynamic processes which are opposed to each other: as accumulation and dissipation. The deeper the experience of a moment, the greater the accumulation of experience. This is why the moment is lived as longer. The dissipation of the time flow is checked. The lived duree is not a question of length but of depth or density.' John Berger

by Alexandra Waierstall

Noema Dance Works

performed in Cyprus, Greece (Mediterranean Festival) and Germany (Arena 05)

Loco Motion

a piece by Armand van den Hamer

'Loco Motion gaat over leven in een prettige en veilige wereld. Maar wat gebeurt er als de dingen niet meer in de hand te houden zijn?
De voorstelling wordt uitgevoerd door een groep mensen die normaal gesproken niet zo snel met elkaar op één podium te vinden is: amateurs en professionals, mensen mét een verstandelijke beperking en mensen met een normale beperking.'


Wednesday, October 25, 2006

phylogenetic driften

by Reiner Maria Matysik
with Sara Alba, Kirsten Enkelman, Tamara Gomez, Kordula Fritz,
Ingrun Schnitzler, Gabriela Tarcha

picture by Paul Donker Duyvis, Fazenda Valle Verde, Brazil 2002
zucht festival
paraplufabriek en marienburgkapel Nijmegen
een serie performances & exposities over
melancholie, vertraging en woede


Monday, October 23, 2006


'Door de onveranderlijkheid van de menselijke natuur te observeren, ontdek je dat onder de oppervlakte een diepe nostalgie schuilgaat. Het bewegingsmateriaal in de dans is voornamelijk abstract. Maar de herhaling van patronen en de subtiliteit van het contact en de relatie tussen de dansers creëren samen een lens, waardoor muziek, lichaam ee beeld samengaan zodat er een wereld aan verwijzingen ontstaat.'
João da Silva

premiered at the Festival voor de Wind Amsterdam

choreography by João da Silva
assistance by Marta Nejm
costume by Eric Ng
music by Jehan Alain played by Michel Bouvard
dance by Malgven Gerbes and Gabriela Tarcha


project by Saori Miyazawa
and David Brandstätter

Pniël Kerk, Arnhem

at Dogtroep

pictures by Bonnie Stekelenburg
'Recycle' laboratory 2006


Created on an edited version of the glass-metalic sounds of Xenakis' Bohor (1962), Ditirambo is a prismatic passage. Artaud, Nietzsche and Derrida inspire this solo on writings. Dithyramb was a hymn to Dionysius, entity that is crucial in Artaud's as well as in Nietzsche's thoughts. According to Artaud, the only themes worthy addressing in theatre are love, crime, war and madness.

Ditirambo was performed in De Historische Kelders Arnhem in August 2005,
Made Under Arnhem Festival, Stichting Epicentrum

cia corpos nomades

stage during the time of the performance Ooze/Eezo
(ES - CO - AR)
by Joao Andreazzi

pictures by Henk Nieman

Saturday, October 21, 2006

a few more lines

a performance at Odin develops out of many questions put together in a way they can't be separated.

long time not knowing what it is. actors who accept working like this. trust.

not how to interpret a text but how to create a context.

evocative dramaturgy: glides from one evocation to the other through association. evocative opposed to narrative; it is itself, self-referential.

the beauty of actors is not their face, but their spine.

Theatre is a subversive way of being in society.

note: all the pictures displayed in the section bits(i)blog up to now I got from the people who were at Odin Week. thanks for the sharing and hope you enjoy reading!

Projeto Arquimedes

teaching children in Caieiras, São Paulo

Wednesday, October 18, 2006

Maratona para Automatas

an evening at SESC Pompeia in São Paulo with great music by Sukorski, choreography by Paulain and so on...



Branco means white in Portuguese. Branco is like a piece of paper which can be (re-)written countless times. A gamut of matrices composed of anatomical imagery and metaphors define the spectrum of action.
The work on this improvisation solo started in 2003. This excerpt is from a performance in May 2005 at Fontys Festival in Holland.

music - Density 21,5 by Edgard Varese

Tuesday, October 17, 2006

further notes

'I work, as a director, very mathematically. Building a performance is like building an enigma, a sphinx, which has to be alive, evoked in the flesh of the actors.'
Eugenio Barba

Barba defined the essence of human condition as a simultaneity of paradoxical states.
In theatre, all elements attack the senses of the spectator - information is contiguous, two things that are not related share the same time/space.
The spectator might not understand it, but sense it.

He also spoke about the range in which the Odin actors are trained and about the ablative presence of the actor.
psychophysical quality that allows the same manifestations every time one performs - not the same feelings, it is not psychological.
The actions must be motivated. And precise.
The actor works enormously in the
kinaesthetic sense of the spectator.
how to destroy the predictability that the
kinaesthetic sense of the spectator knows? the actor has to cheat: go a little away from where he actually wants to go.
microscopically, so that it is not bizarre.
One can as well call it verfremdung.


two months interdisciplinary project with a.o. Key Sawao, Ricardo Iazzetta, Ana Fridman, Ana Mondini, Christian Durvoort, Denise Namura and Dudude Herrmann: o processo de ca.

pictures by Sit Kong Sang
Fantasia Brasileira: O Bale do IV Centenario, Sesc Belenzinho - SP, 1998

Teatro-Escola Macunaíma

O imenso disparate
sketches by Jacques Prévert
directed by Adriano Cypriano

collage satirizing
early television times

PA1 - 1996

pictures by Theo Solnik

Saturday, October 14, 2006

Through the Looking-Glass

Rednik Garten's next project is to tell the story of Through the Looking-Glass and What Alice Found There from its beginning till the moment Alice finds the poem, possibly integrating puppets and animation in the composition of the scene. Looking forward!

Friday, October 13, 2006


The door bangs, a young man comes in - exhausted, in his pyjamas. A portrait permeated by a sense of perplexity. The left half of the space remains empty. Caetano Veloso sings Peter Gast.

Created in 2004 for and with Lex te Dorsthorst (picture)
Performed also by Pedro Rosa in 2005
ArtEZ - NL

Thursday, October 12, 2006


Inspired by Lewis Carroll's poem, Jabberwocky plays out an ever-changing logic in an environment where it is challenging to carry out the most common tasks. Dislocating meaning though ambiguity, plurality and uncertainty addresses the problem of understanding raised in the fantasy world of Alice. In a de-centered universe, as in the puzzle of dreams, one might encounter cats that disappear but leave their smiles behind.

Danced by Ilan Gold, Cornelia Hanselmann, Valerie Kommer. Vincent de Munck, Aleksandr Szvikov, music by Monika Neumann and costume by Nozomi Kume
Jabberwocky premiered last May in Enschede and was later presented in Amsterdam at the Openluchttheater Vondelpark/ITS Festival.

Odin Week

This is what is left on the stage when Itsi Bitsi is over.

Here follow some of my notes from the first talk with Eugenio Barba:
in theatre - (1) an emotional need to leave the 'safe' and (2) an alive universe of stimuli, imagination. Theatre has to do with sensuality, with bodies and with having an impact on other bodies - spectators.
Actors are living books. Tacit knowledge, a sort of knowledge that can not be formulated, nor taught. The real knowledge has to be incorporated.
The beginning of Odin Theatre: an orfan who wants to escape from the suffocating burgeois environment in South of Italy. To become an immigrant, loosing one's language. Starting as amateur.
You are what you do. Code of excellence.
See through the illusions: there is a lot of work, solitude and abdications behind the easinesss of it.

Below: Rusti, Augusto, Mykalle, Barba, Gustavo, Loren, Chuca, Alejandra, Nathalie & Deise

Wednesday, October 11, 2006

Strategies of a Dead Living

Wiebke Rompel's series of pictures from last November's artistic laboratory by Hooman Sharifi at tanzhaus-nrw was recently exposed in Berlin.

Monday, October 09, 2006

in Amsterdam

by Andre Mello


Made under Arnhem Festival by Stichting Epicentrum

project on Arnhem streets, Summer 2005

concept by Yasna Schindler, pictures by Gerjanne Tiemens

Saturday, October 07, 2006

itsi bitsi

A little more than a week ago I was in Holstebro in Denmark. We were 45 people from all over the world who spent nine amazing days visiting the company by Eugenio Barba, in the luxury of having daily talks with himself, training with the actors and watching all their repertoire. Iben Nagel Rasmussen and her piece Itsi Bitsi impressed me most. She is an actress at Odin since fourty years, her energy on stage is really astonishing. Sometimes behind the mask one wonders if she is maybe twenty years old again, or five.
Seven years ago I took a series of workshops at Lume, in Campinas/BR. Even earlier I had read The Paper Canoe. It was great to visit the source of what has inspired me for so long.

More on Odin Week will come.