If you want to learn more about the latest trends in the performing arts, or if you’re looking for ways to update your own performances and make them more contemporary, then IUGTE Conference “Performing Arts Between Tradition and Contemporaneity” is definitely worth checking out.
“Movement for Actors / Acting For Dancers”
Sergei Ostrenko has over 40 years of professional experience as a Director, Choreographer and Performance Teacher. Sergei has directed dozens theatre productions and produced international projects for both the professional stage and for education in numerous countries, including Austria, Belarus, Canada, Czech Republic, Germany, Hungary, Italy, Kazakhstan, Latvia, Lithuania, Malta, Slovenia, Sweden, Ukraine, and the United Kingdom. Ostrenko has directed himself over 50 theatre productions, has been an artistic director in international joint art projects, has been a jury member at dance competitions for around 10 years, has been teaching at universities, has held hundreds of international educational workshops focusing on performance making, physical theatre, choreography, acting and directing. His approach in the international scene is known as the effective method of growing cohesion and the creation of live performances within limited rehearsal time. Students of Ostrenko, theatre workers from Ukraine, Europe, the Americas, Asia and Australia, have been using his creative method in their own performance and teaching practice.
Stephanie "Tippi" Hart
"PUSH/PULL/FLY: Exploring text through weight-sharing, counterbalances, and lifts"
Push/Pull/Fly is a workshop that has been developed over the last five years by Stephanie “Tippi” Hart. It was first explored in the classrooms at Arizona State University where she was an Adjunct Instructor in Introduction to Movement for Actors. Her experience as a dancer and assistant artistic director with the professional dance company CaZo Dance Theatre which was strongly based in partner work and contact improvisation made its way into her classroom work and began to merge with text exploration. She continues to develop it as an instructor at Virginia Commonwealth University. This work is intended to be used with established text, it is not a devising exercise. The preference is to use contemporary text (written after the 1950s) but that is optional. How does a line of dialogue change if you deliver it in “mid-flight” as opposed to delivering it as you fall back against your partner? This workshop utilizes concepts of physical theatre and dance by exploring ways in which partner work can enhance story, character, and text through body, shape, and kinesthetic energy. After a brief warm-up there will be a partner work lesson where in we will explore weight sharing, counterbalances, and simple lifts. Once you have established a vocabulary of movements that you feel comfortable with you can use a script that you have brought with you or one that will be provided to find ways to heighten the text.
"Aerial Dance for Dancers"
(Lecture and Performance)
At the age of five, she discovered her passion for dance and movement, which marked the beginning of a lifelong journey to define her unique artistic vision. She is now the President and Co-founder of NEWSAM AERIAL DANCE. Monica’s internationally acclaimed body of work in dance and choreography stretches four continents – from North America and South America to Europe and Asia. Currently, Monica teaches aerial dance at Webster University and choreographs for its dance ensembles. She received her BFA at the National School of Dance and Folklore in Havana. Monica continued her exploration of international movement styles in India. She received a Post-Graduate Diploma in Indian Classical Dance at Shriram Bharatiya Kala Kendra and Yoga at the Sivananda Yoga Center of Kerala. With her 2003 Master’s in Education from Lindenwood University, Monica began exploring aerial circus techniques, lending new perspectives to her artistic work. Since 2017, Monica and Graciela have been releasing books in the pioneering curriculum Aerial Dance for Dancers, which they use while teaching workshops and master classes. Throughout her extensive creative output, Monica seeks to expand global awareness of aerial dance as an exciting, expressive movement discipline. ________ About the presentation: Our presentation will showcase aerial dance and how we combined traditional dance forms to create a new discipline called Aerial Dance. We will discuss the development of our curriculum to support versatile dancers, providing them with the strength to climb and explore movement in aerial apparatuses, and the transition from developing techniques to the creative aspects of choreography and artistic expression. During our presentation, students will learn about the style and vocabulary that we have created. We will also illustrate how our curriculums support a seamless transition into aerial dance choreography.
"Aerial Dance for Dancers"
Graduated from Webster University in St. Louis with a degree in Sociology, a minor in Spanish, and a certificate in leadership. While attending Webster, a friend whimsically invited her to enroll in Monica Newsam's aerial dance class. Unbeknownst to her, this decision would change the trajectory of her future. She worked in customer service for 3 years before deciding to find her way back to aerial dance. Eager to learn more, Morgan returned to Newsam Aerial Dance in 2022 and offered to create social media content in exchange for classes. She now serves as a Teacher assistant for the company and continues to create content for their various social media platforms. ______ About the presentation: Our presentation will showcase aerial dance and how we combined traditional dance forms to create a new discipline called Aerial Dance. We will discuss the development of our curriculum to support versatile dancers, providing them with the strength to climb and explore movement in aerial apparatuses, and the transition from developing techniques to the creative aspects of choreography and artistic expression. During our presentation, students will learn about the style and vocabulary that we have created. We will also illustrate how our curriculums support a seamless transition into aerial dance choreography.
"The Intersection Ancient Storytelling Techniques and Emerging Technology: Towards a Theatre of the Future"
(Lecture & presentation)
Clay Hopper– Currently Senior Lecturer in Directing at Boston University’s College of Fine Arts, formerly the Associate Artistic Director of Olney Theatre Center and Director of both the National Players and the Summer Shakespeare Festival at OTC. Other credits include running the Classic Repertory Company, the flagship education of New Rep Theatre from 2012 – 2016, bringing classic plays and adaptations of 20th-century novels to audiences throughout New England. At BU, Clay has been engaged in research involving emerging technologies in a narrative context and has been developing a novel software application for the design of generative, interactive projections in the theatre. This new technology was deployed for the first time in a world premiere production of A Random Act by Neal Bell in spring 2022. Other credits include On the Verge or The Geography of Yearning at Contemporary America Theatre Festival Actor’s Lab. In 2002, Hopper founded and produced a new play series called New Works/After Hours at Lincoln Center Institute’s Clarke Studio Theatre. Off-off-Broadway: A Home Without by Robert Westfield, Different Zen by Clay Hopper with Third Eye Rep, Earthworms by Albert Innaurato with The Working Group, Triage by Chris Shiea with Miranda Theatre, and The Interrogation by Murphy Guyer with The Miranda Theatre. Hopper has worked as AD at The Old Globe Theatre in San Diego, Manhattan Theatre Club, Roundabout Theatre Company, Williamstown Theatre Festival, and Woolly Mammoth Theater Company. _______ About the presentation: "I will be sharing our journey through the time-tested, ancient principles of narrative construction and storytelling, as it intersects with emerging technology in our quest to create a new theatrical language of psychologized space. I will also provide a demonstration of the technology, as well as my findings of general principles and best practices when engaging with generative design inside a narrative context."
“Cutting edge technologies and their implementation in rehearsal and performance”
(Lecture & Conversation)
Christie was Director & Dramaturg for the new play Borderless, which received the "highest recommendation" accolade from the New York Theater Buying Guide and placed as Semi-Finalist in the Script and Storyboard Showcase, Los Angeles, was shortlisted for the Rodney Seaborn Playwright Award, Sydney, and won the official selection for Best Script Award, London. Christie was Director/Choreographer and Co-Producer for the critically acclaimed new Australian work The City which premiered at Sydney Opera House and was the recipient of the Create NSW Play the City grant. She was Assistant Director for Into The Woods: In Concert, New York City Town Hall, which featured an all Broadway-star cast as well as for the new Australian musical, The Red Tree, which opened Sydney Opera House, then continuing to Arts Centre Melbourne. She studied A Practical Approach to Directing at Yale University. Under direction of 3-time Tony® Award-winner Jack O’Brien, Christie was Directorial Intern on the Australian tour of Charlie and The Chocolate Factory. For further credits and images: www.christiekoppe.com ______ About the presentation: The speaker has carefully curated an engaging selection of technologies for the upcoming presentation, ensuring a cohesive and impactful experience for the audience. To provide firsthand insights and real-world applications, the speaker plans to conduct interviews with colleagues worldwide who have interacted with cutting-edge stage technology. One illustrative example the speaker intends to explore involves Video and Projection Mapping technologies, referred to as 'Technology 1 and 2.' The speaker will offer concise explanations of these technologies and illustrate their practical usage through captivating videos. For instance, a snippet from the first 30 seconds of the musical theatre showreel, showcasing the integration of video and puppetry in "The Red Tree: Showreels" (available at christiekoppe.com), and a video highlighting the use of projection mapping on a traveling car (accessible at https://youtu.be/vm2a4vUBUpk), will be presented to exemplify the application of these technologies.
"Theatre Biomechanics (Vs. Mejerhold)"
Gennadiy Ostrenko is a professional expert in theatre biomechanics technique, movement directing, and stage combat. Despite having a Fine Arts Academy education, he is professionally involved in theatre work for the most part of life. His stagecraft skills have enabled Gennadiy to diversify his artistic activities and he now devotes himself a lot to physical theatre and movement expressiveness. and frequently collaborates with his brother, Sergei, as a Movement Director in performance productions.
Abdul Walid Bin
"Performing Melanau Tradition and Contemporaneity"
Walid Ali is a contemporary performance deviser, performer, and designer. He is a creative director in Luar Kotak Production, a contemporary theatre group in Malaysia. He has worked with many renowned artistes since 2008 (Matthew Cohen, Mazlan Tahir, Aminah Rhapor, Zubin Mohd, Syahrul Fithri Musa, Nadia Khan, Hamzah Tahir, Jo Kukathas, Ridhwan Saidi, Karen Christopher, Mirror Huang, Despoina Stournara). He has performed live art at the Edinburgh Fringe Festival, Handa Noh Theatre (UK) and Chapters Arts Centre (Cardiff). Besides working as a performing arts practitioner, he is also an author for Selut Press and Peanutzin. Heavily influenced by Peter Brook and Forced Entertainment, his works are mainly related to everyday life but presented in different approaches. His artworks: Uncharted Territory - an Immersive Experience (2020), Lari (2012), How to Read My Map (2016-today), The Kitchen Story (2016), M. Nasir Simbah Cat (2016), Keluarga Borjuis (2016), Ajak Crush Awak (2018), Teater Modular (2016-2018), Kedai DVD Paralel (2015). Besides making Projek Spektrum performances, he is a theatre lecturer at Universiti Teknologi MARA (UiTM). He recently busy with his research on Melanau performing arts; focusing on the ethnic rituals, beliefs and practices in the modern day. ____ About the presentation: The lecture demonstration focuses on presentations and elements of Melanau masks in performance. The Serahang Parade performance for interpreting the spirit contains stagecraft, spoken words and performance arts of the Melanau people of Sarawak. Performed on a river using wooden boats, two performers use individually crafted masks representing their interpretations of spirits. The mask performers use different costumes to indicate to people that they are not similar to other performers on the boat, which use a traditional Melanau black costume. The non-mask performers bring a Serahang, a seven-foot circular decorated object made of dried leaves, which is a gift for the Ipok. The mask for the performance is one of the essential elements. Melanau's visualisations of their spirits are motifs and crafting from sago wood. Crafting does not project emotions onto the masks. Crafting only focuses on Melanau’s visualisation of the otherworldly. The research is a continuous research done since 2017. I will introduce the Melanau mystical world and I am looking for similarities with other cultures around the world with open discussion after the demo.
"Aerial Dance for Dancers"
(Lecture and Performance)
Co-founder of NEWSAM AERIAL DANCE and the Director of Arts de l’Air, Graciela was born in Panama and started dancing at an early age. While studying journalism at the University of Panama, Graciela began teaching dance under the guidance of renowned instructors Ginela Vasquez, Leslie Reyes, and Barbara Berger. She performed in different venues throughout Panama City, such as the Pacific Theater Center and the Panama Canal Zone. She also co-founded the first Panamanian contemporary dance company “Creadanza” with her sister and life-long collaborator Monica Newsam. Graciela’s enthusiasm for dance has inspired her to study different movement styles such as classical ballet, contemporary dance, gymnastics, Indian classical dance, yoga, and aerial circus. While studying in India, Graciela received a Post Graduate Diploma in Indian Classical Dance at Shriram Bharatiya Kala Kendra and Yoga at the Sivananda Yoga Center of Kerala. She also taught ballet and contemporary dance at the American Embassy School and the Lycée Français de Delhi. Successful performances in New Delhi generated invitations for Graciela to perform in both France and Italy. Her interest in dance analysis brought her to Paris to study Benesh Movement Notation at the Conservatoire Supérieur de Musique et Danse de Paris, where she received her bachelor’s degree in 1997. As a professor of dance at the University of Panama, Graciela developed an interest in the native dances of her country. Her 1998 article “La Danza en Ngobe,” based on her research into the authentic dance culture of the Ngobe-Buglé people, appeared in the book Pueblos Indígenas de Panamá, published by UNESCO. In 1999, inspired by their desire to take dance into the local community, Graciela and Monica co-founded Gramo Danse Company, the first aerial dance company in Panama. Graciela also began exploring aerial circus techniques to add another dimension to her work. Through her continuing association with Gramo Danse as a teacher, performer, and choreographer, Graciela is fulfilling her dream of introducing children to the power of dance. Graciela seeks to expand global awareness of aerial dance as an exciting, expressive movement discipline in all the facets of her artistic output. The most recent co-production between Gramo Danse and NEWSAM AERIAL DANCE was the world premiere in August 2016 of Mar de Zvr – Mito y Realidad. This aerial and contemporary dance production tells the fantastic story of Vasco Nunez de Balboa’s memorable journey across the Isthmus of Panama, culminating with the sighting of the Pacific Ocean. Graciela and Monica are committed to expanding global awareness of their uniquely innovative and expressive movement style. Through their continuing work as teachers, performers, and choreographers, and, most notably, in their pioneering aerial dance curriculum developed in conjunction with performing arts students at Webster University, the sisters are fulfilling their dream of introducing performers of all ages to the excitement of aerial dance. Currently, Graciela Newsam is the Artistic Director of the Ecole de Cirque Arts de L'Air based in France where she teaches, choreographs, and performs aerial dance internationally. ______ About the presentation: Our presentation will showcase aerial dance and how we combined traditional dance forms to create a new discipline called Aerial Dance. We will discuss the development of our curriculum to support versatile dancers, providing them with the strength to climb and explore movement in aerial apparatuses, and the transition from developing techniques to the creative aspects of choreography and artistic expression. During our presentation, students will learn about the style and vocabulary that we have created. We will also illustrate how our curriculums support a seamless transition into aerial dance choreography.
"Aerial Dance for Dancers"
(Demonstration and Performance)
Mysteria, a native of St. Louis, MO, in the United States, her artistic upbringing ignited a lifelong passion for various movements of grace and physicality. Mysteria honed her craft in diverse disciplines, mastering classical and social dances, gymnastics, and circus arts. She’s graced stages nationwide, showcasing her passion for dance and circus arts across the St. Louis region. After earning a Bachelor's in Dance from Webster University, Mysteria’s dedication remains strong, nurturing her body, mind, and spirit. Her wanderlust takes her around the globe, attending various aerial dance festivals like the Irish Aerial Dance Festival, sharing knowledge at MJ Performing Arts Academy along with other dance studios, and serving as both teacher and assistant at Webster University. Mysteria’s aerial dance ventures had brought her to work closely with Newsam Aerial Dance bringing light to aerial dance through workshops and masterclasses while captivating audiences with their enticing performances. ______ About the presentation: Our presentation will showcase aerial dance and how we combined traditional dance forms to create a new discipline called Aerial Dance. We will discuss the development of our curriculum to support versatile dancers, providing them with the strength to climb and explore movement in aerial apparatuses, and the transition from developing techniques to the creative aspects of choreography and artistic expression. During our presentation, students will learn about the style and vocabulary that we have created. We will also illustrate how our curriculums support a seamless transition into aerial dance choreography.
"Somatic approach to Ballet Technique/Challenging harmful constructs and carving belonging"
(Video presentation/written materials and some practical exercises)
Giada Matteini (she/her) is an Italian performer, educator, choreographer, and cultural producer based in New York City. She is the Founder and Director of WADE (Wandering Avian Dance Experience), a women-led multifaceted performing arts organization working at the intersection with social justice. Giada holds a full time position as Assistant Arts Professor at NYU Tisch School of the Arts, she is part of their leadership team and directs both their summer program and their musicians for dance. ______ About the presentation: The presentation will cover Giada’s 30-year process and research as a ballet educator that is anchored in debunking the idea of ballet as an elitist art form, nurturing the appreciation of the many shapes and sizes of the moving body in the ballet vocabulary, and of gender fluidity in the ballet studio. Somatic work, which takes inspiration from many healing and conditioning modalities such as Bartenieff, Yoga, Pilates, Reiki, embodied physiology and anatomy, imagery, Butoh, meditation and mindful practices invites the participants to discover the complexities, mysteries, and intelligence of their own body as a point of entry into the ballet vocabulary. By unpacking ballet's cultural construction, the radical call of action of this work is to be fully present, trusting and joyous of one’s capability and fullness allowing for unhindered collaborations with other creatives and art forms.
“Expressive voice/expressive body: aligning these essential parts of the instrument”
Redman has been administering and teaching in theatre higher and secondary education for over 35 years. Prior to chairing for Purdue University, she chaired and taught Voice and Speech for the Theatre and Dance program at Ursinus College in the Philadelphia region, was Director of Graduate Studies and professor of Voice and Speech at the University of Texas, El Paso, and a lecturer in Acting and Directing at Loyola Marymount in Los Angeles. She's directed professionally for various companies in the United States over multiple decades, and she is passionate about international artistic collaborations, as well as leftist peoples' theatre. ______ About the presentation: Redman's voice workshop will aim to open up the expressiveness of the voice, by drawing on a combination of Fitzmaurice Voicework (C), Knight-Thompson Speech-work and practices typical of classical singing training. Expect to move a lot in the space as we play together and explore the full range and qualities of each participant's voice.