What way to have a relationship with yourself? What kind of relationship with others? How with inanimate things? Working with the object becomes crucial in performanc e. The stoic calmness, but also the strong emotions of the performer, make the last day of the festival a pleasant punctuation.
One day in July, an old man’s house burns down, and he finds himself without a roof over his head and everything he needs for everyday life. So, he asks his neighbour whether he could stay with him for two months while he sorts out everything he needs to go to a lunatic asylum in Smolensk and there to live out the rest of his days in peace. Upon his neighbour’s firm refusal, something impulsively triggers in the old man that leads to an escalation of all that is perverse, and to all those he meets, he becomes a doom far more dangerous than an all-consuming fire.
The anti-hero of Vyrypaev's play July is one day deprived of everything by a fire. And so, he sets out to fulfil his dream – to live out the rest his days in the Smolensk asylum. His pilgrimage, on which he destroys and kills everything he gets his hands on, has been made into a puppet play by graduates of the Academy of Performing Arts in Bratislava.
The unconventional Robbers at the Marta Studio in Brno combine elements of the past with elements of the future. Even today, the old story raises new questions about greed, revenge, ideals, and forgiveness.
The production of The Robbers by JAMU in Brno turned Schiller's most famous tragedy into a farce that often ran contrary to the meaning of the words and the emotions expressed by the text. At some moments, there was a confused awkwardness that had an almost comic effect. The question arises whether that was the intention.
The dramaturgy of the ENCOUNTER festival is extended every year by stage forms that are not necessarily stage plays or drama. The main programme more and more often also includes stage dance and movement theatre. After the Georgian Lysistrata, this year the festival featured a stage dance performance called Erlking from the workshop of Kr. Sarafov National Academy of Theatre and Film Arts of Bulgaria.
A dreamscape in which one communicates through movement. A dose of metaphors in the form of a dance infusion. A contact of a Bulgarian ensemble with a mythical creature and its offspring.
Slowing down, turning inwards to our feelings, finding intimacy, and understanding of the connection between chakras and self-expression, but, most importantly, working with the voice properly. All of this we tried to learn in the oasis of serenity that the room 401 became, at least for a while.
Individual bodies in motion, collective unity of breath. The laws of anatomy, the freedom of carnality. Nonverbal communication! What is included in the performer´s sources of creation?
