DOCSLIB.ORG

Director General's Report 2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

International Theatre Institute ITI World Organization for the Performing Arts The Director General‘s Report November 2014 – April 2017 Logo-Circle CMYK C45,M90,Y25,K10 K100 Logo-Circle CMYK C45,M90,Y25,K10 K100 Non-governmental cultural organization in formal association with UNESCO International Theatre Institute ITI The Director General‘s Report November 2014 – April 2017 Foreword by the President ITI and the Director General of ITI Dear ITI Members, dear Colleagues, dear friends, to hold the next Congress in the city of Segovia. After 3 ladies and gentlemen many discussions between the Spanish Centre and the Executive Council, the decision was made to hold With great pleasure we present the “Director General´s the 35th ITI World Congress there. A Congress Task Report November 2014 to April 2017 to you. It covers Force was created and together with the help of the the multitude of activities that Centres, Committees, General Secretariat, the Executive Council, the Spanish Regional Councils and individual ITI members have Centre and the Municipality of Segovia a culturally organized or have participated in. The report covers diverse Congress has been prepared. the period from the last Congress in Yerevan until the Congress in Segovia The General Secretariat put the interim reports of the Centres and Committees on the new website Since the Congress in Yerevan, two and a half years and asked al the Regional Councils, Centres and have passed. For this publication 47 Centres, more Committees to update their report for this, the final than ever have sent in their reports, 4 Regional publication. Councils and 14 Committees, Forums, Networks and Project Groups, also more than ever, have reported. Please browse through the report and read what is of The diverse richness of cultural activities is amazing. interest to you. Even by just looking at the pictures, you will get the impression that ITI is developing, that The period since the last Congress has been intense. ITI is going in the right direction and that ITI more Photo left: Mohamed The headquarters of ITI, the “home” of the General and more is reaching its artistic, educational and Al-Afkham with the DG Secretariat, relocated to Shanghai and continued to humanistic goals. and Luis Llerena, Secretary have an office at UNESCO in Paris. This meant a lot of General of the Spanish changes, not only in the change of personnel, but also If ITI can do what is written in the vision, mission and Centre during International in catching up with issues that should and will bring goals, then it is because of all the active ITI Members Dance Day 2015, in Shanghai ITI into a better future. who are utilizing the values that the performing arts present to an individual, the essential values that Photos above: Unfortunately, the political situation in Brazil has are important for the artists, the audiences and the Mohamed Saif Al-Afkham, made it impossible to hold the Congress in Manaus. people. President ITI The government of Brazil blocked the finances that Tobias Biancone, Director were budgeted for the ITI World Congress. Despite UNESCO and ITI´s vision of mutual understanding General ITI all the actions from the Mayor of Manaus and of the and peace are needed today, more than ever. A world Executive Council Members, along with the eminent that is full of culture, of a diversity of cultures and of writer and playwright Marcio Souza, nothing could be inspirational expressions of one´s own culture – this is changed. The Executive Board had one preparation what ITI and its members are striving for. meeting in Manaus, the General Secretariat members went twice to help the Manaus team to prepare for We would like to thank each and all of you for the Congress. The enthusiasm and dedication of the participating in ITI. We, all of us, are doing it for the Manaus team was extremely strong. benefit of the performing arts and the people. Your work is highly appreciated, now and in the future. Well, with the change of government in Brazil, it became even more difficult to get the funding. That Let´s continue to work for these goals - even stronger. is why the decision that the Executive Council had to take was necessary. With no budget, the needed With warm regards security for the delegates and artists could not be guaranteed. So that was the sad end of a promising development for a congress. The work of our friends in Manaus: the Mohamed Saif Al-Afkham, President ITI Mayor, Marcio Souza and his team is very appreciated. and Tobias Biancone, Director-General ITI We would like to express our gratitude to all of them. Immediately after the cancellation of the Congress in the Manaus, the new ITI Centre in Spain approached the Director General and the Executive Council. Alberto Garcia and Luis Llerena wanted to help and give new hope to the members of ITI. They proposed Contents Contents 4 Foreword 3 9 Activities 2014-2017 Centres 80 Slovak Centre of ITI 177 12 Educational Projects 230 5 Contents 4 Comments by the DG 81 Slovenian Centre of ITI 179 Comments by the DG 230 Algerian Centre of ITI 82 South African Centre of ITI 182 ITI/UNESCO Network for Higher Education Bangladesh Centre of ITI 84 Sri Lanka Centre of ITI 185 in the Performing Arts 231 1 Vision, Mission, Goals, Core Values 6 Belgium Centre of ITI (Wallonia) 86 Sudan Centre of ITI 188 AKT-ZENT Research Centre of ITI / World Burkina Faso Centre of ITI 87 SuisseTHEATRE ITI (Swiss Centre of ITI) 189 Theatre Education Institute 233 2 Relocation 8 Chad Centre of ITI 90 Swedish Centre of ITI 191 How to Bring Theatre to People Chinese Centre of ITI 92 Uganda Centre of ITI 192 Conferences 236 3 Communication & Visibility 14 Colombian Centre of ITI 97 US Centre of ITI 195 Congo Rep. Centre of ITI 99 Venezuela Centre of ITI 191 Comments by the DG 14 Croatian Centre of ITI 102 Vietnam Centre of ITI 198 13 UNESCO & ITI 237 World Theatre Ambassadors 15 Cyprus Centre of ITI 105 Zimbabwe Centre of ITI 199 Information and Comments by the DG 237 ITI Websites, Newsletters & Social Media 16 Czech Centre of ITI 111 UNESCO / ITI World Performing Arts Capital 238 Collaboration, Patronage, Use of Logos 20 Dutch Centre of ITI 113 10 Activities: 2014-2017 Committees, UNESCO Artists for Peace of ITI 239 Egyptian Centre of ITI 117 Forums, Networks & Groups 200 4 Publications 22 Estonian Centre of ITI 118 Comments by the DG 201 14 Finances 240 120 Faroese Islands of ITI 240 Action Committee for Artists Rights ACAR 202 Comments by the DG 5 Awards and Prizes 24 Finnish Centre of ITI 122 241 Dramatic Theatre Committee DTC 204 List of Donors and Sponsors Comments by the DG 24 Fujairah UAE Centre of ITI 124 Forum for Theatre Training & Education FTTE 205 Music Theatre NOW Competition 25 German Centre of ITI 126 International Dance Committee IDC 206 15 Legal Aspects 242 Ellen Stewart Award 30 Ghana Centre of ITI 128 131 International Festival Forum IFF 208 Uchimura Prize 31 Hellenic Centre of ITI Hungarian Centre of ITI 133 International Monodrama Forum IMF 209 16 Organization of ITI 244 Climate Change Playwriting Competition 32 244 Indian Centre of ITI 134 ITI Publication Committee IPC 210 The Structure of ITI worldwide 6 Membership 34 Iranian Centre of ITI 138 International Playwrights’ Forum IPF 211 Executive Council & Executive Board 140 246 Iraq Centre of ITI Music Theatre NOW Network MTNN 213 Sessions Overview Centres and Cooperating Members 34 Irish Centre of ITI 141 Network - Heritage, Indigenous Cultures & ITI Member Card 36 Italian Centre of ITI 145 Migration N-HIM 215 17 Theatre & Dance Partner Japanese Centre of ITI 149 Network Theatre in Conflict Zones NTCZ 218 Organizations 251 7 Activities 2015-2017 ITI Days 38 Jordanian Centre of ITI 150 New Project Group NPG 219 World Theatre Day 2015 & 2016 38 Kosovo Centre of ITi 154 Theatre for Social Change Network SCN 220 18 In Memoriam 252 International Dance Day 2015 & 2016 52 Latvia Centre of ITI 157 Young Practitioners‘ Committee YPC 221 Macedonian FYROM Centre of ITI 160 19 Expression of Gratitude 252 8 Activities 2014-2017 Regional Councils 72 Mexican Centre of ITI 161 Mongolian Centre of ITI 165 11 Comments by the DG 73 New Artistic Projects 222 Philippine Centre of ITI 166 Comments by the DG 223 20 Copyright Remarks 256 African Regional Council 74 Romanian Centre of ITI 169 Stage Directors´Network SDN 224 Arab Regional Council 76 Russian Centre of ITI 172 Forum for Traditional Performing Arts 226 Asia Pacific Regional Council 77 174 Saudi Arabia Centre of ITI International Stage Art Network iSTAN – European Regional Council 78 Serbian Centre of ITI 176 Collaboration 227 Vision and Mission of ITI Vision and Mission of ITI Vision & Mission Goals 6 7 1 1 The tent of of Janakatraliya Performances in the tent of (Theatre of the People) in Sri Janakatraliya (Theatre of the Lanka. People) in Sri Lanka. Vision Mission Goals ITI Core Values The International Theatre Institute ITI envisions a The International Theatre Institute ITI is the world’s The purpose of the International Theatre Institute is The Core Values of ITI are Inspiration, Inclusiveness, world that puts strong value and importance on the largest performing arts organization. Founded in 1948 to promote the international exchange of knowledge Collaboration and Transparency. Performing Arts. It is a world in which performing by theatre and dance experts and UNESCO, it strives and practice in theatre arts in order to consolidate artists are able to work and present their creative for a society in which performing arts and their artists peace and friendship between peoples, to deepen Inspiration ideas to audiences.
Recommended publications
  • Energy and Theatre Methodika 2001

    Energy and Theatre Methodika 2001

    SKRIFTSERIE ★ NR1/2OO3 METHODIKA 2OO1 ENERGY AND THEATRE Report by Martha Vestin and Grete Sneltvedt Enheten för Konstnärligt Utvecklingsarbete METHODIKA 2nd International Festival of Methods in Theatre Training 21–27 juli 2001 Gripsholms folkhögskola COOPERATIVE PARTNERS DRAMATISKA INSTITUTET MÄLARDALEN HÖGSKOLA AKT-ZENT INTERNATIONAL THEATRE CENTRE BERLIN PROTEI PROGETTI TEATRALI INTERNAZIONALI, ROME SCUT SKANDINAVISKT CENTRUM FOR UTFORSKNING AV TEATER, STOCKHOLM/OSLO EUROPEAN ASSOCIATION FOR THEATRE CU ASSOCIATED PARTNERS ITI, SWEDEN TEATERALLIANSEN, STOCKHOLM THE PROJECT RECEIVED SUPPORT FROM STATENS KULTURRÅD KONSTNÄRSNÄMNDEN NORDISKA KULTURFONDEN TEATER OG DANS I NORDEN DRAMATISKA INSTITUTET GRIPSHOLM FOLKHÖGSKOLA MÄLARDALENS HÖGSKOLA ANSVARIG UTGIVARE: PER LYSANDER ENHETEN FÖR KONSTNÄRLIGT UTVECKLINGSARBETE DRAMATISKA INSTITUTET 2003 ENERGY AND THEATRE Welcome speech Jurich Alschitz . 5 Methodika, organisation Grete Sneltvedt . 9 Points of departure . .13 Martha Vestin The work of the four teachers Anne-Lise Gabold . .15 Gregory Hlady . .37 Gabriele Vacis . .60 Anatoly Vasiliev . .79 Each section divided in: a. Short description of the workshop by Martha Vestin b. Presentation of the teacher c. The work, a list of exercises d. Selection of the teachers comments and instructions e. Comments by participants and observers Evening programmes . .99 The Energy of Theatry Space . .111 by Jurij Alschitz General comments by participants . .119 Conclusion by Martha Vestin . .125 Credlist . .133 Jurij Alschitz WELCOME SPEECH JURIJ ALSCHITZ artistic director of Methodica Dear friends, I would like to welcome and thank you for coming to our festi- val. It shows that theatre pedagogues are still interested in meeting each other. It makes me happy because usually people in our profession are solitaries. That is why it is so useful and important for our souls to get together.
  • Unicsge10 01.Pdf

    Unicsge10 01.Pdf

    Union Internationale de la Marionnette Organisation Internationale non gouvernementale bénéficiant du statut consultatif auprès de l’UNESCO fondée en 1929 Electronic Newsletter of the General Secretary N° 10 – November 2012 To all UNIMA National Centres: please forward this electronic Newsletter to all your members. Dear UNIMA Members, A unifying project has emerged from a UNESCO working group seeking to promote a culture of peace. Puppets Pledge Themselves to Peace On September 21st, 2013, to celebrate the World Day of Peace, puppet companies, individual artists, friends of puppetry and UNIMA Centres are invited to participate in this event: ''Puppets Pledge Themselves to Peace'', to be held in the UNESCO headquarters in Paris. This quest for peace resonates with the respect for cultures and desire for fraternity inscribed in the Preamble to the UNIMA statutes. Invited by Mr Michel Thouzeau, the president of this UNESCO committee, and on behalf of all of you, I have enrolled UNIMA as a partner of this important event. Already more than 40 NGOs and associations have confirmed their participation and involvement with the organising committee. It is rare that puppeteers from around the world receive invitations from an international organisation. I recall that in 1995, under the impetus of Jacques Félix, the incumbent UNIMA Secretary General, and inspired by the UNIMA Armenian Centre, a huge world march was organised in collaboration with UNESCO to celebrate this special day and to support a culture of peace. The UNIMA President and I will be in Paris on September 21st, 2013 to participate in the many activities planned for this day.
  • Puppetry Beyond Entertainment, How Puppets Are Used Politically to Aid Society

    Puppetry Beyond Entertainment, How Puppets Are Used Politically to Aid Society

    PUPPETRY BEYOND ENTERTAINMENT, HOW PUPPETS ARE USED POLITICALLY TO AID SOCIETY By Emily Soord This research project is submitted to the Royal Welsh College of Music & Drama, Cardiff, in partial fulfilment of the requirements for the Degree of Bachelor of Arts in Theatre Design April 2008 i Declaration I declare that this Research Project is the result of my own efforts. The various sources to which I am indebted are clearly indicated in the references in the text or in the bibliography. I further declare that this work has never been accepted in the substance of any degree, and is not being concurrently submitted in candidature for any other degree. Name: (Candidate) Name: (Supervisor) ii Acknowledgements Many people have helped and inspired me in writing this dissertation and I would like to acknowledge them. My thanks‟ to Tina Reeves, who suggested „puppetry‟ as a subject to research. Writing this dissertation has opened my eyes to an extraordinary medium and through researching the subject I have met some extraordinary people. I am grateful to everyone who has taken the time to fill out a survey or questionnaire, your feedback has been invaluable. My thanks‟ to Jill Salen, for her continual support, inspiration, reassurance and words of advice. My gratitude to friends and family for reading and re-reading my work, for keeping me company seeing numerous shows, for sharing their experiences of puppetry and for such interesting discussions on the subject. Also a big thank you to my dad and my brother, they are both technological experts! iii Abstract Puppets are extraordinary.
  • Unima Centre Australia June

    Unima Centre Australia June

    PRESIDENT: SECRETARY: TREASURER: JenniferDavidson DennisMurphy GarryFuhrmeister 62 YorkStreet 79 Binalong Road 28 ArkoseStreet Sandy Bay TAS 7005 Old ToongabbieNSW 2146 EightMile Plains QLD 4113 tel: (002)23-6546 tel: (02) 631-0613 tel: (07) 341-5028 INTERNATIONAL PUPPETRY ORGANISATION UNIMA CENTRE AUSTRALIA JUNE '94 Ed: Jennie Pfeiffer SECRETARY'S REPORT 17 Miller Street In taking on the role of UNIMASecretary I'd like firstof all to WestMelbourne,3003 thank Michele Spoonerfor her work as UNIMASecretary and forher help "tel: (03) 329-9481 in getting me startedas her successor. I wish her all the best in her new direction. AxelAxelrad has also beena great help. I am pleased to announce that UNIMA Australiaand British UN/MA have enteredinto a recip­ rocalrelationship. We will exchange Newsletters and will be ableto reprint each other'sarticles. This will give us much more internationalnews to pass on to you. Would you like a freecopy of the latest catalog from Ray DR Silva's Internat;onalPupp,,f Bookshop?If so, pleasering one of the UNIMAexecutives listed on thefront cover BEFORE 1st JULY. To me "UN/MA" conjures up visions of the internationalpuppet festival in Slovenia, seeing dozens of shows and meeting puppeteersfrom all over the world. Or of beingmet on a railwayplat­ formand beingtaken on a whirlwind tour of three cities to meetpuppeteers then beingdropped back on the same platform 19 hours later without having been allowed to pay foranything. To me UNIMA is contact and comraderie. I would like to promote more of that here so let's get together for a meal. I am going to be dashing about the countryside in a desperate attempt to pay offthe mortgage so let's usethat as an opportunity to meet and talkinformally about Puppetry, UNIMAetc., etc.
  • Ill TECHNOLOGY and PERFORMANCE ISSUE • Mega-Pul]Petry • Automata • Siva Vs

    Ill TECHNOLOGY and PERFORMANCE ISSUE • Mega-Pul]Petry • Automata • Siva Vs

    FALL 2000 Issue $5.95 NTERNATIONAL ¥f ./ Ill TECHNOLOGY AND PERFORMANCE ISSUE • Mega-Pul]Petry • Automata • siva vs. Jesus John Ludwig's Wrestling Macheth the puppet in contemporary theatre, film & -•. 0 '74£7( 37511 6 heatre of the Ears by Mark Sussman LY'* SS* ~ And the advantage this puppet would have over living dancers? The advantage? First ofall ~ a negative one, my excellentfriend; namely, that it would never be afected. For affection appears as you know, when the soul (vis motrix) is found at any point other than the ~, movement's center (fgmvity - Heinrich von Kleist, "On the Marionette Theater," r- , 1#1~8**,9-~. tianslated by Roman Paska .4 Where is the soul in THEATER OFTHE EARS? And who. or what, is affected? Kleist's 1810 parable of life and death, animation and affect, raises questions posed by this company of artists working in Paris, New York, Rio de Janeiro. Lenox, and Valencia- where is the center of gravity of this electronic puppet show?In puppet theater most explicitly, "vis motrix" and "vis directrix" operate at a distance. In THE- ATER OF THE EARS, the operator- manipulator of the puppet's pixilated face, and controller of the three mobile audio speakers that race across the stage floor like a circus of R2D2,- works in the upstage shadows, behind a scrim. (That's me. When the piece was created at the Center for New Theater at CalArts in Fall, 1999, I was teaching at Janie Geiser's invitation at the Cotsen Center for Puppetry and the Arts, and I joined as pup- peteer.
  • Information to Users

    Information to Users

    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI • University Microfilms International A Bell & Howell Information Company 3 0 0 North) Z e e b Road, Ann Arbor, Ml 4 8 1 0 6 -1 3 4 6 U SA 313/761-4700 800/521-0600 Order Number 9121692 Poetics andkultura: A study of contemporary Slovene and Croat puppetry Latchis-Silverthorne, Eugenie T., Ph.D.
  • UNIMA CENTRE AUSTRALIA SEPT'93 Ed: Jennie Pfeiffer 17 Miller Street West Melbournejc.:>Q5 Tel: (03) 329-9481

    UNIMA CENTRE AUSTRALIA SEPT'93 Ed: Jennie Pfeiffer 17 Miller Street West Melbournejc.:>Q5 Tel: (03) 329-9481

    PRESIDENT: SECRETARY: TREASURER: Jennifer Davidson Michele Spooner GarryFuhrmeister 62 York Street 201 George Street 28 Arkrose Street Sandy Bay TAS 7005 Fitzroy VIC 3065 Eight Mile Plains QLD 4113 tel: (002) 23-6546 tel: (03) 417-6446 tel: (07) 341-5028 1NT'ERNATIONAL PUPPETRY ORGANISATION UNIMA CENTRE AUSTRALIA SEPT'93 Ed: Jennie Pfeiffer 17 Miller Street West MelbourneJc.:>q5 tel: (03) 329-9481 Dear Members Brisbane Puppet Festival. Work continues, with .June '95 being the proposed date: The Committee organising the Festival have asked for a grant to help cover some of the costs involved and will be continuing with their planning over the next months. They would like to receive your- ideas and suggestions for the content of the Festival. Contact:- Pat Zuber, 104 Walnut St, Wynnum, Brisbane. Queensland 4178. Lowdown. The youth theatre magazine will be producing the next issue with the focus on puppetry. If you have information about your work you would like to contribute to Lowdown contact them. They will be glad to hear from you. Address :- Polly O'Neil, Lowdown. Carclew, 11 Jeffcott St, N. Adelaide, 5006 Figeuro'94 Festival. Focuses on European Puppet & Figuretheatre. From the 17 to 24 of July 1994 the European Figurenteatercentrum in Gent Belgium will organise the third edition of it's international festival figeuro. Figeuro is an open air festival held in the beautiful 17 century court of a monastery in the ce,:1tre of Gent. It is part of the Gentse Feesten, a city festival a with thousands of visitors. Artists can send their information and material (photos, press cuttings, videos) to the festival programmer: - Freek Neirynck, Europees Figurenteatercentrum, Trommelstraat 1, B-9000.
  • Curriculum Vitae

    Curriculum Vitae

    CURRICULUM VITAE Alicja Ziolko actress & tangodancer born 15 dicembre 1965 in Oslo, Norway address: Via della Caffarelletta 48, 00179 ROMA - Italia cellphone, Italy: (+39) 333 127 47 62 Norway: +47 90 100 777 E-mail: [email protected] homepage: www.alicjaziolko.com _______________________________________________________________________________________________ Education: 1999-2002: School after Theatre, master classes for actors arranged by SCUT (Scandinavian Centre for Theatre Research) and GITIS (The Russian Theatre Academy, Moscow), artistic director Jurij Alschitz 2001: Participated in Face of the 20th Century Woman, an EU-funded methodological research project in connection with the Vertical of the Role. 1997&2000 Tango studies in Buenos Aires with Mingo & Ester Pugliese, Graziela Gonzales and Roberto Herrera. 1994-1995: Tango studies in Paris with Teresa Cunha. 1991: Instituto Arte Scenica, Pontremoli, Italia. 1987-1990: Akademi Teaterprosjekt ‘84, Oslo 1985: The Mime Centre, London Productions: 2006: Performer in Cercando Eutopie, videotheatre directed by Giacomo Verde, at Malafestival, Torino Dancer & coreographer in show for Rome International Tangofestival Dancer & coreographer in show for Tangoverkstedet in Stavanger, Norway 2005: Performer in Giocchi al Castello of Ferenc Molnar, for Roma3 by Night, directed by Emiliano Campagnola Performer in Cercando Eutopie 2, at Teatro Castiglioncello, videotheatre directed by Giacomo Verde 2004: Performer in Cercando Eutopie, videotheatre directed by Giacomo Verde, at teatro Mondaino, Emilia Romagna Gertrude in Un Amleto di Legno of Natalia Capra and The Presenter in Ritratto di Signora of Carmelo Bene, directed by Gianpiero Borgia - for Festival dei Due Mondi in Spoleto. 2003 Attrice e ballerina in Passo, cortomettraggio selezionato e premiato con il premio della stampa al Concorso Nazionale per Videomaker Location Piacenza, regia Emiliano Campagnola 2002: Socrates in Ion – a dialogue by Plato, in Århus, Denmark.
  • Krystian Lupa

    Krystian Lupa

    Prix Europe pour le Théâtre Europejska Nagroda Teatralna Europe Theatre Prize Europa-Preis für das Theater Patronage and Support European Union Patronat i wsparcie Unia Europejska High Patronage European Parliament Council of Europe Under the auspices of the Secretary General Under the auspices of the Municipality of Wrocław of the Council of Europe, Mr Terry Davis and the support of Ministry of Culture and Specjalny Patronat National Heritage Parlament Europejski Republic of Poland In co-operation with Grotowski Institute Rada Europy Pod auspicjami Sekretarza Generalnego Rady Europy, Terry’ego Davis’a Pod auspicjami Miasta Wrocław przy wsparciu Promoting Body Ministerstwa Kultury i Dziedzictwa Narodowego Premio Europa per il Teatro Rzeczypospolitej Polskiej We współpracy z Instytutem Instytucja promująca im. Jerzego Grotowskiego Premio Europa per il Teatro Associate Supporting Body Union des Théâtres de l’Europe Główna Organizacja Partnerska Union des Théâtres de l’Europe Associate Bodies Organizacje Stowarzyszone Association Internationale des Critiques de Théâtre Międzynarodowe Stowarzyszenie Krytyków Teatralnych Instituto Internacional del Teatro del Mediterraneo Międzynarodowy Śródziemnomorski Instytut Teatralny International Theatre Institute - UNESCO Międzynarodowy Instytut Teatralny - UNESCO European Festivals Association Europejskie Stowarzyszenie Festiwali 1 Ministry of Culture and National Heritage Republic of Poland Ministerstwo Kultury i Dziedzictwa Narodowego Rzeczypospolitej Polskiej Bogdan Zdrojewski Bogdan Zdrojewski Minister of Culture and National Heritage Minister Kultury i Dziedzictwa Narodowego Paweł Potoroczyn Paweł Potoroczyn Director Dyretor The Adam Mickiewicz Institute Instytut Adama Mickiewicza Maciej Nowak Maciej Nowak Director of the Zbigniew Raszewski Dyrektor Instytutu Teatralnego Theatre Institute im. Zbigniewa Raszewskiego Ministry of Culture Ministerstwo Kultury and National Heritage i Dziedzictwa Narodowego ul. Krakowskie Przedmieście 15/17 ul.
  • Improvizacija Kaip Kūrybinė Strategija Spektaklio Kūrimo Procese

    Improvizacija Kaip Kūrybinė Strategija Spektaklio Kūrimo Procese

    LIETUVOS MUZIKOS IR TEATRO AKADEMIJA Olga Lapina IMPROVIZACIJA KAIP kūrYBInė STRATEGIJA SPEKTAKLIO kūrIMO PROCESE Meno doktorantūros projekto tiriamosios dalies santrauka Teatras ir kinas (W400) Vilnius, 2018 Meno doktorantūros projekto tiriamoji dalis rengta 2015–2018 m. Lietuvos muzikos ir teatro akademijoje Tiriamojo darbo vadovė: Doc. dr. Ramunė Balevičiūtė-Liugienė (Lietuvos muzikos ir teatro akademija, humani- tariniai mokslai, menotyra 03H, teatrologija) Meno doktorantūros projekto tiriamoji dalis ginama Lietuvos muzikos ir teatro akademijos Teatro ir kino krypties taryboje. Taryba tiriamajam darbui ginti: Pirmininkas: Prof. Vytautas Anužis (Lietuvos muzikos ir teatro akademija, teatras ir kinas W400, vaidyba) Nariai: Prof. Aidas Giniotis (Lietuvos muzikos ir teatro akademija, teatras ir kinas W400, teatro režisūra) Prof. dr. Rasa Vasinauskaitė (Lietuvos muzikos ir teatro akademija, humanitariniai mokslai, menotyra 03H, teatrologija) Prof. dr. Aušra Martišiūtė-Linartienė (Lietuvos muzikos ir teatro akademija, humani- tariniai mokslai, filologija 04H) Tomasz Ciesielski (Lodzės universitetas, Lodzės muzikos akademija, teatras, vaidyba) Recenzentė: Prof. dr. Ramunė Marcinkevičiūtė (Lietuvos muzikos ir teatro akademija, humanitariniai mokslai, menotyra 03H, teatrologija) Meno doktorantūros projekto tiriamoji dalis bus ginama viešame Lietuvos muzikos ir teatro akademijos Teatro ir kino krypties tarybos posėdyje 2018 m. birželio 5 d. 10 val. Lietuvos muzikos ir teatro akademijos Vargonų auditorijoje. Adresas: Gedimino pr. 42, LT-01110, Vilnius, Lietuva. Tel. (+370-5) 261 26 91, faks. (+370-5) 212 69 82 Meno doktorantūros projekto tiriamąją dalį galima peržiūrėti Lietuvos muzikos ir teatro akademijos bibliotekoje. ĮVADAS Improvizacijos sąvoka vartojama labai plačiame kontekste: tai ir skirtingose meno srityse naudojama atlikimo technika, ir aiškiais principais apibrėžtas žanras, ir plačiąja prasme laisve bei kūrybiškumu pagrįstas veikimo režimas, ir buitine prasme bet koks spontaniškas, iš anksto nenumatytas reiškinys.
  • To All Unima National Centres, Councillors, Representatives and Members

    To All Unima National Centres, Councillors, Representatives and Members

    Union Internationale de la Marionnette Organisation Internationale non gouvernementale bénéficiant du statut consultatif auprès de l’UNESCO fondée en 1929 TO ALL UNIMA NATIONAL CENTRES, COUNCILLORS, REPRESENTATIVES AND MEMBERS Charleville Mézières, on December, 16th , 2011 V/Ref: Unima Congress - Chengdu N/Ref: CHENG_DossierInvit_E Dear friends, I'm sending you this convocation letter to attend our XXI UNIMA Congress which will be held in the International Conference Hall of the Jinjiang Hotel in Chengdu (China) from May 29th to 2nd June 2012. Address: Jinjiang Hotel N° 80, 2nd Section, Renmin South Avenue 610012 CHENGDU You are kindly requested to send promptly this letter to all your UNIMA members without exceptions. It's very important that all of them receive this invitation, because, as you know, all the members of our association can attend the Congress, although, according to our Statutes, only the Councillors have the right to vote. About the world puppet festival, I remind you that it will start on May 27th with a great opening ceremony at 10 A.M (morning). So, I invite you to come to Chengdu few days before the beginning of the Congress to attend this event. It will finish on June 3rd with, also, a great ceremony. You will find enclosed, according to the item III.A.1 of our rules of procedure, the following documents: - Agenda - Report of the secretary general - Proposed activities for the forthcoming four-year term - Report of the election committee - Proposal of the locations for the next congress - Financial report - Provisional budget (We did not received any motions and change propositions in our statutes) We encourage you to attend this important UNIMA Congress and World Puppet Festival that is occurring only for the second time in Asia.
  • Puppetry in the Netherlands

    Puppetry in the Netherlands

    Puppetry in the Netherlands Articles about puppetry in the Netherlands for WEPA The World Encyclopedia of Puppetry Arts WEPA: World Encyclopedia of Puppetry Arts UNIMA: Union Internationale de la Marionnette The organization’s mission is to link puppeteers nationally and internationally, publish information on and for the field, offer support and technical assistance for professional puppeteers through seminars, conferences, and symposia; stimulate the general public’s interest in the art of puppetry; and promote the visibility of puppeteers all over the world. Union Internationale de la Marionnette is an organization in which all those people in the world concerned with the Art of the Puppet Theatre associate voluntarily in order to serve through their art the idea of peace and of mutual understanding without distinction as to race, political ideas or religion. UNIMA was formed in Prague, Czechoslovakia, in 1929 by an enthusiastic group of representatives from 14 countries. After a hiatus during and after World War II, UNIMA was re-activated and in 1957 a new constitution was drafted. UNIMA was adopted as a member of the International Theatre Institute in 1959, making it a member of the United Nations Educational, Scientific and Cultural Organization (UNESCO). With over 40 National Centers and representatives from more than 40 countries, the Council of UNIMA has, since 1972, been established with more than 60 members and an 18 member executive committee which meets every year. The Council meets every four years at each UNIMA World Congress. See: http://www.unima.org/ Poppenspe(e)lmuseum/Puppetry Museum The museum was formed in Vorchten, the Netherlands, in 1984 by puppeteer Otto van der Mieden (The Hague, 1945), director-curator of the Poppenspe(e)lmuseum.