International intensive lab
under the direction of Sergei Ostrenko
July 1 - 6, 2013
Leitring bei Leibnitz, Austria
The Lab offers a wonderful opportunity to explore the principles of Theatre Biomechanics as the psycho-physical approach in contemporary performer’s training and its application to practical work - rehearsal process, performance and teaching.
Participants will learn one of the classical Etudes of Biomechanics.
The workshop language is English.
The Lab opens the door towards the collaboration project - the performance creation in a Russian repertory theatre together with Russian actors and performers from different countries!
To apply for participation, candidates should send CV/resume with photo and a cover letter to firstname.lastname@example.org
Participation fee is 750 EUR (if payment is made before May 24th);
850 EUR (if payment is made after
The fee covers participation in all events of the programme.
IUGTE can help participants to organize accommodation and meals.The official day of arrival is Monday, July 1st, 2013 from 14:00.
The day of departure is Saturday, July 6th, 2013 at 9:00.
"I loved the fact that the lab was so international and we were working with artists from around the globe. I am sure that after this lab I am a better actress"
Sofia Maria Kikilintzia, Greece
"That kind of “play analysis” through physical work was more effective, since we have not to argue with the director on conceptual problems, which could never be solved, but focusing on doing simple physical task"
Siu Hei Chung, Hong Kong
"I continue thinking that the work of Biomechanics is very interesting and I will try to work applying it".
Maria Casellas i Artigas, Spain
"I have never studied before the “throwing stone” of Meyerhold and it was nice learning a little peace more and more deeply every day studying Meyerhold´s main points and using this points in that sequence"
Elisenda Renom, Spain
"This experience has re-awakened my desire to learn, to find projects and to improve my teaching and reminded me that a theatre artists training cannot end when they enter the professional world. In reality, that is when it should begin"
Sarah Dodd, UK
"It was very good to work Richard III, by Shakeaspeare, playing Richard again. I could go deeper in the meaning of how intense an inner super objective can and must be..."
Bruno Schiappa, Portugal