ORTZAI is a Theatre Centre, founded by actor Iker Ortiz de Zarate and based in Vitoria Gasteiz (Basque Country, Spain).

One of ORTZAI´s areas of specific expertize is TRAINING (Neumokinesia is the basis technique used in ORTZAI to train actors, dancers and musicians; this technique was developed and registered by ORTZAI and, having proved its suitability to train stage artists, it has also caught the attention of prestigious international art and culture institutions as well as the attention of Health professionals as a tool to develop the self-awareness and inner well being).

ORTZAI created its own company, known for its concern about values as Gender Equality, Education for Peace, Enviromental Care and Social Integration. Its actitivy includes the organization of different international workshops by foreing teachers (John Strasberg, Amy Werba, Deborah Berman, Luis Blat, Andrea Puglisi, Tomaso Tellung…). The European / international spreading of the artistic and educational work as a way to exchange experiences and points of view enriching the students is one of ORTZAI´s main concerns.

ORTZAI organizes three annual theatre seasons (“Winter Theatre for the Whole Family”, “Sacred Theatre” and “The Classics of the Bailey”), always according to the values above as well as focused, often, on political aspects (memory, acceptance, and reconciliation). ORTZAI has cooperated with / worked for institutions such as the Basque Parliament, Basque Symphonic Orchestra, Santa María Cathedral…


In 2011, before the terrorist group ETA announced the ending of its violent actions, ORTZAI staged the play “¿Y ahora? So now?”. The play, a big success in the Basque Country and abroad (it was taken to NY by the Cervantes Institute as well as by NYC University, to Havana by Casa Gaia and the Spanish Embassy in Cuba, Venice by University Ca´Foscari…) was the first ever to take onto stage the subject of reconciliation after suffering the consequences of terrorism, placing the plot in the Basque Country, nowadays.


In 2013, ORTZAI staged the play “Job, rehearsing crisis” Sifnos Crisis Theatre was an approaching to the crisis the world is facing, celebrated in Sifnos (Greece), coordinated by La Transplanisphère and The University of Pantheion. Tomaso Thellung de Courtelary´s “Esposti a tutto” was staged by ORTZAI in 2014.


One Land Many Faces is the European project in which ORTZAI participated  as an associate, focused on the subject of identity, namely the European identity; how it can be built when so many identities coexist in the continent. Also working on this subject of identity, ORTZAI cooperated with American artist Annita Glesta in her project “Gernika”.


Vitoria Gasteiz, is a small town, nowadays capital city of the Basque Country. The small town of 50.000 inhabitants was suddenly enlarged to receive thousands of immigrants coming from other parts of Spain in the 60´s and, again, recently, to receive a big amount of immigrants from other countries. In a medium-size town of the Basque Country, where identity is a big concern that affects politics and coexistence, the new balance between locals, already naturalized immigrants (those who arrived in the sixties) and recently arrived ones is a big challenge. That challenge is reflected in ORTZAI´s productions (both students´ productions and professional ones) which mainly stage great European classics (Anouilh, Beaumarchais, Voltaire, Giraudoux, Wilde, Sade, Shakespeare…), trying to reinforce the link between Vitoria Gasteiz´s local crucible of cultures and the European crucible of cultures.
From the Basque political conflict to today´s and tomorrow´s Europe, through the specially delicate period Vitoria Gasteiz is facing nowadays concerning integration.

The story of the partnership

For a detailed presentation of each partner, it’s here.

5 partners of the project have in common to have participated together in one or more European cooperation projects in the last 3 years (Culture Program, Grundtvig, Youth in Action): Teatermaskinen (Sue), ExQuorum (Port), Ortzai teatro (Esp), Volcano Theatre (UK) and La Transplanisphère.

The collaboration has materialized as well in the sharing of pedagogical approaches (joint workshops), design (joint artistic creation) and project management (co-organization of seminars, workshops, residences, sharing of reporting…).
To broaden its partnership towards organizations coming from different horizons, Transplanisphere has set up a Collective project with students of Sciences Po Paris (Master1). 2 teams took turns from October 2013 to May 2015 to co design the project.

2 teams took turns from October 2013 to May 2015 to co design the project.

It is during this journey that the other 4 partners were associated.

The Lithuanian Academy simply responded to proposals by email, chatted by Skype, then proposed to join the consortium because of past successful Erasmus experience.
Public Open University Zabreb (Croatia) had already worked on the development of a Grundtvig project with Transplanisphere during a meeting organized by the German agency in 2012 at Wolfentbuttel, consolidated links at the IETM in Zagreb .
Cittadinanzattiva (Italy) was associated by an Italian student of Sciences PO member of the project co who had done an internship at home.
ODC Ensemble  (Athens) hosted  Transplanisphere in 2013 for a research residency on a European project questioning the financial crisis.
These “new” partners have prior experience in European cooperation programs but are discovering the opportunities offered by Erasmus + Strategic Partnerships. They join a strong consortium that will be enriched by these new collaborations.
The partnership wanted to represent the diversity of actors of formal and informal education: school or university, artistic company and NGO.

The co-organizers therefore bring to the partnership very different skills related to their core business.
The various artistic companies offer expertise in their artistic approach and informal pedagogy that enriches the content of Moocs. They also bring groups of participants (amateur amateurs, students) or groups with fewer opportunities (within the framework of certain social missions they assume).
Universities bring expertise on the political and social issues that are present in the work. They also provide knowledge of formal pedagogies and their implementation. As for the learners, they make it possible to ensure participation in the student project in the design, testing and use phases of the Moocs.
Art schools provide expertise in the field of formal pedagogy addressed to students (to be articulated with that of universities). Teachers in these schools are most often practicing artists. They are a bridge between the formal and informal sectors, the student world and the professional world (young emerging artists). These schools also offer classes able to be the first users of Moocs and make the first feedback.

The partner NGO brings a completely original light to the project by linking it to a fundamental social anchoring (It is the bridgehead of a European network of NGOs that wants to invest this crossover between citizenship, pedagogy and creation). It also brings, with its network, a high potential for dissemination and expertise on political issues at stake in the debates of the participants. It also involves groups of adult learners throughout Europe motivated by very specific motivations related to their civic involvement.

How does it work?

Polart Circle initiates a partner’s platform at the European scale, associating art companies, scholars, universities, civil society organisations and youth integration organisations.
Activities gathers artist-educators, emerging artists, experts and citizens interested in the relationship between art and politics.
Led on a three year period (2016-2019), the activities consist in workshops, researches, artist residencies, production of Moocs and organization of events.
During this experience, participants collaborate to conceive a methodology formalising the artistic creation process, associating art and politics. Participants then disseminate this methodology throughout Europe: promotion weekends and online publication of video material, like Moocs.

The thematic agenda considers each year as a “season”, throught the angle of one discipline:

  • season 1 (2016-2017) – Writing / exploring art and politics through a writing experience
  • season 2 (2017-2018) – Staging / exploring art and politics through designing and staging
  • season 3 (2018-2019) – Acting / exploring art and politics through characters and performing

La Transplanisphère

Since 2008, La Transplanisphere has been questioning the link between art and politics. This has been developped through projects associating artistic creation and workshops in the sector of formal education (high schools and universities) and informal (amateur associative sector). Through these experiences, the company has built up a network of partners and acquired a certain experience.
In 2009, Transplanisphere organized “What Diplomacy for Europe?”, A workshop involving 50 high school students from 5 European countries for a week of workshops in Paris-Nanterre (financed by the French Ministry of Education, in partnership with the Versailles Academy), and the City of Nanterre). Then World Crisis Theater, student version, with 25 European students, supported by Youth in Action (EU program, now Erasmus+ Youth), with actions in Nanterre again and Sciences Po Paris.
In 2012, the Transplanisphere organized a meeting of young Germans, Turks and French with young Armenians in Yerevan, with the help of YIA again and Ofaj-Dfjw (french-german friendship organisation). In summer 2013, the company is the artistic director of the Sifnos Crisis project, a meeting of 70 young and senior artists in Greece, on the island of Sifnos. 12 days of theater workshops and exchange of practices on the theme of the Crisis (again with the help of YIA and the Municipality of Sifnos).

At the same time, the company is coordinating a Grundvig project called Pace (Performing Arts for Crisis in Europe), which combined the non-formal education artistic structures of 6 European countries (Sweden, Germany, Italy, Portugal, Ireland and France) for a series of workshops. In each country.
The company is therefore very invested in confronting art and politics. It questions the pedagogy and the transmission of this practice in its artistic projects directly, through workshops at the local level and at the European level. It also questions its practice even in educational exchanges with its partners (example of the Pace – Grundtvig project).
The company therefore has experience on the subject, ambitious cooperation project experience, a network of motivated local and European partners and the legitimacy to convince newcomers to join them.

Polart Circle arrives as a highlight in the company’s journey as well as for some of its partners. The project makes it possible to synthesize, in partnership with the co-organizers and contributors of the project, a 7-year course devoted to the theme of art and politics. Above all, it creates the framework and vectors for disseminating this experience through innovative teaching tools in this area.
  In the company’s team, 2 people are more specifically dedicated to Polart Circle.

Bruno Freyssinet, artistic director of the Transplanisphere’s projects, has led the company’s development strategy since 2008 on the art and politics issue. In his work, he chose to leave the logic of the “radiation of French culture” to privilege the co construction in cooperation in the perspective of appropriating the European project and make it a reality for his company. He trained himself with Relais Culture Europe through long trainings.

Arthur Navellou began his work with the Transplanisphere on the occasion of his end of theatrical studies (Stuff happens, 2009). He has been working with the company since September 2014, with the goal of developing Polart Circle.

Volcano theatre (Swansea, Wales, UK)

Volcano is a small, energetic, responsive arts company with an ability to move quickly and imaginatively to make things happen, and a track-record in inspiring and engaging others, working in partnership and setting big ideas in motion. We have been creating and touring high-impact professional theatre productions all over the world for over 26 years, as well as initiating and managing projects ranging from temporary building transformations to festivals, residential workshops, exhibitions, publications, public events and a sustainability summit. South Wales is the company’s home – we are outward-looking Welsh internationalists with deep Swansea roots, fascinated by the place we live and make work and its relationship to other places.

What We Do

We produce original theatre productions and site-specific events.
We tour theatre productions in Wales, the UK and all over the world.
We research and develop new ideas.
We teach and inspire through workshops and residencies.

Who’s Who: Meet the Volcano Team

Paul Davies – Artistic Director
Claudine Conway – Marketing & Communications Manager
Kay Denyer – Senior Administrator
Erin Rickard – Marketing & Admin Officer
Fern Smith – Creative Associate
Sarah Dow – Finance Officer

The project

New tools to question political issues through art

Erasmus+ Strategic Partnership / 2016-2019


How to stimulate greater involvement among people in building their societies?

How to develop catalysts tools for these European whose creativity just waiting to be mobilized? Given our economies of knowledge and innovation, how to prioritize the development of this creativity, major strategic priority?

Here are some of the questions that the Polart Circle project intends to provide answers.

Since 2010, La Transplanisphère developed several European cooperation projects crossing art and politics. The partners of these experiences have exchanged their practices and co builds activity programs. They also shared their knowledge throughout workshops. Together, they became aware of their role in the field of non-formal education in relation to formal education. Some common values have been identified: autonomy and socialization, participation in social life, search for personal emancipation, the fight against exclusion.

Together, we realized the variety of methodologies conducted in Europe linking Art and Politics. We also measured we had few tools to transmit them.

In conducting our first European projects, we have taken note of these surveys who consider citizens certainly as learners but also as practitioners and creators. These are the dimensions that we want to help boost.

Formalize experiences into tools

Do we need to recall that the artistic practice plays a major role for citizens to support the raise of their identity and social integration?

Beyond the access to culture, the practice allows to gain knowledge, skills, capacity of expression and personal achievement. It allows any citizen to take his place in society as a contributor, an actor of its transformation. More prosaically, artistic practice is also going to impact its career in progress.

The time as come to create Polart Circle. The project formalizes a series of existing educational approaches toward a common tool transferable to youth. This work involves formal education entities to encourage bridges between formal and popular education. It also promotes the development of a suitable and recognized tool. By the way, the project involve an NGO representing a major European network in search of innovative teaching proposals.

To reach a large audience, a possibly facilitators and teachers, we appropriate an innovative vector of knowledge sharing: the Mooc. It seems the most contemporary to address a young audience and offer an attractive range of tools means. This in order to have an impact at European level and beyond.

Polart Circle aim is not only to disseminate innovative tools, but to create a community of users (beta testers) sharing their experiences in order to create a first base of experience and then reach a larger audience through European platforms.

The European dimension of the project is that it implements a broad partnership in 9 countries. They design their proposal inspired by experiences developed in the framework of other European projects. It allows young people to question major EU political topics, with social and citizen dimensions: a major challenge for European integration. Otherwise, it generates a multilingual tool available for all in Europe.

The first target groups are among volunteers wishing to question social and political issues through creation. The project targets students by extension, learner training, emerging artists, workers, teachers… who are looking for tools to create and propose into society.

After this first level, any group of young people may use Moocs. Groups of people with fewer opportunities are particularly concerned because of certain specific public partners. The innovative and playful nature of these tools helps to make them accessible.

We hope that Polart Circle is able to contribute to this need of empowerment for Europeans today. Beyond the inter cultural dialogue, we believe that the project creates “common” by teaching, transmission and sharing. We see a potential breeding ground for re enchant the people of Europe in their relation to politics. And perhaps to trigger more inspiration and creativity within the European project?

a pedagogical framework

In order to define the pedagogical framework for the intellectual outputs — the Moocs —, the partners compared their practical experience to some existing works available on several european platforms (Erasmus+, Salto Youth toolbox, EACEA …).

They totally assume variety of propositions that are finally be presented in the Moocs published, but they want to explore this diversity in the frame of a common agreement of certain values.

A few values for/from the participants

About the relation to the participants to the project, partners want to put the stress on the necessity of being volunteers, motivated and fully involved in the experience. It’s the most appropriate way to reach quality and creativity. It provides a real space for learning and create something the participants will be proud of, and that will strengthen them for future projects.

The experience has to involve and valorize the personal experience of every participant. This has an important impact on everyone transformation.

This is linked to the partners will to make every participant an actor of its own training and its own life. The participants are invited to be active contributors to the experience. The Polart Circle process wishes to allow initiatives from participants (from the design of the Mooc itself to the final users). It’s about being responsible, pro active, inspired, confident in one’s capacity to create.

A few values for the project

Polart circle wishes to stimulate active citizenship by making aware of stakes like multiculturalism, gender equality or sustainable development. Through creative process, we want engage people in their own will to learn, feeding their own volunteer or professional path. The project also would like to support the development of critical thinking, and to stimulate social transformation through education and creation.

Elements of Methodology

– to promote group work process

– to propose practical situations that triggers personal expression

– to encourage active participation at every moment of the process

– to develop mobilities of the participants through the experience

– to involve new technologies

– to foster interpersonal and intergenerational relationships

– to use concrete pedagogical approaches and tools

– active participation in the design of the intellectual outputs

Evaluation tools

– Creating conditions for self evaluation (associated to youthpass)

– Evaluation not on the creative result but on the training process itself

– Definition of training evaluation together with the participants at the beginning of the process

– Stimulation of the cross evaluation and feedbacks of the european particpants through the web platform.

an estimative Program for the 3 seasons: Moocs and trainings

During the Polart Circle experience, the co organizers collaborates to present several methodologies formalising artistic creation processes, associating art and politics.

Those methodologies are presented through Moocs (massive open online courses).

Then, those Moocs are spread at a European scale through an internet platform and events promoting them.

In order to structure the courses, Polart Circle wants to consider each year (as seasons) through the angle of one discipline. Year one is focused on writing, year two on designing/staging, year three on performing.

For every season, 6 Moocs will be published.

Another important aspects of those Moocs is that the design and shooting of them is associated with 2 trainees send by the co organizers. This practical experience train them with common and specific skills. This dimension is also described below.

The first year, those trainees are selected among the close groups working with the co organizers. On year two and three, they will be selected from an open call addressed to the community of users of the Mooc. The selection process will be connected to the evaluation by the pairs of the works made by the users: the co organizers wishes to stimulate the best contributions from the users in offering them the opportunity to involve them more in participating to the training phase of the next season.

diversity of approaches throughout Europe

They are many ways to consider the relation between art, politics, writing, staging and acting. This project even includes ways that does not involve any stage (like public space performance for example) or any performer (like an installation).

The aim of the project is not to determine one approach as the best one, but to offer a cooperation space allowing many different perspectives to be confronted and debated at a european scale, and available for any group of learners in Europe.

The final outputs (Moocs published) reflect the diversity of approaches throughout Europe. It allows the public to explore this diversity in experimenting the proposals through the Moocs.


Season #1: writing
exploring art and politics through a writing experience for the stage

When you want to explore a political topic through an artistic experience, the first step can be the writing. But they are many ways to actually “write”.

Season #1 / Mooc #1 by La Transplanisphère > documentary theatre: interviewing experts and writing from their characters

  • Topic: Documentary theatre. How to write on a topic by running an investigation (interviews, immersive experience, reportage, data collection) and using this material to write a play.  
  • Designer/developer: Bruno Freyssinet and Arthur Navellou
  • Example. The European Crisis Games, a play inspired by a former documentary play and on the editing of interviews. Extracts from the play in Greece (Epidaurus), and in France (Paris).  
  • Interview: Bruno Freyssinet on the writing of The European Crisis Games. Interview of Xavier Timbaud, Economist and Director of L’Observatoire français des conjonctures économiques (OFCE),  which interviews has been used as a material in the play and that saw the result. Gregory Veux, composer of the ECG soundtrack. Boubkar Benzabat, documentary filmmaker.
    Mooc here

Season #1 / Mooc #2 by Ex Quorum > Social inclusion through theatre experience

  • Topic: How to question a political topic with a youth group with less opportunities ? The Mooc will tell a process of writing (rewriting) inspired by official propaganda and online comments collected by an amateur group. The example material will be provided in the context of the Presidential elections of January 2016.
  • Designer/ Developer: Hugo Miguel Coelho and Ana Silveira Ferreira
  • Example: “Guerras/Crises” (“War/Crisis”), Hugo Miguel Coelho´s programme of work between 2010 and 2011, in whose context developed “Espuma” (“Froth”) inspired by online comments on that subject
  • Interview: Hugo Miguel Coelho
    Mooc here

Season #1 / Mooc #3 by Teatermaskinen >  write a monolog through an investigation and a collection of testimonies

  • Topic: From the testimonies of many  people to the writing of one monolog for one character. How to collect, transcript, analyse, select and then create a monolog as the quintessence of the whole corpus.
  • Designer/developer: Jonas Engman and Hannes Olsson
  • Example. The Truth motherfucker, a monologue written from the collect of many  people testimonies all over Sweden. A Teatermaskinen production.   
  • Interview: Jonas Engman, artistic director of Teatermaskinen, Hannes Olsson, performer

    Mooc here

Season #1 / Mooc #4 by ODC Ensemble > writing a performance from an open consultation

  • Topic: How to develop a site specific performance based on a public debate? How to make the experience interactive even when performed? How to address and connect  people from the debate to the deliver?
  • Designer/developer: Elli Papakonstantinou, director / Dimitris Bampilis, dramaturge
  • Example.  ΜΕΤΑ, a performance about the end of the world.  The project questioned people to society in a moment of crisis and the period after. A site-specific performance that incorporates theatre, dance, music and visual arts.
  • Interview: Elli Papakonstantinou, director / Dimitris Bampilis, dramaturge

Mooc available soon

Season #1 / Mooc #5 by Volcano Theatre > Devising theatre for performance   

  • Topic: This MOOC is designed for those who wish to take an idea and, using a variety of different stimuli and techniques, develop a piece of theatrical work. Stimuli include artwork, music, objects, texts and space.
  • Designer/developer: Alan Waldron and Erin Rickard
  • Example. Smash It Up, a piece of political theatre created by Mr and Mrs Clark and Bosch. (videos of the piece and also other Smash It Up media)
  • Interview: Gareth Clark who helped create the piece and Catherine Bennett, who choreographed the movement of it.

Season #1 / Mooc #6 by Ortzai Teatro e cine >  writing a fiction by commission

  • Topic: This Mooc will tell on the writing process of a fiction based on a specifical political context that is highly controversial. How to address a public that is very sensitive on a topic and propose a fiction as a way to tell and trigger empathy.
  • Designer/developer : Iker Ortiz de Zarate
  • Exemple. Y Ahora?, a play by Iker Ortiz de Zarate questioning the reconciliation after terrorists attack and the relation between the friend of a victim and the mother of an executioner.
  • Interview: Iker Ortiz de Zarate about its work as an author self commissioned.

Season #2: Staging

exploring art and politics through designing and staging

After the writing, let’s explore different ways to design and stage a political topic.

Season #2 / Mooc #1 by La Transplanisphère > staging with live video environment

  • Topic: The use of live video with actors on stage. How to stage a documentary play combining actors and a live video environment with cameras and screens.   
  • Designer/developer: Bruno Freyssinet and Arthur Navellou
  • Example. Stuff happens, a play by David Hare. Commented relevant passages from the play in France (Paris, Nanterre) as broadcasted on National Television France2.  
  • Interview: Bruno Freyssinet and William Nadylam on the staging of Stuff Happens

Season #2 / Mooc #2 by Ex Quorum > The centre on stage or the stage on centre

  • Topic: How to run a sequence of public performative and physical, developing a barely perceptible performance among the usual passers in the very main centre of the city.
  • Designer/ Developer: Hugo Miguel Coelho and Ana Silveira Ferreira
  • Example: π PI – Projecto de Investigação from Ana Silveira Ferreira used to work on public spaces, as gardens, roundabouts, squares in its own performative path, such as happened per example with “Como um remador à deriva” (“As a rower adrift”) (2008 and 2009, in Vila Velha  Ródão/Portugal, Paris/France, Kraków/Poland) or “Proust and others” (2015, in Évora, when being a partner at Tadeusz Kantor Centenary International Conference)
  • Interview: Ana Silveira Ferreira


Season #2 / Mooc #3 by Teatermaskinen >  stagging a community project in the landscape

  • Topic: How to gather a village community to a common performative experience taking place in a forest: call for participation, dispatch of responsabilities, implementation, rehearsal process.
  • Designer/developer: Berit Engman
  • Example. Vi går en annan väg (We go another way), Projekt Riddarhyttan. A project involving the whole village next to Culture reservation for a one day and a half experience.  
  • Interview: Berit Engman, artistic director

Season #2 / Mooc #4 by ODC Ensemble > Design an interactive installation in the public space

  • Topic: How to design an interactive artistic installation in the public space questioning a hot social and political issue? How to mobilize contributions? How to borrow techniques from the commercial sector to impact the public spaces and the  community?
  • Designer/developer: Elli Papakonstantinou, director
  • Example. GREECE FOR SALE / Advanced Capitalism Culture. An interactive installation / campaign to save the artists in the country that invented theatre.
  • Interview: Elli Papakonstantinou, director – Martin Schick, designer

Season #2 / Mooc #5 by Volcano Theatre > Applied theatre in action   

  • Topic: This MOOC is designed for those who wish to use the experiences and stories of a particular group, ie., the homeless, refugees, socially deprived minorities and then create a piece of theatre around that, with these people as the principle audience members. This performance is staged in a place particular to the target groups, e.g. prison, social care home etc.
  • Designer/developer: Alan Waldron and Erin Rickard
  • Example. Till Death, a piece by Theatre versus Oppression, which deals with domestic abuse and was performed for both women’s groups and male prisoners, staged in both shelters and in prison. With clips from the piece.
  • Interview: Jennifer Hartley who wrote the play and someone whose life changed from having seen it.

Season #2 / Mooc #6 by Ortzai Teatro e cine > Realistic staging of a true story

  • Topic: This Mooc will propose a realistic approach for the staging of a fiction based on a true story. What is realistic on a stage? The difference on being realistic, true or sincere. How to simplify the staging in order to let a message go directly to the audience.
  • Designer/developer : Iker Ortiz de Zarate
  • Exemple. Y Ahora?, a play by Iker Ortiz de Zarate questioning the reconciliation after terrorists attack and the relation between the friend of a victim and the mother of an executioner.
  • Interview: Iker Ortiz de Zarate about its work as the director of Y ahora?

Season #3: Performing

exploring art and politics through characters and acting

After writing and staging, Polart Circle explores different ways to perform on stage a character, or to build up a crew of performers.

Season #3 / Mooc #1 by La Transplanisphère : performing with multicultural artists

  • Topic: Gathering a theatre company for a performing choir. How to deal with artists from different background and/or country to work together on a choral staging. Distribution of roles, multiple roles for an actor, position of the actor between interpreting a role and telling the story. The use of different languages on stage. The use of songs and music.
  • Designer/developer: Bruno Freyssinet and Arthur Navellou
  • Example. One Land Many Faces. Commented relevant passages from the play.  
  • Interview: Bruno Freyssinet and Arthur Navellou.

Season #3 / Mooc #2 by Ex Quorum > Drafting politics

  • Topic: How to direct performers in a devising and collaborative process of work, mixing  people and professional actors, questioning the politics as characters. Between imitation, political cartoon and detachment, combined with silent physical experiences.?
  • Designer/ Developer: Hugo Miguel Coelho and Ana Silveira Ferreira
  • Example: Sifnos Crisis, with similar approach, between Évora/ Portugal and Sifnos/ Greece in 2013
  • Interview: Hugo Miguel Coelho and Ana Silveira Ferreira, Vicente Sá and Joana Cavaco (usual ExQuorum performer).

Season #3 / Mooc #3 by Teatermaskinen > From rhetoric of words to rhetoric of movement

  • Topic: How to transform message and rhetorics into movement? How to transpose speeches and concepts through body, space and time? How to use movement to create a language that can freed from the constraints of idioms.
  • Designer/developer: Amanda Billberg, choreographer and dancer
  • Example.  Temporary Monad, door 9. A multidisciplinary project initiated to deal with the fabric of life: a connection with the performance frontier and politics in the broadest contemporary global meaning.
  • Interview: Amanda Billberg, choreographer and dancer

Season #3 / Mooc #4 by ODC Ensemble > associating on stage performers from different disciplines

  • Topic: How to gather on stage performers that comes from different backgrounds and disciplines to express together a political topic? How to create a language allowing a cooperation between performers, musicians and visual artists?
  • Designer/developer: Elli Papakonstantinou, director
  • Example. SKIN/DERMA, a performance on T. Hobbe’s LEVIATHAN. A ‘tribute’ to mechanical work, to apathy and resistance.
  • Interview: Elli Papakonstantinou, director – Tilemachos Moussas, Music – Adrian Frieling, performer

Season #3 / Mooc #5 by Volcano Theatre > social media and audience participation as “performers” in theatrical performances

  • Topic: This MOOC is designed for those who wish to harness the new communicative and interactive possibilities that social media has for theatrical performances, e.g. Twitter, UStream etc. A new performing character that can be interactive with live performers.
  • Designer/developer: Alan Waldron and Erin Rickard
  • Example. Mi Minor, a Turkish satirical play written by Meltem Arikan, which included elements of mixed media and social media. (extracts of the piece and the documentary made about it)
  • Interview: Writer Meltem Arikan and director Memet Ali Alabora, who have had to flee Turkey due, in part, to their work on Mi Minor.

Season #3 / Mooc #6 by Lithuanian Academy of Music and Theatre
> introduction to Tadashi Suzuki Method of Actor Training

  • Topic: Tadashi Suzuki Method of Actor Training develops the actor’s inner physical sensibilities, builds the will, stamina and concentration. The Mooc activities include a series of exercises centered around the use of the feet in relation to one’s center. It is also related to how the actor views his/her work on stage.            
  • Designer/developer : Vesta Grabštaitė
  • Exemple. A filmed masterclass from Tadashi Suzuki given at LMTA
  • Interview: Tadashi Suzuki, designer of the method