Some people say that the Chinese ideogram for 'crisis' is composed of two signs: 'danger' and 'opportunity'. I am not interested in discussing whether this is true or not, but in seeing beyond
the contradictory aspects of experiences that are generally considered to be negative in order to find inspiration for alternative ways of thinking and producing as women who work in theatre.
This is why I have linked the word crisis with risk and invention, with an emphasis on the need to change.
Nowadays crisis is a frequently used word; often followed by unemployment, bankruptcy, cuts and national debt. The word usually refers to economic crisis, but also to a political and moral
crisis, a crisis of values and a loss of belief in the future. Young people, angry and indignant, are born in an era that does not seem to offer opportunities.
Crisis is also a common word in conversations about theatre. Not only because of the difficulty of selling performances and earning a living, but also because theatre is an artistic form that
requires physical presence and an interaction with a relatively limited number of spectators, in an era that is increasingly concerned with virtual and technological communication and where
numbers count more than individual human beings.
In the making of theatre, crisis, risk and invention are essential steps in any creative process which demands rigour and engagement. When struggling to make new work and overcome the clichés
of our experience, in search of potential and unexpected directions, we all go through periods of crisis: questions, doubts, feelings of powerlessness and even paralysis, which have to be
resolved in order to move on.
In my vocal work as an actress, problems and difficulties have provoked the imperative creative stimulus to find personal solutions. In my work as a director the moment when I believe the
performance will never function is always the turning point which then reveals the hidden meaning of the work. Within The Magdalena Project, refusing the status quo, hierarchies, male supremacy
and organisation has helped us find alternative horizontal networking structures and artistic challenges. Overcoming a crisis, taking risks and inventing are not only ways of remaining alive,
but also of rediscovering every day the meaning theatre work has for us. We search for forms that satisfy our sense of rebellion and for ways of passing on knowledge and experience that defy
traditional academic structures.
Various women and performances have been invited to the Transit 7 Festival in order to share their moments of crisis and the strategies they use to overcome them. The performances, work
demonstrations, workshops and talks will give examples of how the urgent need to react to the injustice that surrounds us is transformed into a practice of assuming precarious positions and of
developing forms which express our revolt. Fighting isolation and finding support in a network of women who make theatre in all corners of the world is one way to do so. We will share
techniques and work methods in a landscape of theatrical gardens that allow space for sequoias, willows and mushrooms alike, and allow us to rediscover the desire to shape a possible future.
28-30 May 2013
Odin Teatret presented by its women
Performances, work-demonstrations and practical master classes
31 May-2 June 2013
Workshops with Ana Woolf and Lucia Sander, Jill Greenhalgh and Violeta Luna, Parvathy Baul and Roxana Pineda, Maria Porter and Raquel Carrió, Helen Chadwick and Ya-Ling Peng, Patricia Ariza
assisted by Carlos Satizábal and Sofía Monsalve, Gabriella Sacco and Helen Varley Jamieson, Deborah Hunt and Brigitte Cirla.
3-4 June 2013Transit Symposiums
RISK, CRISIS, INVENTION - GIVING FORM: ART BETWEEN FICTION AND REALITY
Speakers: Aksana Haiko (actor and director, Belarus), Ana Woolf (actor and director, Argentina), Dijana Milosevic (director, Serbia), Dorthe Kærgaard (painter, Denmark), Helen Varley Jamieson
(cyberformer, New Zealand/Germany), Jill Greenhalgh (director, Wales), Julia Varley (actor and director, UK/Denmark), Kirsten Justesen (sculptor, Denmark), Patricia Ariza (human rights activist
and director, Colombia), Rossella Viti (photographer and director, Italy), Violeta Luna (performer, Mexico/USA).
RISK, CRISIS, INVENTION - BUILDING KNOWLEDGE: EXPERIENCE BETWEEN PAST AND FUTURE
Speakers: Carolina Pizarro (actor, Chile), Chiara Zamboni (philosopher, Italy), Claudia Brunetto (journalist, Italy), Cristina Castrillo (actor and director, Argentina/Switzerland), Francesca
Romana Rietti (scholar, Italy/Denmark), Iben Nagel Rasmussen (actor and director, Denmark), Irina Halina Cornisteanu
(producer, Romania), Julia Varley (actor and director, UK/Denmark), Lucia Sander (senior lecturer and performer, Brazil), Merete Ipsen (Women's Museum, Denmark), Parvathy Baul (singer and
storyteller, India), Raquel Carrió (dramaturg, Cuba), Selene D'Agostino (scholar, Italy/Denmark).
Mas Caras con mascaras by Deborah Hunt, English edition; Stones of Water by Julia Varley,Legacy and Challenge by The Open Page, Voci
peregrine by Cristina Castrillo.
5-9 June 2013 Festival
Performances, work-in-progress, work-demonstrations, films, lectures, meetings and workshops with: Anandavalli (Sri Lanka) - Narelle Benjamin (Australia) - Parvathy Baul (India), Ana Woolf
(Argentina), Carolina Pizarro (Chile), Dah Teatar (Serbia), Dawn Albinger (Australia), Deborah Hunt (New Zealand/Puerto Rico), Estudio Teatral de Santa Clara (Cuba), Fase Tre (Brazil),
Gabriella Sacco (Italy) - Helen Varley Jamieson (New Zealand), Grenland Friteater (Norway), Gilly Adams (UK) - Maria Porter (USA), Helen Chadwick (UK), Jana Korb (Czech Republic/ Germany), Jori
Snell (Denmark/South Africa), Keiin Yoshimura (Japan), Kryly Halopa Theatre (Belarus), Luciana Martuchelli (Brazil), Lucia Sander (Brazil), Margaret Cameron (Australia), Odin Teatret (Denmark),
Patricia Ariza (Colombia), Teater Interakt (Sweden), Teatret Om (Denmark), Teatro Atlante (Italy), Teatro delle Radici (Switzerland), Theater Unikate - Gilla Cremer (Germany), The Magdalena
Project - Jill Greenhalgh (UK), Ya-Ling Peng (Taiwan), Violeta Luna (Mexico), Vocabolomacchia teatro.studio (Italy), Voix Polyphoniques (France).
Applications should be sent to:
A selection will be made by March the 4th, 2013
A total of 50 participants will be accepted
and priority will be given to the first to apply