CONTENT PARTICIPANTS 1936 (Campus, 1996) was awarded the Ernst Reuter Prize. Between 1999 and 2001, he worked at the FUB Institute Participants Page 3 Participating students of the Inter- of Philosophy as Research Associate national Theatre Institute (ITI) in and at the DFG Collaborative Research Institutions Page 9 Singapore are Center “Performing Cultures” in the project “The Performance of Society Performances Page 11 Kalaiselvi d/o Piramayan, Lina Yu, in Games.” Shakeel Ahmmad Mulla, Ivan Pedro Simoni Talavera, Narayana Kurup, Denise Mordeno Aguilar, Giorgia Ciampi, Adele Frantz, Frances Barbe and Maryline David. is a theatre practitioner, scholar, and teacher currently based at the Western Participating students of the Frankfurt Australian Academy of Performing Arts University of Music and Performing Arts in Perth. She has trained extensively (HfMDK) are in Japanese techniques, including Butoh and Tadashi Suzuki’s actor training Alrun Hofert, Tim Dane, Gesa Köhler, method. Asian approaches to training Robert Will, Niklas Hagendick, Felix and to making performance inform her Bold, Bastian Sistig, Mark Reisig, work, building on her background in Cennet Voß, Nyamandi Mushagaranhu, Western dance and theatre. Her Ph.D., Tim Werths, Meike Hedderich, and completed at the University of Kent in Paula König. 2011, is titled The Difference Butoh Makes: A Practice-based Exploration of Participating students of the Berlin Butoh in Contemporary Performance and University of the Arts (UdK) are Performer Training. Barbe is also a qualified yoga teacher. Robin Dörnemann, Raphael Schmischke, Sven Scheele, and Thea Rasche. Hans-Ulrich Becker

Participants of the Ernst Busch has been Educational Director of Mise- Academy of Dramatic Art (HfS) in en-scène at the Hochschule für Musik Berlin are und Darstellende Kunst in Frankfurt/M. (since 2010). Becker started his thea- Hauke Diekamp, accompanied by the tre career in Frankfurt and as Artis- Russian sports scientist and martial tic Director of the Marburg Festival artist Viatcheslav Kushkov. “Theater in Bewegung.” He has worked as director at theatres in Aachen, Heidelberg, Mannheim and Stuttgart, Thomas Alkemeyer and staged productions at the Deutsches Theater Berlin, the Thalia Theater Ham- has been Professor of Sport and Society burg, the Bayerisches Staatsschauspiel at the Carl von Ossietzky Universität in Munich, and in Salvador da Bahia Oldenburg (since 2001). He received his in Brazil. YVONNE oder die Burgunder- Ph.D. at the Freie Universität Berlin. prinzessin (1993) and Walpurgisnacht His dissertation Körper, Kult und Poli- (1994) were both invited to the tik. Von der “Muskelreligion” Pierre Theatertreffen Berlin. de Coubertins zur Inszenierung von Macht in den Olympischen Spielen von

3 Gabriella Crispino Rose Bruford College of Theatre and humanities. Research interests: psycho- the Foundations (Malta) and, together Performance (London). Previously, he pharmacology, psychology of perception, with Odin Teatret and the Grotowski is Voice and Speech Trainer for acting was Head of the Lincoln School of Per- system theory of psychosis, synesthe- Institute, the co-founder of Icarus students at the Universität der Künste forming Arts, and Producing Director sia, media theory, and depth psychology Publishing Enterprise. Berlin. She studied German literature, of the new Lincoln Performing Arts in film. Recent publications: Welche linguistics, movement, and sports in Centre (LPAC), projects which he in- Farbe hat der Montag? Synästhesie: Das Munich, and acting in Berlin. During itiated at the University of Lincoln Leben mit verknüpften Sinnen (Hirzel, Martin Gruber her research on imagination, breath, (UK). Earley also worked as Editorial 2001); Engel und Avatar (Matthes & movement and voice, she worked with and Publishing Director of Methuen Seitz, 2011; with M. Roes). is a director and choreographer as well Frieda Goralewski (tradition of Elsa Drama publishers and as Chief Producer as Professor and Head of the Depart- Gindler) and Kristin Linklater (desig- of Plays for BBC Radio Drama, where ment of Movement at the Hochschule für nation in teaching). She also stud- he directed over 50 productions. He Erika Fischer-Lichte Schauspielkunst „Ernst Busch,“ Berlin. ied Russian methods of acting, body was Director of the Conference of Drama Previously, he taught acting and move- and voice (in st. Petersburg, Yeka- Schools (formerly CDS, now Drama UK). is Professor of Theatre Studies at the ment at the Otto Falckenberg Schule and terinburg) and “Gestisches Sprechen” Freie Universität Berlin. From 1995 to at the Bayerische Theaterakademie August (tradition of Bertolt Brecht). She 1999 she was President of the Interna- Everding, both in Munich. Based on his trained puppeteers at the Hochschule Rolf Elberfeld tional Federation for Theatre Research. experience in Japanese martial arts, für Schauspielkunst “Ernst Busch,” She is a member of the Academia Euro- Tadashi Suzuki’s theory “The Grammar film actors at the Hochschule für Film is Professor of Philosophy at the paea, the Göttingen Academy of Sci- of the Feet,” and functional bodywork, und Fernsehen “Konrad Wolf” (Babels- Universität Hildesheim; he studied ences, the Berlin-Brandenburg Academy Gruber developed his own approach to berg), and performers at the Institut philosophy, Japanology, Sinology and of Sciences and the National Academy the education of performing artists. He für Medien und Theater (Universität religious in Würzburg, Bonn, and Kyoto. of Sciences Leopoldina in Halle. She staged productions with international Hildesheim). Elberfeld’s fields of research include has been Director of the International casts in Beijing (China) and Hanoi (Vi- intercultural philosophy, comparative Research Center for Advanced Studies etnam). aesthetics/ethics, phenomenology, Japa- on “Interweaving Performance Cultures” Niamh Dowling nese philosophy, philosophy of language (since 2008) and spokesperson of the and the body. Selected publications: International Research Training Group Gopalan Nair Venu is Head of School of Performance at Kitaro Nishida (1870-1945). Moderne “Interart Studies” (since 2006). Most Rose Bruford College of Theatre and japanische Philosophie und die Frage recent publications: The Politics of is a well-known scholar, performer, Performance (London). She has worked nach der Interkulturalität (Rodopi, Interweaving Performance Cultures: Be- and director from India. Venu has done as a movement director, leading work- 1999); Phänomenologie der Zeit im yond Postcolonialism (Routledge, 2013); extensive research on Kerala’s theatre shops in the UK, Europe, USA, Asia, Buddhismus. Methoden interkulturellen Global Ibsen. Performing Multiple traditions and has evolved a system South and Central America, and Russia. Philosophierens (Frommann-Holzboog, Modernities (Routledge, 2010). to notate theatre and dance forms like Dowling trained as a teacher of the 2004); Sprache und Sprache. Eine Kathakali, Kutiyattam and Mohiniyattam. Alexander technique and in movement philosophische Grundorientierung He has devised a training method for with Monika Pagneux (Paris) and Ann (Karl Alber, 2012). Mario Frendo contemporary actors based on the “Nav- Bogart, Nancy Topf and Eva Karczag arasa Sadhana” and other principles of (New York). She has collaborated lectures theatre and performance at traditional theatre. Venu is Founder closely with Song of´´ the Goat Hinderk Emrich the Theatre Studies Department of the and Chairman of Natanakairali (Research, Theatre (Teatr Piesn Kozła, Poland) School of Performing Arts, University Training and Performing Centre for for the past ten years. Dowling has is a German psychiatrist, psychoana- of Malta. His research interests Traditional Arts) and Ammannur Chachu a holistic approach to education and lyst, and philosopher. Emrich is striv- include musicalised processes in thea- Chakyar Smaraka Gurukulam (Training performance training, with emphasis ing to integrate the two foundations tre practice, contemporary theatre and Centre for Kutiyattam). He has been on the interconnectedness of movement of his discipline, humanities and performance theory, and interdiscipli- awarded several prizes including the and voice. neurobiology, and to draw conclusions narity in performance. In 2013, Frendo Kerala Sahitya (Literary) Academy Award, for individual therapy as well as for completed his doctoral thesis at the Kerala Sangeetha Nataka (Music and social designs. Aside from his work as University of Sussex, UK, titled Musi- Theatre) Academy Award, Kerala Kalaman- Michael Earley Professor of Psychiatry and Psychother- cality and the Act of Theatre: Devel- dalam (Deemed University for Arts and apy at the Medizinische Hochschule oping Musicalised Dramaturgies for Culture) Award and the Nikkei Asia is Professor of Drama as well as Prin- Hannover (1992-2008), he held teaching Theatre Performance. He is one of the Prize for Culture (Japan, 2007). cipal and Chief Executive Officer at assignments at various faculties of directors of Theatre Arts Researching

4 5 Navtej Singh Johar dergraduate acting conservatoires. She tam) since 1995. He started his Mizhavu (directing/teaching) from Royal Central studied a traditional Korean vocal art percussion training at the age of 11 School of Speech and Drama, London. is today’s leading male dancer/chore- form called p’ansori under Human Cul- and studied, amongst others, under After lecturing internationally, she now ographer in India whose work freely tural Treasures Han Nong Son and Song Kalamandalam Eshwaranunni in Kerala teaches at the ITI, Singapore. traverses between the traditional and Uhyang. From this, she developed an Kalamandalam, where he received his the contemporary. He is the founder of intercultural approach to training diploma. From 1989 onwards, he ac- Studio Abhyas, New Delhi, a nonprofit actors’ voices. She received her Ph.D. companied the Guru Ammannur Madhava Marc Prätsch organization dedicated to yoga, dance- in Performance Practice (Voice) from Chakyar in all performances, playing, theater, urban activism and the care of the University of Exeter, School of for example, at UNESCO’s declaration is an actor and director. He studied stray animals. He trained in Bharatan- Performance Arts. of “Intangible Cultural Heritage” in at the Hochschule für Musik, Theater atyam at Kalakshetra and studied yoga Paris. He received the Bismillah Khan und Medien (Hannover). Prätsch was a at the Krishnamacharya Yoga Mandiram, Yuva Puraskar Award in 2012 and the member of the actor’s ensemble of the Chennai, India. Johar’s work draws on David Moss Promising Artist of the Year Award Schauspiel Hannover, working with di- plural vocabularies of Bharatanatyam, in 2003 from Keli, Mumbai. rectors such as Jossi Wieler, Hans Kres- yoga, and physical theater, and aims moved to Berlin in 1991 after receiving nik, Armin Petras, Sebastian Nübling, to review the physical, aesthetic, and a DAAD Berlin Artist Program fellow- and Anselm Weber. In 2010, as the most spiritual traditions, staying determi- ship. One of the most innovative vocal- Antje Paul promising young director, he was awarded nately outside the discourse of Indian ists and performers in contemporary one of Germany’s most prestigious thea- nationalism. music, Moss is Artistic Director of majored in Theatre Studies and Modern tre awards, the Förderpreis der Deutschen the MADE Festival and the Institute for German Literature at the Freie Univer- Intendanten. Since 2012, Prätsch teaches Living Voice. He is a singer in the sität Berlin. She is Research Associate acting, improvisation, and character Torsten Jost trio Denseland. Moss lives in Berlin. at the International Research Center work for drama and directing students Website: www.davidmossmusic.com for Advanced Studies on “Interweaving at the Hochschule für Musik und Darstel- majored in Theatre as well as Jour- Performance Cultures,” where she is lende Kunst in Frankfurt/M. nalism and Communication Studies in working on her Ph.D. thesis on the Berlin. He is Research Associate at Kaite O’Reilly critique of aesthetic economy. She the International Research Center for published a book on the staged reality Yurgen Schoora Advanced Studies on “Interweaving is a UK-based playwright, radio drama- of shopping malls and its social dimen- Performance Cultures” at the Freie tist, writer, and dramaturg who works sions: Träumen Sie schön. Ästhetischer is a Belgian mimographer and Professor Universität Berlin, where he is work- within disability arts and culture Schein und gesellschaftliches Sein am for Physiodrama at the Hochschule für ing on his Ph.D. thesis on the plays and mainstream culture. She won the Beispiel des Shoppingcenters (Aisthe- Musik und Darstellende Kunst in Frank- of Gertrude Stein, about which he has 2010/11 Ted Hughes Award for Persians, sis, 2012). furt/M. He studied physical theatre in published numerous essays in German. The Peggy Ramsay Award for YARD (Bush Antwerp and performed as a physical Together with Erika Fischer-Lichte et Theatre, London) and M.E.N. Best Play actor in several productions. Schoora al. he edited the books Die Auffüh- of 2004 for Perfect (Contact Theatre, Robin Payne Papazoglou worked, amongst others, with the Spanish rung. Diskurs – Macht – Analyse (Fink, Manchester). Her acclaimed version of choreographer Cesc Gelabert, the British 2012) and The Politics of Interweaving Aeschylus’ Persians was directed by is a director, voice coach, drama director Hilary Westlake, and the Bel- Performance Cultures: Beyond Postcolo- Mike Pearson as part of the inaugural trainer, and actor. As Director of Toi gian specialist for visual theatre Nicole nialism (Routledge, 2013). year of National Theatre Wales in Au- Whakaari: New Zealand Drama School, Mossoux. Schoora spent 10 years develo- gust 2010. In Water I’m Weightless, her Payne Papazoglou coordinated the devel- ping a map (4,5 by 2 meters) about con- Unlimited Cultural Olympiad Commission opment of its bicultural program. Her nections between art, (neuro-) science, Tara McAllister-Viel for the official London 2012 Olympics exploration of indigenous theatre forms gesture on stage, and human development. festival, was produced by National in New Zealand, Australia, Indonesia, is currently Head of Voice at East 15 Theatre Wales at Southbank Centre. Thailand and Greece has led to her School of Acting (University of Essex) strong interest in multilingual thea- Sasitharan Thirunalan (Sasi) and Associate Editor-in-Chief for the tre. Payne Papazoglou trained at Syd- Voice and Speech Review (Routledge). Rajeev Padiparampil ney’s National Institute of Dramatic is Co-Founder and Director of the In- She was Visiting Professor for Voice Art (NIDA). She studied with C. Berry, tercultural Theatre Institute (ITI), at the Korean National University of has been the chief Mizhavu musician at K. Linklater, D. Heathcote, J. Gro- formerly the Theatre Training & Research Arts, School of Drama (Seoul, Korea), the Ammannur Chachu Chakyar Smaraka towski. She holds a certificate for the Programme (TTRP). Together with the late teaching within the graduate and un- Gurukulam (Training Centre for Kutiyat- Advanced Course in Speech and Drama Kuo Pao Kun, Sasi conceived and estab-

6 7 lished TTRP in 2000. Before that, he on “Interweaving Performance Cultures.” INSTITUTIONS traditional systems and conceptions of was Artistic Director of The Substation Her research on intercultural theatre theatre-making from different cultures (1996-2000), an independent contempo- started in the 1980s with Cultural in order to produce critically and rary arts centre, and was a theatre Exchange in the Theatre, a book about International Research Center “Inter- socially engaged artists who create and arts critic with the Straits Times the work of Robert Wilson and Eugenio weaving Performance Cultures,” Berlin original, contemporary theatre. Appli- (1988-1996). Between 1983 and 1989, he Barba. Weiler’s current research cations for 2014/2015 are open. taught Philosophy at the National Uni- interest centers on various sorts and The International Research Center for Website: www.iti.edu.sg versity of Singapore. For more than 30 appearances of postmigrant, intra- Advanced Studies on “Interweaving years, he has been an actor/performer and interculteral theatre, especially Performance Cultures” was founded in and producer in the Singapore theatre in Berlin. Her previous publications 2008. It is connected to the Institute University of Music and Performing and has appeared in more than 25 plays. include Global Ibsen. Performing of Theatre Studies at the Freie Univer- Arts, Frankfurt/Main He also writes and lectures interna- Multiple Modernities (Routledge, sität Berlin. Funding is provided by tionally on art, theatre training and 2010). the German Federal Ministry of Educa- The Hochschule für Musik und Darstel- practice, and Singaporean culture. Last tion and Research (BMBF), allowing the lende Kunst (HfMDK) consists of around year, he was awarded the Cultural Me- Center to annually invite up to ten 900 students, taught by 400 interna- dallion, Singapore’s highest award for Phillip Zarrilli Fellows from across the globe. The Re- tionally recognized artists, lecturers, artistic achievement. search Center critically investigates and professors. The university’s artis- works as a director and trains actors/ both the interweaving of performance tic potential is reflected in over 20 dancers using psychophysical processes cultures and of cultures in performance practice-oriented courses in the field Kapila Venu through Asian martial/meditation arts. in the broadest sense; it explores all of instrumental training and singing, He has created, directed, or performed those aesthetic, political and ethical composition, conducting, church music, is Director of Natanakairali (Research, in over 18 intercultural productions. processes and phenomena in which and the historical practice of interpreta- Training and Performing Centre for Tra- As Artistic Director of The Llanarth through which cultures meet and trans- tion, contemporary and classical dance, ditional Arts) and an artist at the Group, which he founded in 2000, he co- form each other: the juxtaposition of drama and stage direction, and thea- Ammannur Chachu Chakyar Smaraka Guruku- created [Playing] the Maids with Kaite divergent performance styles and other tre and orchestra management. Students lam (Training Centre for Kutiyattam). O’Reilly, Gaitkrash (Ireland) and forms of expression on stage; working may also train to be music teachers or She is a disciple of the legendary Theatre P’yut (Korea) in 2013; The groups, schools, or companies in the prepare for academic careers (includ- Kutiyattam maestro Guru Ammannur Mad- Echo Chamber with Kaite O’Reilly, Pea- fields of dance or theatre that are ing doctorate). hava Chakyar. She also trained under der Kirk, and Ian Morgan (2012); Told culturally heterogeneous in composi- Website: www.hfmdk-frankfurt.info Gopalan Venu, Usha Nangiar, and Kitangur by the Wind with Kaite O’Reilly and Jo tion; processes of global circulation C N Rama Chakyar. She has been perform- Shapland (2010; Tokyo 2013); and sweet… of procedures, styles, and knowledges; ing as a solo and ensemble performer dry…bitter…plaintive with Stella Sub- transnational networks of production; University of the Arts, Berlin all over Kerala, India, as well as in biah of Sankalpam (2010). Between 1976 and similar performative phenomena several prestigious international and 1993, Zarrilli lived in Kerala, taking place around the globe. The Universität der Künste Berlin (UdK) venues including Dance Hakushu, Japan, India, for a total of seven years, Website: www.interweaving-performance- is one of the world’s biggest, most and Asia Society, New York. Kapila was training and researching kalarippay- cultures.com diversified, and traditional universi- awarded the Ustad Bismillah Khan Yuva attu—Kerala’s traditional yoga-based ties of the arts. Hosting more than Puraskar (2006) for upcoming artist martial art. Recent publications 500 events each year, UdK is a key from Sangeet Natak Akademi (National include Acting: Psychophysical phenom- Intercultural Theatre Institute, cultural venue in Berlin. UdK students Academy of Music, Dance and Drama, enon and process (Palgrave, 2013); Singapore present their projects to the public India), the Sanskriti Award from San- Psychophysical Acting: an intercultural through exhibi-tions, concerts, dra- skriti Pratisthan (2010), the Yuva Kala approach after Stanislavski (Routledge, The Intercultural Theatre Institute matic productions, evenings of song, Bharathi from Bharath Kalachar (2009), 2008); When the body becomes all eyes: (ITI) is an independent theatre school readings, and lectures. Students of and the Promising Artist of the Year paradigms, practices and discourses of for contemporary artists based in drama, dance, and musical performance Award in 2002 from Keli, Mumbai. power in kalarippayattu (Oxford Univer- Singapore. It was founded in 2000 by show their work in the university’s the- sity Press, 1998); and Acting Reconsid- renowned dramatist Kuo Pao Kun and its atre, Theater UNI.T. In addition, UdK ered (Routledge, 2002). current Director, Sasitharan Thiruna- cooperates with central cultural insti- Christel Weiler lan. The ITI offers a three-year prac- tutions in Berlin – such as Deutsches tice-based professional actor training Theater, Maxim Gorki Theater, Komische is Program Director of the Internation- program widely regarded as a post-grad- Oper Berlin, Berliner Festspiele, Haus al Research Center for Advanced Studies uate level course. It uses a matrix of der Kulturen der Welt, Jewish Museum

8 9 Berlin, Museum for Communication, and pavakoothu, Mudiyettu, Padayani, voice: professional singers and PERFORMANCES many others. Kummatti kali and Tiruvaathirakkali. performers, actors, choreographers, Website: www.udk-berlin.de Presently, Natanakairali’s main ac- dancers, theater directors, compos- tivities are focused on Abhinayak- ers, musicians, nonprofessional It’s 2513 — Who needs a voice? kalari Performers’ Studio for Kuti- singers, students, young people, Ernst Busch Academy of Dramatic Art, yattam performers, Natanakaisiki etc. Since 2001, the ILV has organ- By David Moss (voice, electronics, Berlin Mohiniyatta Gurukulam (Training Cen- ized 17 sessions around the world, objects, stories) tre for Mohiniyattam), Pavakathakali with over 75 master-singers and 700 The Hochschule für Schauspielkunst Kalari (Training Centre and Perform- participants. In 2014, the ILV will We should have known it 500 years “Ernst Busch” (HfS) was founded in ing Group for Pavakathakali puppet collaborate with Teatro Comunale di ago: zombies, vampires (that dark 1905 by the newly appointed Artistic theatre) and Panippura Studio for Bologna on a new opera project. fascination with human blood!), the Director of the Deutsches Theater, work with revival and training pro- Website: www.davidmossmusic.com/ living dead, a capitalist-catastrophe Max Reinhardt. Today the HfS provides grams for ritual and folk art forms. institute-for-living-voice.html media, and an entertainment system training in four departments: acting, Natanakairali has become an interna- capitalizing on death and destruc- directing, puppetry, and dance. Man- tionally renowned centre for perform- tion — all that plus the initial aged by teachers who themselves work ing arts, upholding uncompromising Mime Centrum Berlin mapping of the human genome AND the in theatre, the HfS’s training con- standards of performance based on a start of quantum computing AND those cept takes into consideration each rigorous training system influenced by The Mime Centrum Berlin (MCB) is a quaint Google glasses AND the auc- student’s personality in order to the “Gurukula Sampradayam” an age- working, information, and documenta- tioning of our frequencies to spec- develop the highest level of skills old method in which the guru (master) tion center for dance and theater. It trum-speculators… and knowledge. Due to its excellent and the shishya (student) maintain a is an ongoing project of the German teaching and support structures, close relationship. Rather than fol- Centre of the International Theatre We should have known RIGHT THEN AND the HfS is of enourmous appeal to lowing a fixed syllabus for a certain Institute. The MCB’s main areas of THERE, in 2013, that we were sub- prospective students as well as re- period of time, the training pro- work consist of: its media archive, consciously perceiving the meme of nowned experts at home and abroad. gresses at an organic speed over sev- its Studio 2 – a place for continu- the disappearing body. But then, Conversely, the HfS faculty members eral years, depending on the talent, ous public movement training, and its we didn’t “know” it. Of course, are sought-after guest lecturers at inner quality and effort of each in- network of international cooperation. once the body disappears, who needs partner institutions. Teaching and dividual student. Natanakairali also The media archive currently consists a voice? Talk, touch, vibration, learning experimentally, on a secured has a publishing wing that has re- of more than 7,000 videos and is con- song, melody, rhythm, the seductive basis and close to praxis – this is leased several books in Malayalam and tinuously expanded with self-produced charisma of the mouth, all gone… the claim of the HfS. English based on research conducted documentaries as well as loans from And that’s where we are today, in Website: www.hfs-berlin.de on subjects related to the art forms directors, choreographers, theaters, 2513: bodiless, voiceless. But we do of Kerala. Natanakairali is managed festivals, and various institutions. have memory, lots of it, and we can by a team of performing artists and Its content is searchable online. re-construct what was almost sung and Natanakairali – Research, Training masters whose main preoccupation is Since 1995, the MCB has been docu- what might have been spoken… and Performing Centre for Traditional teaching, practicing, and perform- menting performances with a special Arts Kerala, India ing traditional performing arts of focus on international contemporary Kerala, predominantly Kutiyattam, dance in Berlin (about 130 perfor- PARVATI VIRAHAM – Parvati Yearning Natanakairali was founded in 1975 Mohiniyattam and Pavakathakali. mances per year). The MCB is one of for Shiva by G. Venu with the idea of reviving Website: www.natanakairali.org the partners in the Association of and rejuvenating traditional art German Dance Archives. The center is In: Nangiar Koothu (solo perfor- forms of Kerala that were on the also a member of the Dachverband Tanz mance excerpt of a female role in verge of decline. A focal point of Institute for Living Voice Deutschland and the European Network Kutiyattam) many artistic activities based at of Information Centres for the Per- Kutiyattam Performance by the Irinjalakuda, Natanakairali has made The Institute for Living Voice (ILV, forming Arts, ENICPA. Natanakairali troupe immense contributions to the growth Producer/Artistic Director: David Website: www.mimecentrum.de and development of diverse classical, Moss) is an international center of- Introduction folk, and ritual art forms of Kerala, fering workshops, concerts, discus- Pakarnnattam describes the enactment such as Kutiyattam, Nangiar Koothu, sions, and special events that focus of several characters, both female Pavakathakali, Mohiniyattam, Kakka- on singing. It is open to anyone and male, by a single performer in rissi Natakam, Tolpavakoothu, Nool- who is interested in the human Kutiyattam theatre. This skill is

10 11 considered to be the highest degree of achievement for a performer.

One of the ancient documents, dating from the second century A.D. and relating to the Kutiyattam performer, describes the performance of a chakyar (actor) enacting Shiva’s Ardhanarishwara incarnation by merging Shiva’s and Parvati’s re-spective masculine and feminine energies.

Kutiyattam’s entire training metho- dology is geared towards achieving this ability in Pakarnnattam. In order to be able to shift between male and female characteristics, the actor must learn to empty him-/ herself. The mind must become trans- parent. Only if the actor can attain this state of mind will the trans- formation in Pakarnnattam take place.

Parvati Viraham is a performance excerpt that allows the spectator an in-depth experience of the theory of acting encapsulated in the phrase “Yatho drishti sthatho mana” (your vision determines your emotion): feeling of love (Sringara) when Par- vati gazes at Shiva’s face; jealousy when she glances at Ganga residing in Shiva’s matted hair, then anger as her gaze moves downwards in a process of contemplation that turns into sad- ness. Thus the movement of the eye transforms into the sthayi bhava (basic emotion) and sanchari bhava (transitory emotion).

12 Curated by: Dr. Christel Weiler (FU Berlin), Phillip Zarrilli (UK), Sasitharan Thirunalan (ITI, Singapore), and Torsten Jost (FU Berlin)

Organized by: Holger Hartung / Michelle Tan (ITI Singapore): Logistics, Finances, Planning; Torsten Jost / Antje Paul / Kristina Sommerfeld: Correspondances, Program; Antje Paul / Torsten Jost / Katrin Wächter / Stefan Donath / Milos Kosic: PR, Program booklet; Florian Thamer / Armin Hempel: Technical Organization; Claudia Daseking: Financial Management; special thanks to Thilo Wittenbecher (Mime Centrum Berlin) for his support in organizing the venue.

Contact: Claudia Daseking Phone: (030) 838 50 448 Email: [email protected] www.interweaving-performance-cultures.com In cooperation with: