The event will mark the start of the professional program and the launch of an eleven-day theatre marathon. At the meeting, the art directors will get to know all the professional program students who will need to prepare the homework. They will have to come up with a comprehensive and vivid presentation of themselves and their professional experience.
1 p.m.–3:30 p.m.
The Vsevolod Meyerhold Centre is one of the most significant theatres in Moscow. It will be the first platform that students of the professional program will get to know. And that is where they will spend the first day of the program. The structure of the theatre building ideally reflects its artistic approach: it is a multi-level space, which is open for the viewer, with the transformer stage ready to accept new theatrical ideas. Dmitry Volkostrelov, the art director of the Vsevolod Meyerhold Centre and the Territory Festival, will be the guide. His tour of the theatre will turn into the director's workshop.
Dmitry Volkostrelov Volkostrelov is an actor, director, and a founder and member of the independent theatre post. He became the artistic director of the Meyerhold Center in February 2020. In 2013, he received a special Golden Mask jury prize. And in 2020, Volkostrelov became the winner in the Experiment nomination for the Well-Tempered Manuscripts performance.
4 p.m.–6 p.m.
How should the theatre talk to the audience? And why allow the audience to take part in the conversation, debate, and express their opinions? The Meyerhold Centre is a unique theatrical institution that creates opportunities for communication and interaction of all participants in the theatre process: artists, actors, administration, and, of course, the audience. Elena Kovalskaya, the Meyerhold Centre director, will talk about audience development: the Meyerhold Centre's theory and practice, how artists work on the communication with the audience, why marketing is important in the theatre industry, and how the pedagogical department that will open in September will be organised.
Elena Kovalskaya Kovalskaya is a theatre critic. She worked as a columnist for Afisha magazine. From 2006 to 2012, she directed the Lubimovka Young Russian Playwrights Festival. From 2012 to 2014, Elena Kovalskaya managed the Theatre Leader School Project. Since 2013, she had been the art director of the Meyerhold Center and became its director in 2020.
The body work of a dramatic artist on stage is often only what the artist demonstrates: learned patterns, an act, and participation in a mise en scène. Body work can represent a much deeper and more powerful inner process. How to include the body in the process? How to work with the focus of attention? How to learn to work with different physical and psychophysical states? During this workshop, you will gain the experience of immersing yourself and working with the onstage persona.
Anna Abalikhina A dancer, choreographer and teacher. She studied at the Moscow School of Choreography and the Rotterdam Dance Academy and worked in the Galili Dance Company troupe. She has taken part in a number of dance projects in Germany, Portugal, and the Netherlands. Abalikhina is an American Dance Festival resident. In 2015, she won the Golden Mask award for her Exhibit/Awakening show.
10 a.m.–1 p.m.
'To me, one of the key things in theatre is experience exchange and dialogue. This is exactly what we are going to do. Walking around the city, we will talk about theatre in a non-theatrical space: how it coexists with the environment, where to get themes from, how to work in such conditions, how to create a world around the performance, what problems and advantages one has when working on such a project. During practice we will try to intervene into the urban space. We'll also talk about the theatre of witness, documentary, and synthetic theatre today,' Kirill Lyukevich.
Kirill Lyukevich Lyukevich is a theatre director. Since 2013, he has been collaborating with theatres in St. Petersburg, including Morph Theatre, Na Neve Theatre, Subbota Theatre, Karlsson Haus, Alexandrinsky Theatre, Theatre Tsekh, etc. In 2014, he made his own theater called NeMy. He is a member, speaker, and curator of laboratories for modern theatre: Access Point, Territory, Maska Plus, Union of Theatre Workers, etc. In 2020, the street performance 4elovekvmaske won the Golden Mask award in the Experiment nomination.
1 p.m.-1:45 p.m., 1:45 p.m.-2:30 p.m.
A tour of one of the most unconventional theatre spaces in Moscow. The place used to be the Moscow Nikolai Gogol Drama Theatre, which was conservative and not very popular with the audience. It underwent a sea change in 2012, becoming the Gogol Centre under the artistic directorship of Kirill Serebrennikov. That is how the story of one of the main Moscow cultural centres began. It is known for its extraordinary repertoire and unique space, which completely changes the way you think about communication with the audience.
1 p.m.–3 p.m.
Ekaterina Yakimova joined the festival team in 2007 as the coordinator of a special project. She gradually worked her way up to become the director in 2012. Meeting with her is a unique opportunity to learn how the Territory works from the inside. What is the festival from an artistic and production point of view? How is the festival program composed, and how to make sure you choose the right performances? How has Territory changed over the past 16 years? How has it dealt with the ups and downs of the last five years, from a pandemic to changing the art directors completely?
Ekaterina Yakimova Ekaterina Yakimova is a theatre producer and director of the Territory Festival. From 2003 to 2009, she worked in the management department of the Golden Mask festival. Yakimova was the coordinator of the international projects of the NET festival (New European Theatre) from 2004 to 2006. She also worked as a Deputy Director for Development in the Theatre of Nations (2012–2015). Since 2020, she has been teaching at The Higher School of Performing Arts.
4 p.m.–6 p.m.
At 'The Beginning of History' workshop, Mikhail Durnenkov, a playwright, will share the techniques for developing a plotline with his students. He will also demonstrate the exercises that will help them take the first steps in turning an idea into a story. The homework will be the starting point of the work process. For the master class, participants should 'prepare' a specific event from public life that amazed them or left a deep impression on them.
Mikhail Durnenkov Is a playwright and screenwriter. Durnenkov worked as a director of the Lyubimovka Festival of Young Playwrights (2013–2019). Durnenkov took part in the New Drama movement and has collaborated extensively with Teatr.doc. He has written plays for the Royal Shakespeare Company and was a member of the Royal Court Theatre. Since 2011, Mikhail Durnenkov has been the Russian curator at the New Plays from Europe festival (Wiesbaden, Germany). He is the Golden Mask theatrical prize winner in the Best Playwright nomination for the Utopia play (Theatre of Nations, Moscow).
A meeting with a master of Belgian theatre, director, and artist Jan Fabre. The event will have a flexible format and include a creative discussion, a Q&A, and a group reflection on the performance The Fluid Force of Love.
Jan Fabre Jan Fabre is a Belgian artist, sculptor, director, choreographer, scenographer. He is the founder of Troubleyn company. In 2016, the Hermitage Museum hosted Jan Fabre's first exhibition in Russia called Knight of Despair / Warrior of Beauty. In 2009, the Orgy of Tolerance play got staged at the NET festival, and in 2017, the Territory festival brought Belgian Rules / Belgium Rules to Russia.
3 p.m.-5 p.m
A meeting with the choreographer Dana Yahalomi will be the first part of the preparation for the performance, in which students and the audience will take part on 4 October. We are going to start with the introduction, the discussion of previous Dana's projects and how actionism and choreography are connected.
The interactive exposition of the Jewish Museum and Tolerance Centre will turn the visit into a real journey through the history and traditions of the Jewish people and general cultural phenomena. In addition, you will see a unique space: the museum is in the building of the Bakhmetevsky Bus Garage, created by the famous avant-garde architects Konstantin Melnikov and Vladimir Shukhov. During the tour, you will visit the permanent collection and other parts of the centre, including the cinema, lecture hall, break area, etc. The curator of the museum, Liya Chechik, and her colleagues will guide you through the centre space.
4 p.m.–6 p.m.
In recent years, the art scene has taught us there are no more barriers between genres and types of art. They created a new and constantly changing reality of contemporary art. This phenomenon uses all artistic tools available to today's author and steadily conquers new territories. The curator Dmitry Renansky dedicated his lecture to the place of music in this reality. How do composers work in the contemporary cross-disciplinary scene? What kind of music can we make today? What kind of collaborations with other arts can it form, and what can music give to them?
Dmitry Renansky Dmitry Renansky is a curator, theatre critic, and music journalist. He is the curator of the V-A-C Foundation (Moscow) and the Masters School (St. Petersburg) and the advisor to the General Manager of the Perm Opera and Ballet Theatre. Renansky is the chief editor of the theatre section of the Colta.ru web portal and a lead editor of Masters Journal. He is an assistant of the teatr post artistic director and the Opergruppa creative association co-founder. From 2013 to 2016, Renansky worked as the Deputy Theatre Director and Program Director of the New Stage of the Alexandrinsky Theatre.
The most exciting projects always get carried out at the intersection of genres, in partnerships and collaborations no one ever expects. And these are exactly what we will be discussing. After a brief tour of the multifunctional space of the Educational Center of the Moscow Museum of Modern Art, we will meet with the director of the festival Ekaterina Yakimova and the deputy director of MMOMA Alexey Novoselov. Having the joint project of the festival and the museum and Josef Nadj's performance as an example, we will discuss how they organize similar collaborations. Besides, we will find out what the Territory learned from MMOMA and what the museum learned from the festival.
Alexey Novoselov Alexey Novoselov is an art historian, curator, and deputy director of the Moscow Museum of Modern Art. Novoselov is one of the initiators and leaders of the long-term strategic partnership program between MMOMA and the Territory Festival. He was a member of the Expert Council of the 6th Moscow International Biennale for Young Art and the Gogova Foundation Art Residency Competition. In 2020, he became a Commissioner of the Moscow International Biennale for Young Art.
1 p.m.–3 p.m.
Journalists must love Josef Nadj for his creative versatility: ballet experts can always write he is a choreographer, theatre critics might call him a director, and art critics may describe Nadj as an artist. And all of them won't be wrong. In his work, Nadj combines everything he has ever been fond of at different times: from painting to martial arts. He is a multidisciplinary artist whose work does not fall within the strict limits of any art form, and Mnémosyne only confirms that. There are two parts of the performance: in the first we can see a photo exhibition of Nadj's works and in the second his performance on stage. The public talk with Josef Nadj will be conducted by Vita Khlopova — a contemporary choreography researcher, lecturer, curator of the Garage.Dance book series, and expert of the Golden Mask Festival.
Josef Nadj Josef Nadj is a French dancer and choreographer of Hungarian origin. From 1995 to 2017, he was the director of the Centre Chorégraphique National d'Orléans. In 2006, he was the artistic associate of the Festival d'Avignon. In 2008, Nadj's Entracte play, based on the Chinese Book of Changes, was shown at the Territory Festival.
The workshop will allow you to immerse yourself in the artistic world of Joseph Nadj. You will get introduced to his plastic language and understand how different forms of art can overlap in a single work. This meeting will provide both professionals and beginners with a rare opportunity to learn from the experience of a world-renowned multidisciplinary artist.
Public Movement is a performative group body that investigates and stages political actions in public spaces. It studies the social element of choreography and different rituals within this art form. Public Movement has performed in renowned art institutions worldwide, including Tel Aviv Museum of Art, Tel Aviv; Guggenheim Museum, New York; Hebbel Am Uber Theater, Berlin; Asian Art Biennial, Taipei; Australian Centre for Contemporary Art, Melbourne; and Steirischer Herbst Festival, Graz. The group has won several awards among the Essential Art Prize (2021)
Dana Yahalomi Dana Yahalomi is the co-founder and director of Public Movement. The latter is a performative research body that investigates and stages political actions in public spaces. The group has performed in renowned art institutions worldwide: in the USA, Israel, Germany, Austria, Taipei, Australia, etc. The group has won several awards among the Essential Art Prize (2021).
At the meeting, Taus Makhacheva will tell us about the methodology of working on art projects: forming and developing work ideas, interacting with institutions and other participants in the artistic environment, budgeting and financial reporting, and subsequent preservation in archives. By the collective generative approach, the artist means work in collaboration with other people — the modelling of the present happens. This approach is about looking for opportunities for growth and change instead of producing absence (even in a state of absence, it aims to search for presence).
Taus Makhacheva Taus Makhacheva is an artist. She graduated from the art department of Goldsmiths University of London (2007), the New Artistic Strategies program at Institute of Contemporary Art Moscow (2009), and got her master's degree at the Royal College of Art, London (2013). Makhacheva's works were presented at the Yokohama Triennial (2020), Lahore Biennial (2020), Kaunas Biennial (2019), Lyon Biennial (2019), Riga Biennial (2018), Liverpool Biennial (2018), Manifesta Biennial (2018), Yinchuan Biennial (2018), Venice Biennial (2017), Garage Triennial of Russian Contemporary Art (2017), Shanghai Biennial (2016), Kyiv Biennial (2015), Sharjah Biennial (2013), Moscow Biennial of Contemporary Art (2011). Makhacheva lives and works in Moscow.
2 p.m.–4 p.m.
Director Timofey Kulyabin and playwright Ilya Kukharenko will talk about their experience of working on opera productions together. What pitfalls should a drama theatre director who is staging an opera be aware of? When and how can a playwright help a director? How to find a playwright who is going to be right for you and organise productive collaborative work? What problems and challenges does the system of long-term planning pose for directing? And how does working with a playwright allow you to respond to these challenges? How is this cooperation developing in the world theatrical practice, and what results does it give?
Timofey Kulyabin Timofey Kulyabin is a theatre director. He has been working as the Red Torch Theatre head director in Novosibirsk since 2015. His production Onegin received the Jury Award at Golden Mask in 2014. The Three Sisters also won the Jury Award at Golden Mask and took part in Wiener Festwochen. Kulyabin stages his productions in Bolshoi Theatre, the Novosibirsk Opera and Ballet Theatre, the Theatre of Nations, Riga Russian Theatre, etc. In April 2017, he staged Rigoletto at Opernhaus Wuppertal (Germany), in 2019 — Ibsen's Nora in Zurich Schauspielhaus.
Ilya Kukharenko Kukharenko is a theatre critic and a playwright. His texts were published by Izvestia, Trud, Gazeta.ru, Vogue, and others. He worked on the Russia-K TV channel. In 2012–2013, he worked at the Novosibirsk State Academic Opera and Ballet Theatre as an Assistant Director of Development. After that, he was an art director of the Pobeda cinema in Novosibirsk. In 2018, Kukharenko was the curator and playwright of the Cantatas lab project at the Bolshoi Theatre and Close both of my eyes, a play staged by Anna Abalikhina as part of the Art Laboratories project of the Territory Festival. Ilya Kukharenko was a playwright for the Tannhäuser opera in Novosibirsk and the Rusalka opera at the New Stage of the Bolshoi Theatre.
Peeping Tom performer Lauren Langlois will host a two-hour workshop on how to embody emotional states through movement. Exploring a series of theatrical tasks by combining the body moving and voice, you will find a different way into engaging with your physical language. In addition, Lauren will take you through her character's internal process from the piece Triptych: The missing door, The lost room, and The hidden floor and give insight on how to work with embodiment in an imaginative context.
Lauren Langlois In 2011, Lauren joined Sydney Dance Company under Artistic Director Rafael Bonachela. In 2012, she moved to Melbourne. She has collaborated with Anouk van Dijk. For her work in Complexity of Belonging, she received the 2015 Green Room Award. She works for the New Zealand School of Dance, Footnote New Zealand Dance Company, Western Australian Academy of Performing Arts, Chunky Move and Sydney Dance Company. She joined Peeping Tom in 2020.
10 a.m.–12 p.m.
In this two-hour workshop, Peeping Tom dancer Panos Malactos will help you find the full range of movement of your body, find the mobility in your joints and reach the limit — both physically and emotionally. In this safe space to explore and grow, Panos will guide you to find your way in and out of the floor using your own qualities and characters. Let's outshine our habits and create new ones!
Panos Malactos In Israël, Panos worked with Fresco Dance Company and collaborated with Inbal Dance Theatre. He worked with choreographer Jason Mabana, director Elias Adam, and actress Styliana Ioannou. He also choreographed his own works for dance festivals and theatres. His solo Hire me, please received the Young Choreographer Award at the Cyprus Choreography Platform 2019. Panos is also working for Compagnie Tabea Martin. He joined Peeping Tom in 2020.
This tour will give you the opportunity to look into the artist's studio and understand the process behind creating new pieces. In addition to learning about the behind-the-scenes part of Taus Makhacheva's work, we will talk about the team's work that directly affects the creative process. For example, work with physical and digital archives the chief archivist Marina Istomina will tell us about.
At the meeting, director Natalia Menéndez will talk about Teatro Español and theatre development strategies: combining different disciplines (drama, performance, dance, circus, family theatre), strengthening the position of contemporary authors, modernising classics, and focusing on international projects. One of such international co-productions was the Russian-Spanish project called Кальдерон Дуо / Calderon Duo. The premiere of one of its parts based on the Life Is a Dream play by Pedro Calderon will take place at the Territory Festival. Natalia Menéndez will share her experience of working with Russian artists and discuss the stages of putting ideas into practice and the modern meanings of philosophical drama
Natalia Menéndez Natalia Menéndez is a director, head of Teatro Español (Madrid) and a curator. She has staged about thirty drama and musical performances. Menéndez creates plays and dramatizations. She teaches courses, gives workshops and lectures in Europe, America, Africa, and Asia. From 2010 to 2017, she was the head of the Almagro International Festival of Classical Theatre Foundation. In 2020, Natalia Menendez was granted the title of Chevalier de L'Ordre des Arts et des Lettres (Knight of the Order of Arts and Letters).
1 p.m.–3 p.m.
'I would like to invite the workshop participants to look at dramatic art as a skill of changing the aspect. You know, there are such tricky pictures that can become either a duck or a hare. You see a hare, then you look closely — and suddenly you see a duck. The catch is that you can't see both silhouettes at the same time. It is a matter of how you look at a picture. Everything in this world can be unrecognisably different depending on the aspect we perceive it. And of course, there are not two aspects in reality but an infinite number of them. How can we work with this in our profession? Let's find out together' — Boris Pavlovich.
Boris Pavlovich Boris Pavlovich is a director and a teacher. From 2003 to 2013, he was the artistic director of the Kirov State Theatre On Spasskaya . Then Pavlovich headed the department of social and educational programs at the Tovstonogov Bolshoi Drama Theater and was in charge of the Kvartira inclusive project. He received the Golden Mask award twice. Pavlovich has written numerous plays and articles about theatre.
4 p.m.–6 p.m.
A journey through the Electrotheatre is a chance to explore a unique theatrical space that follows the major trends of the world theatre industry. It is an opportunity to look into the theatre history of the important Moscow cultural attraction. In 1915, the ARS cinema started working here. Then, in 1950, the building was taken by the Stanislavsky Drama Theatre — the successor of the Stanislavsky Opera and Drama Theatre, which opened in 1935. The Electrotheatre received the symbolic legacy from these three places — the drama theatre, the opera and drama studio, and the cinema — and took it to the new era. Today, it is a space where bold theatrical experiments are carried out and the most unexpected artistic ideas are born. We will talk about the mission and the artistic course of the Electrotheatre with the author of the renovation program and the theatre's artistic director, Boris Yukhananov. He is a director, theatre theorist, and teacher who learned from Anatoly Efros and Anatoly Vasiliev.
Boris Yukhananov Is a Russian director, producer and actor working in theatre, film and television, as well as a teacher, a writer and an artist. In 1985, he founded Teatr Teatr — Russia's first independent theatre group. He was among the founders of the parallel cinema movement and created The Mad Prince video novel. In 1988, Yukhananov founded the Individual Directing Studio (MIR), which is still active today. He has staged over 40 theatre performances in Moscow, Saint Petersburg, Amsterdam, Vilnius and other cities. In 2013, he became the head of Stanislavsky Drama Theatre, which under his directorship became The Stanislavsky Electrotheatre.
People pay money to experience unforgettable moments. It is the creative teams that prepare these moments in different genres at various sites and territories. Pleasant experiences always influence our inner world, leaving the most valuable memories. Which experiences are at the intersection of the most memorable impressions? How can we classify experiences? How does the experience economy work? After answering these questions, we will analyze the students' experiences accumulated by the time of our meeting. We will first try to understand how to structure the information received and then how to apply it. You will learn about the tools to use when implementing ideas and creating these unforgettable experiences.
Anastasia Razumovskaya Anastasia Razumovskaya is a theatre producer and a general producer of The Kolobov Novaya Opera Theatre of Moscow. She has worked on opera premieres releases with the directors Rimas Tuminas, Alexander Titel, Vladimir Alenikov, and others; with the conductors Marco Armiglato, Vladimir Yurovsky, Timur Zangief, and others. Since 2014, she has been teaching the Project Management course at the Production Department of the Moscow Art Theatre School. Since 2020, she has been giving lectures at the Russian Presidential Academy of National Economy and Public Administration and the Stroganov Academy.
2:20 p.m.-5 p.m.
Theatrocracy is a grandiose interdisciplinary project of the Tsaritsyno Museum-Reserve. It is an exhibition about the formation of Russian musical theater in the 18th century and Empress Catherine II as a progressive theatre figure. A team of museum and theatre curators worked on the project: they collected exhibits from 29 museums and prepared two theatrical premieres in the exhibition space at once. We will get to see them right after the tour that will be conducted by the curators of the exhibition—playwright Ilya Kukharenko and artist Alexey Tregubov. The original production of Theatrocracy is a VR opera performance—a rare opportunity not only to hear unique fragments of Russian and Italian operas of the 18th century but also to attend a complex virtual theatrical event yourself. We will also discuss the unusual experience of exploring the Baroque world with the play director, Mikhail Patlasov.
At the meeting, the director will tell us about the unique Opera dei Pupi (Opera of the Puppets) genre, its opportunities and constraints, and the idea of the performance. The latter presents exceptional baroque materials with the help of modern theatre technology. Maria Litvinova and Vyacheslav Ignatov, together with Peter Aidu — the musical director of the project, have created the concept of the puppet opera of the future. Though there are no singers and musicians, it provides a complete immersion in the world of surround sound, scenery, and puppets.
Trickster Maria Litvinova and Vyacheslav Ignatov founded the Trickster Theatre in 2010. They graduated from the Russian State Institute of Performing Arts and worked at the Moscow Ten' ('Shadow') Theatre. They have produced about thirty performances in Russia, Germany, Great Britain, and other countries. The creative duo takes part in joint projects with the Theatre of Nations, the Meyerhold Centre, and the TSEKH Contemporary Dance Centre. They are the residents of the Centre for Drama and Directing and have taken part in the Art Laboratories project of the Territory festival three times.
Igor Yatsko Igor Yatsko is a theatre and film actor and director. From 2007 to 2014, he worked as a Chief Director of the School of Drama Art Theater. Since 2014, he has been a teacher at the A. Galibin studio of the Russian Institute of Theatre Arts GITIS and the Artistic Director of the Directing and Acting Laboratory at the School of Drama Art Theater. In 2015, Yatsko became a teacher and director at the Academy of cinematographic and theatre arts N.S. Mikhalkov. He has been teaching acting at Moscow City University since 2017.
4 p.m.-6 p.m.
Garage Museum is another site you cannot imagine the Moscow cultural landscape without. It is a contemporary art museum where the exhibition program is complemented by large-scale research and educational activities. The Garage Museum opened in 2008 in the building of the Bakhmetevsky Bus Garage, hence the name. In 2012, the museum moved to a new space. The latter used to be a 1968 restaurant building, which later got renovated by the architect Rem Koolhaas. We will walk around the three-story museum and talk about its mission, objectives, opportunities, and numerous interdisciplinary projects with the staff.
8.45 p.m. – 9.45 p.m.
A meeting and discussion with Peter Aidu will go ahead right on the stage where the acoustic performance Anthropocenephony took place. Peter Aidu, a pianist, composer, and a director, will present a unique set of instruments that formed the 'post-apocalyptic orchestra'. What does industrialisation sound like? Can the noise of production machines create music? How does the search for the right sound lead the composer to get inspiration from a police baton, skateboard wheel, plywood boxes, and tableware?
Peter Aidu Peter Aidu is a pianist, composer, and director. He wrote music for the Alternative Hair Show (with Ivan Lubennikov) for the Royal Opera House (London). Aidu is an author and participant of musical performances at the School of Dramatic Art Theatre and Satyricon theatre. The Sound Landscapes performance (School of Dramatic Art, 2015) received the Golden Mask award in the Experiment nomination. Aidu teaches the Chamber Ensemble module at the Moscow Conservatory. He collects rare grand pianos and keyboard instruments.
Mastermind groups are the only activity where a friendly team of fifty students gets divided according to their interests. Each professional group, be it directors or choreographers, gets its own curator and an opportunity for receiving professional advice. The event will help collect and analyse the participants' impressions of the main and educational programs of the festival. But most importantly, the students will get practical recommendations in response to their requests.
10 a.m.-12 p.m.
The tour will be an introduction to one of the biggest music theatres in Moscow. After visiting the auditorium, we will talk about the role of theatre's educational programs, which serve as a way of working with the audience and changing the theatre's image. How to fit the new education structure into the existing theatre system? How to work with children of various ages and draw adults' attention? To what extent should you share the details of the theatre's inner life with the audience? How can educational programs be used to attract additional funding, and can such work increase ticket sales?
Alisa Spirina Alisa Spirina is the curator of the Territory festival educational program and the head of the Kolobov Novaya Opera Theatre Educational cluster. She is the educational program curator of the Theatrocracy exhibition in Tsaritsyno. She is also the former creator and head of the Moscow State Stanislavsky and Nemirovich-Danchenko Music Theatre educational program. Spirina is a teacher and a theatre translator.
1 p.m. – 2:30 p.m., 2:45 p.m.-4:15 p.m.
At the workshop, Ivan Estegneev will talk about such crucial physical expressions as gestures, touch, extremeness, and spontaneity — everything people use in life. Participants will try to figure out how the level of the body's capabilities, its openness, and sensuality in life differs from playing in the theatre. The workshop will help you learn more about your own physicality and how to use your body to the maximum and confidently step into the territory of non-verbal theatre.
Ivan Estegneev Ivan Estegneev is a choreographer. He is a co-founder and artistic director of the Dialogue Dance company. He was a scholar and participant of the international residency at the American Dance Festival (USA) in 2008 and 2009. Estegneev is the Art Director of the Diversia International Contemporary Dance Duets Festival and the STANTSIA art venue (Kostroma). He often collaborates with Anna Abalikhina. Over the last years, he has been actively working as a choreographer in drama theatres. From 2016 to 2020, he regularly collaborated with Polish director Grzegorz Jarzyna in productions in Russia, Poland, and China. Since 2016, Ivan Estegneev has been teaching at the Moscow Film School at the Ingeborga Dapkunaite's course. Since 2018, he has been running the Dialog Lab physical theatre in Moscow.
At the end of the program, we will visit GES-2—the place everyone is discussing this autumn. The building, acquired in 2014 by the V-A-C Foundation, is a former power plant renovated by the Renzo Piano Building Workshop. The entire complex of the GES-2 cultural center, including the street space, occupies a vast area of 20 thousand square meters. Inside, there will be galleries, a training center, a library, a canteen, a cafe, a restaurant, a building for art residences, and a transformable hall for 420 seats with a glass wall and a view of a birch grove. The cultural center, which has not yet opened, has already initiated lively debate and discussion among the Moscow public. This August, the "Big Clay No. 4" sculpture by Urs Fischer was installed on the embankment in front of the GES-2 building, which caused a mixed reaction. We will be able to get acquainted with the unique project of the new cultural center and form our opinions about the sensational monument.
A tour of the Theatre of Nations with Roman Dolzhansky, the deputy artistic director of the theatre and the art director of the festival, is an excellent opportunity to learn about the unique strategy of the theatre. The latter has no full-time directors and actors, and each performance is a separate project. The Theatre of Nations is one of the Territory's venues and an important partner of the festival-school. It is in a building with a rich history which we will discover more about during the tour. At the final meeting of the professional program Roman Dolzhansky will share his thoughts on the festival. The students will discuss the educational program and analyse the gained experience. The participants will also recall the performances and exhibitions and exchange opinions of the festival life events.
Roman Dolzhansky Dolzhansky is a theatre critic, playwright, and curator. He is an art director of the Territory Festival-School, NET (New European Theatre), and Inspiration international festivals. He is also a Deputy Artistic Director of the Theatre of Nations and a jury member of the International Ibsen Award. He worked as editor of the Moscow Observer magazine. The critic has been a theatre columnist for the Kommersant newspaper since 1998. In 2003, 2004, and 2008, he was a member of the expert council of the Golden Mask National Theatre Award.