Fanatika International Theatre Laboratory Festival

8/17/2019 Fanatika International Theatre Laboratory Festival

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CATAL GUE

Performances

WorkshopsConferences

Documentaries

Gujarat VidyapithAhmedabad (India)

March 2016

25 26 27

P ANNA L ALBHAI

FOUNDATIONDept. of Sports,Youth & CultureGovernment of Gujarat

Gujarat's Only Annual International Theatre Festival

Curated by Chintan Pandya


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We are greatly thankful to theDepartment of Sports, Youth and Culture, Government of Gujarat

andPanna Lalbhai Foundation

for their visionary and continuous support.

PARTNERS

Dept. of Sports,Youth & Culture

Government of Gujarat

P ANNA L ALBHAI

FOUNDATION

Portuguese Emassy Cultural Centre, New Delh

DALCROZEAssociazione Italiana

Jaques-Dalcroze


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Director’s Note

Namaskar!

I am extremely proud and honoured to present the 2016 edition of whatstarted 5 years ago and stands tall today as Fanatika International TheatreLaboratory Festival. The 5th edition is held in March, unlike all our earliereditions during February, to celebrate the World Theatre Day - 27 March.

We would like to dedicate this edition to two great personalities: Mr. WilliamShakespeare and Ms. Mrinalini Sarabhai! 2016 is Shakespeare's 400thdeath-anniversary; Mrinalini Sarabhai left us in January 2016.

This year's festival is curated largely around the theme of "TheatreOtherwise". We would like to explore the forms and practice of theatre thatare otherwise ignored to consciously register as ‘theatre’. Between the rich

traditions and contemporary voice, we also have a bigger concern abouthow the traditions are passed on and how do they find their place in thecontemporary world, how do we reinterpret them and how do we set upnew trends that may later become 'new' traditions.

After exploring the architectural jewel of Le Corbusier as the festival venuelast year, we are thrilled to be at Gujarat Vidyapith, the campus whereGandhi is still alive both in philosophy and in practice. I invite everyoneattending the festival to explore this unique university founded by MahatmaGandhi and its various activities.

I would like to present my gratitude to all the artists, our patrons andpartners, our regular collaborators, various Embassies, cultural centres andorganisations that continue to show their support every year and to the cityof Ahmedabad and my compatriots living here for making this festival acomplete success!

Enjoy and make the most of this festival!

Chintan PandyaFestival Director and Curator

01FANATIKA INTERNATIONAL THEATRE LABORATORY FESTIVAL © TransIndus Foundation


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At FITLF, we explore theatre beyond our conventional understanding of "theatre".Let us discover how theatre could be healing and therapeutic, educational andproblem-resolutionary, informative and constructive and, at the same time,entertaining.

How can the world speak a global language unless there is a cross-cultural dialogue andexchange? ‘Replication of life’ at large, theatre has the strongest socio-cultural appeal

and FITLF becomes the platform to initiate an Intercultural Dialogue in any context.

This festival is created on the philosophy of “giving back to the society what it hasgiven to us”. We are trying to reach out to the maximum number of artists, students,professionals, amateurs, producers, promoters, journalists and viewers and share asmuch as possible.

It is very difficult for many students and artists in countries with limited resources or

little grants to have access to interregional or international trainings and exchanges.FITLF becomes a window of international exposure to explore different faces of theatre under one roof.

Through FITLF, we wish to inspire and encourage documentary filmmakers todocument vanishing performing arts, especially the folk theatre forms from differentcorners of the world. It is our Intangible Heritage and we must document these vanishing forms for our future generations to come.

Explore the Interdisciplinarity of Theatre

Generate an Intercultural Dialogue

Encourage the Documentation of Vanishing Performing

Arts – our Intangible Heritage

Accessibility and Sharing of Knowledge

Create a Bank of Resources

Five Objectives



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TransIndus Foundation works on the philosophy of "Arts and Culture through

Education and Education through Arts and Culture". Besides supporting artistic,educational and cultural activities,TransIndus foundation is actively trying to createmore wage-earing opportunities for the artists, researchers and craftsmen.

At TransIndus Foundation, we develop various pedagogical, communication andartistic tools to work with children, adolescents, adults, communities and individuals. We also work with children with special needs.

Fanatika began as a theatre club to offer professional theatre training through workshops. The interdisciplinary approach and international exposure are its uniquestrengths. Fanatika runs its own performance repertoire that has from actors to writersand directors, from musicians to set/costumes/light designers. It offers a variety ofperformances and touches various genres and explorations. Besides encouragingcareers in Arts, Fanatika also aims at documenting the intangible heritage, especially theone of performing arts.

Fanatika is the largest youth theatre community in Gujarat with over 250 youngmembers. A versatile repertoire of 7 plays and 6 dramatic readings make Fanatika oneof the most vibrant theatre repertoires of Gujarat.

TransIndus Foundation

Fanatika

Gujarat Vidyapith was founded by Mahatma Gandhi on 18 October 1920 and hasbeen a deemed university since 1963. It was started as Rashtriya Vidyapith (NationalInstitute of University Education) and was the wake of the Non-cooperativeMovement. Mahatma Gandhi remained its life-long Kulpati (Chancellor). The Instituteimparts higher education with an integrated system of education teaching from theNursery to the Doctorate level. The main objective is to prepare workers ofcharacter, ability, culture and dedication for the conduct of movements connected with the regeneration of country in accordance with the ideals given by Mahatma Gandhi.The guiding principles on which the integrated system of education is evolved include1) Adherence to truth and non-violence, 2) Participation in productive work with asense of dignity of labour, 3) Acceptance of equality of religions, 4) Priority for the need

of villages dwellers in all curricula and 5) Use of mother-tongue as a medium ofinstructions.

Guajart Vidyapith



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A d m i s s i o n t o w o r k s h o p b y r

e g i s t r a t i o n o n l y .

SCHEDULE 2016


TIME VENUE FRIDAY - 25/03/2016

10:00 am to 10:30 am • TEA BREAK

07:15 pm to 08:00 pm • DINNER BREAK

12:30 pm to 01:30 pm • LUNCH BREAK

08:00 am

to

10:00 am

Sitanshu Workshop 1

Dastaan-E-Goi (India)

Madhu Workshop 2

Voice Training (Italy)

10:30 am

to

12:30 pm

Sitanshu Workshop 3

Forum Theatre (France)

Madhu

Workshop 4

“Learn to learn”

Physical Theatre (Spain)

03:00 pm

to

06:00 pm

04:00 pm to

06:00 pm

Sitanshu

Documentary Film Screenings

“Illusion” (Portugal)

“World Climate Change Conference”

(Switzerland)

MadhuPerformance for Children (Age: 8-13)

"Ten Matchboxes" (Israel)

01:30 pm

to

03:30 pmChinu

Workshop 5

“Rhythm is...”Dalcroze Eurhythmics (Switzerland)

06:15 pm

to 07:15 pmSitanshu

Conference:

“Contemporary Gujarati Theatre:

Reality and Challenges”by Mr. Saumya Joshi (India)

08:00 pm

to

09:00 pm

Chinu

Performance 1

"The First 100 Years

of Edith Piaf" (Italy)

09:30 pm

to

10:30 pm

Labhshanker

Performance 2

"Husn-E-Faiz”



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PERFORMANCE WORKSHOPS CONFERENCES DOCUMENTARY


SATURDAY - 26/03/2016 SUNDAY - 27/03/2016

07:15 pm to 08:00 pm • DINNER BREAK

10:00 am to 10:30 am • TEA BREAK

12:30 pm to 01:30 pm • LUNCH BREAK

Workshop 1


Workshop 1


Workshop 2 Voice Training (Italy)

Workshop 2 Voice Training (Italy)

Workshop 3Forum Theatre (France)

Workshop 3Forum Theatre (France)

Workshop 4



Workshop 4



Performance for Children (Age: 8-13)

"Ten Matchboxes" (Israel)

Workshop 5

“Rhythm is...”

Dalcroze Eurhythmics (Switzerland)

Workshop 5

“Rhythm is...”

Dalcroze Eurhythmics (Switzerland)

Conference:

“Dramaturgy of Open Spaces based on

‘The Invisible Cities’ Project”by Mr. Pino di Buduo (Italy)

Performance:1"Notes on Happiness"

(Spain)

Venue: Chinu Time: 5:00 pm

Performance 1"The Art of the Fugue"

(Switzerland)

Performance 2

"Kahani Pandit Ki”


Awards Ceremony

by Vishalla / Vichar Trust

Time: 8:30 to 9:30

Performance 3

“Tilism-E-Hoshruba”Dastaan-E-Goi (India)

Time: 9:30 pm

Performance 2“Kiratham from Mahabharat”

Kathakali (India)

Time: 7:00 pm

V e

n u e : V i s h a l l a R e s t a u r a n t


“Afrikaaps” (South Africa)

“Theatre of War” (UK)

“Pavillon Noir” (France)


“Mrinalini Sarabhai - The Artist and her Art” (India)

“A Bright Beach on the River Saale - An Arts

Centre Recounts” (Germany)


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Festival Venue:

Gujarat Vidyapith


01 Chinu (Hirak Mahotsva Hall) | Performances / Workshops

02 Labhshanker (Pranjivan Chhatralay) | Performances

03 Madhu (Ahimsa Shodh Bhavan) | Performances / Workshops

04

05 Guest-House

06 Cafetaria

07 Parking for two-wheelers

08 Parking for four-wheelers

Sitanshu (Adivasi Talim Kendra) | Workshops / Documentary Screenings / Conferences

Address:

Near Income-Tax Office, Ashram Road, Ahmedabad 380 014 Gujarat (India)

AMTS and GSRTC buses:

Gujarat Vidyapith can be easily accessed by AMTS and GSRTC buses.

Rickshaw:

Please ask rickshaw drivers to bring you to “Gujarat Vidyapith” on “Ashram Road”.

twitter.com/fanatikatheatre

@fanatikatheatre

www.fanatika.in

[email protected]

9723452425, 9638556968, 9925440771

facebook.com/fanatikatheatreclub

For more information, please contact us:

Please see map:


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A shr a m R oa d

Gu j ar at V i d y ap i t h Mai n E nt r y 04

03

02

01

05

06

Please note that the Gujarat Vidyapith

is a tobacco-free and plastic-free campus.

07

08

08


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Synopsis: Amichai Pardo performs the part of Janusz Korczak, as depicted in oneof Korczak’s short stories entitled the “Ten Matchboxes”.

The audience gets to know ten of Korczak’s characters, pupils who receive apresent from him – an empty matchbox. Each pupil, in accordance with hisunique character, does something different with the matchbox.

The show is like a mirror in which the audience observes him/herself and his/her friends in present time, getting to know Korczak’s life in Poland from the past.

Special mention: “Best Actor” award at the “Rainbow International Theatre

Festival”, St. Petersburg in May 2001.

Direction/Adaptation: Amichai Pardo and Ruth Kanner

Country: Israel

Language: English (Possibility of Gujarati/Hindi Facilitation)

On stage: Amichai Pardo

Artistic Consultation: Ruth Kanner

Note: We invite the parents accompanying their children to watch documentaries at “Sitanshu” while this performance is on.

Duration: 60 minutes (performance) + 30 minutes (interaction)

Suitable Age-group: 8 -13 years

Ten Matchboxes

PERFORMANCE | Date: 25 | 26 | Venue: Madhu | Time: 4:00 pm


PERFORMANCE


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Synopsis: This performance is a musical journey in the France of 1930s and1950s through Edith Piaf’s songs-stories. It narrates the stories of theunderworld and the French gangsters, stories of women in love, stories of

passions, of dreams and of memories. This is a tale that starts in 1939, a crucialhistorical moment throughout Europe. It is the period of Jacques Prévert’spoetry, of Cartier-Bresson’s photography, of Jean Cocteau’s theatre tales, of thecoming of the Second World War which will destroy so many families, of thesongs from Charlie Chaplin’s films, of the images and characters of De Sica’s film“Roma Città Aperta”, of the French Resistance, of the struggle for life and forlove.

Edith Piaf's lifelong faith in "whatever happens, don't ever stop believing in love" is the soul of this performance, the central theme that ties all the stories together.

Director: Pino di Buduo

Country: Italy

Language: English; Songs in French

On stage: Nathalie Mentha

Special Mention: Nathalie Mentha recieved the “Best Actress Award” at the 30th Fadjr Festival, Teheran (Iran).

Duration: 75 minutes

Suitable Age-group: No restrictions

The First 100 Years

of Edith Piaf

PERFORMANCE | Date: 25 | Venue: Chinu | Time: 8:00 pm


PERFORMANCE


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Synopsis: It is a celebration of the life and poetry of legendary 20th centuryUrdu poet Faiz Ahmad Faiz. It includes many poetic compositions of Faiz andbasically tells us about a very positive and rich life journey of a revolutionary

poet. The format for the performance is somewhat different wherein twostorytellers stand and read out the texts and 'nazms' of Faiz.

Direction: Manu Sikandar Dhingra

Country: India

Language: Urdu

On stage: Manu Sikandar Dhingra, Nadeem Shah Suhrawardy



“Husn-E-Faiz”

Dastaan-E-Goi Performance

PERFORMANCE | Date: 25 | Venue: Labhshanker | Time: 9:30 pm


PERFORMANCE


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Synopsis: Lilo is a restless duck, in search of her identity. Ducks not only live inDuckburg; we find them everywhere, like the Chinese, Turks or Americans;ducks have also arrived here, with us.

As a matter of fact they have always existed and sometimes it is easy to confuse them with geese. But this mistake is part of another story. Our country, in thelong run, might seem narrow-minded and boring; ducks too have the right toescape from daily life, as do geese if they want to avoid becoming sheep.

Continuing in its commitment to researching new ideas, Funambolo’s newdirection uses illusion and it’s unmasking through the acting to ask itself and theaudience questions about daily reality. The basic theme is the fugue: thatbreathless movement in search of who knows what, that each of us experiencesonce in a lifetime, perhaps in losing and finding oneself.

The play uses dummies and ventriloquism with music as an underlying theme.Through the “fugue”- a very rigorous musical form - all possibilities of variationson a theme are explored, through the twists of the ‘ricercare’, before the themeeventually returns.

Inspired by Bach’s masterpiece, “The Art of the Fugue” is a game of hands playingand speaking, masking and unmasking themselves; a play between right and left,between rational and irrational, to find the centre, balanced on a tightrope.

Director: Mauro Guindani

Country: Switzerland

Language: Engllish

Puppets, actor and ventriloquist: Ava Loiacono



The Art of the Fugue



PERFORMANCE


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Synopsis: The contemporary Hindustani story “Kahani Pandit Ki” is anadaptation of Vijaydan Detha's Rajasthani folk-tale. It is a story written in simple'Hindustani" and full of theatrical action and addresses the very pertinent

question about the standing of a woman in a patriarchal society. Full of humorand dialogical expressions the story undergoes different twists and turns and takes us into the realm of fantasy and bitter reality one at the same time.

Direction: Nadeem Shah Suhrawardy

Country: India

Language: Hindustani

On stage: Shankar Musafir, Nadeem Shah Suhrawardy



“Kahani Pandit Ki”


PERFORMANCE | Date: 26 | Venue: Labhshanker | Time: 9:30 pm


PERFORMANCE


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Synopsis: According to the philosopher Epicurus that which prevents humanbeings from being happy is fear. Fear of the future, of the Gods and death. Going through these intimate, personal and social fears, begins the journey of "Notes onHappiness."The search begins from the moment of birth. According to psychological studies, the moments before birth resemble those before death. We die in a world to beborn in another world.In the performance, you will see references to journalist TizianoTerzani’s questions to his grandmother. The questions that we often ask ourselves: “What ishappiness?” “What would you do if you had more money? More time?” “What would you do to be happy?”This performance does not offer answers, but raises questions using differentmediums like dance, theatre and animation of objects. It is a journey in search ofharmony, of the encounter with ourselves. In spite of using a style and an aesthetic very clean and simple, it offers a very deep reflection through registers varying from folk stories of New Guinea, to the words of Giordano Bruno, to the reflections that a grandmother realized under a big tree in the hot Italian summer.The songs come from popolar repertoire, from medieval laude and it mentions aBrasilian song.

Director: Gregorio Amicuzi

Country: Spain

Language: English

On stage: Viviana Bovino

Duration: 60 minutes (approx.)


Special mentions: This performance is presented as the World Premiere of “Notes

on Happiness” at the Fanatika International Theatre Laboratory Festival - 2016 edition.

World Premiere of

“Notes on Happiness”

PERFORMANCE


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PERFORMANCE | Date: 27 | Venue: Vishalla Restaurant | Time: 7:00 pm


Synopsis: An episode from the epic Mahabahrat, “Kiratham” narrates the fightbetween Arjun and Lord Shiv. The episode was rewritten by Erattakulangara Rama Variyar so as to suite Kathakali theatre performance.

Arjun, as per the advice of his brother, undergoes “Tapa” (asceticism) for Lord Shiv inorder to obtain from him the Pasupathashastra. On the Mount Kailas, Lord Shiv andhis wife, Goddess Parvati, appear in front of him in the disguise of Kattalan (forest tribe)and Kaattalastri (wife of the hunter).Parvati requests Shiv to bless Arjun with the desired boon but Shiv desires to test Arjun before satisfying his wish. At the same time, Duryodhan, the eldest of the 101Kauravs, sends Mookasuran in the form of a panni (boar) to disturb Arjun’s tapa and toobstruct him from getting Shiv’s blessings. Arjun and Kattalan both stroke him with anarrow at the same time and both claimed the boar which resulted in a fight. Defeated

Arjun loses his pride and becomes very desperate. He makes an idol of Shiva andoffers him flowers. Surprisingly, he finds those flowers falling on Kattalan. And herealises that the Kattalan is Lord Shiva and his wife, Goddess Parvati. In the end, LordShiv and Goddess Parvati appear in their devine form. Arjun feels guilty about hisbehavior and requests them to forgive him. Pleased by Arjun’s repentance, they blesshim with the Pasupathashastra.

Director: Guru Shri Bhaskar Menon

Country: India

Language: Malayalam (with English commentary)


Suitable Age-group: 8 years and above

Actors: Kalamandalam Bhaskar Menon, Kalanilayam Manmanthan, Aparna Kiran

Menon, Master Adarsh Nair, Vaishakh Unni, Vaishnavi Menon Vocals: Kalavedhi Suresh,Kalanilayam Babu Chenda: Kalabharthi Pitambaran Nair Maddalam: Kalamandalam

Aji Krishnan Chutti: Chingoli Purushottaman Commentary: Radha Bhaskar Menon

“Kiratham”

from the Mahabharat

Kathakali Performance

PERFORMANCE


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PERFORMANCE | Date: 27 | Venue: Vishalla Restaurant | Time: 9:30 pm


Synopsis: These stories are from the traditional repertoire of "Dastaan-E-AmirHamza”. They are in chaste Urdu and have great scope for bringing forth differentemotions and 'rasas' during the performance. It could rightly be called as the

classical Urdu storytelling. Its language is lyrical and the text is filled with rhyme andpoetic expressions.

Director (Adaptation): Nadeem Shah Suhrawardy

Country: India

Language: Urdu

On stage: Vusat Iqbal Khan, Nadeem Shah Suhrawardy

Duration: 40-55 minutes


“Tilism-E-Hoshruba”


PERFORMANCE


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About the Workshop: During this workshop, we would engage in some of the most fundamental aspects of storytelling. The nature of the 'Text’ that is put to oral rendition will be a core area to be discussed with the participants.Ranging from highly dramatised, very fine literary pieces from Dastaan-E-AmeerHamza to the moral exhortation of the Jataka tales, the sheer enormity of themes and subjects would allow us to explore new possibilities for the art form

of storytelling.The second most important component of storytelling is ‘Performance’. In thissection, the participants will perform some passages from the texts provided by the facilitators.The techniques of modulation and voice control would bediscussed at length too. Lastly, a very important aspect will be brought forward - that is of pronunciation and delivery of 'letters' and 'words in bringing forth the'effective' and 'affective' aspects of the performance.

About the Facilitators: Manu Sikander Dhingra has been involved with theatre since 2003. He has acted in plays directed by Barry John, Habib Tanvir, Avijit Dutt, Rajinder Nath, Sanjeev Johri, N. Kumar and Rajeev Ashish. Manu hasbeen performing Dastangoi since 2009 and also acts as the team’s manager. Heruns the theatre production house “The Hoshruba Repertory” with actor and fellow dastango Danish Husain.

Nadeem Shah has been a dastangoi performing artiste since 2010. The art formis an extension of Nadeem’s interest in medieval history, storytelling and Urduliterature. He teaches medieval Indian history to undergraduate students at Delhi

University.

Facilitator(s): Nadeem Shah Suhrawardy, Manu Sikandar Dhingra

Country: India


Dastaan-E-Goi

| Date: 25 / 26 / 27 | Venue: Sitanshu | Time: 8:00 am


WORKSHOPS


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| Date: 25 / 26 / 27 | Venue: Madhu | Time: 08:00 am


About the Workshop: “Our culture lost a strong and direct relationship with the singing and particularly with "singing together"... The traditional vocalpolyphonies are found in isolated places, islands, mountains, forests. Our dreamis to create islands where we can invent one common repertory...”

During this voice training workshop, we will focus upon healthy development of

voice through voice and breathing exercises, consciousness of voice physiology. We will also explore the choir experience through singing in polyphony “acappella” through improvisation in group and solo. And, we will understand, inrelation to space, how to combine music with body movement and gestures.The participants are requested to bring a song and a text that they

know by heart.

Facilitator: Nathalie Mentha

Country: Italy

About the Facilitator: After her initial training from l'École du Théâtre Dimitri(Switzerland), she graduted from l'École Supérieure d'Art Drammatique duConservatoire de Genève in 1979. Since then, she is associated with Italy basedTeatro Potlach and is actively involved in all the activities of the company as an actressand as a facilitator. She is the author of and has acted in many of Teatro Potlach’sproductions and has received the best actress award for her performance in theTeatro Potlach’s “Twenty Thousand Leagues Under the Sea”. Since 1983, she hasbeen developing and conducting workshops on physical and vocal techniques foractors throughout the globe. Apart from acting, she has also held courses on circusart for children aged between 8-13 years and adults at various prestigious theatreschools in Switzerland, Italy and Brazil.


Voice Training

Singing together

“a cappella” and

Vocal Actions in Space

WORKSHOPS


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About the Workshop: Forum theatre is one of the « theatre of theoppressed » techniques created by Augusto Boal during the 1960’s to supportcommunities wishing to change social injustice. It is based on the assumption thatsocial reforms and personal development go together.

Through various games and activities developed by Augusto Boal, the workshop

initiates the participants to the Forum Theatre. It enables them to differentiatebetween observation and interpretation. Thus, questioning their ownpreconceptions and developing interpersonal skills and collective intelligence.

About the Facilitator: Flavien Lafosse is the director of a GovernmentSocial Centre in France and the president of Etincelle, a French associationabout consulting and training in relational development. He has 15 years ofexperience. His interventions are based on a new concept: relationshipdevelopment incorporating self-awareness and an understanding of others and the world at large, and on a powerful resource: theatre workshop whichencourages personal development and group dynamics in a lively andstimulating way.

Facilitator: Flavien Lafosse

Country: France


Forum Theatre

| Date: 25 / 26 / 27 | Venue: Sitanshu | Time: 10:30 am


WORKSHOPS


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| Date: 25 / 26 / 27 | Venue: Madhu | Time: 10:30 pm


About the Workshop: This workshop is designed for professional andamateur actors and dancers. The idea is to train the body in its wholeness(psycho-physical and emotional) so that we can have, in the moment ofcreation, all the resources and tools for staging. Through this training, we willprepare the body, the voice and the emotions in the right way to practice allkinds of dramatic activity. Through physical, emotional or vocal actions, this

training will go in the experience system of the actor and will later, come usefulon the stage. Besides, at the end of this workshop, the participants will be able to build their own training which would help them strengthen the body as wellas emotional and vocal memory.

About the Facilitators: Gregorio Amicuzi. director, actor and founder ofResidui Teatro Company, has directed and produced more than fifteen playsand several performances.

At present, he lives in Madrid, where he directs the Centre for Crafts of theScenic Arts. In 2014, he becomes Eugenio Barba's assistant during the creationof the play Chiaro Enigma for the 50 anniversary of Odin Theatre company.Gregorio Amicuzi is the artistic director of TTT-International meeting about theory and practice of performing arts, Madrid.

Facilitator: Gregorio Amicuzi Guest Master: Viviana Bovino

Country: Spain


Physical Theatre


WORKSHOPS


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| Date: 25 / 26 / 27 | Venue: Chinu | Time: 1:30 pm


About the Workshop: Dalcroze Eurhythmics is a powerful route towardsdeveloping deeper musicality and creative expression through whole bodymovement. This remarkable approach offers teachers, musicians and performersof any age and stage the opportunity to enhance and enrich their skill. In this technique, while the focus is on music, all artistic expressions where movementplays a role – dance, acting, musical theatre, the circus - will benefit. It also allows

enlivening our understanding of the plastic and static arts such as painting andsculpture. Here, every musical concept is taught and experienced throughmovement of all parts of the body. Thus, the understanding of the language ofmusic is achieved by engaging our whole being - mind and body. This is a veryeffective way to enhance musicianship as well as to improve co-ordination,concentration and other skills needed to be a good performer. Which in turnincreases confidence and the ability to feel music with the whole body, allowingdevelopment of auditory memory, communication, expression and creativity.

About the Facilitator: Ava is a musician and actress. She trained at the Lecoq

School in Paris in movement and theatre. Studied at the Dalcroze Institute inGeneva and London where she obtained the Licence and the Diplôme Superieur.She has taught at the Royal Ballet School in London, New York and Tokyo. Shecurrently teaches Dalcroze and theatre at the SUPSI (Swiss Italian ProfessionalUniversity) in Locarno. Ava is also working extensively in Italy, Spain, England,South America, Japan training students for the Dalcroze certificate program. Shehas performed and worked with Joseph Krofta, Teatro delle Mani, TeatrinoTascabile, creating many shows for children. Cofounder of “The Funambolo” theatre company, she performs as a soloist musician, actress and ventriloquist. Ava is President of the Italian Dalcroze Society (AIJD) and has written “Sentire e

Provare” published by EDUP ed. (2012).

Facilitator: Ava Loiacono



Dalcroze Eurhythmics

“Rhythm Is...”

WORKSHOPS


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Become a patron for any of the following activities or projects

of TransIndus Foundation:

• Fanatika International Theatre Laboratory Festival (FITLF)

• Literary and intertextual research: involving the youth through various training programmes and dramatic readings

• Research on Bhavai - Gujarat’s Intangible Heritage

• Research on the Shared Heritage of the Indian Ocean

• Workshops for Children with Special Needs: Educational andCultural Programmes throughout the year

• Pedagogical Research: Developing learning tools based on the activepedagogy

• Performances and publications

Please contact: [email protected]

The measure

of life is not its duration,

but its donation.


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CONFERENCE | Date: 25 | Venue: Sitanshu | Time: 6:15 pm


Tête-à-tête withSaumya Joshi

"Contemporary Gujarati

Theatre: Reality & Challenges"

Synopsis: Gujarati theatre is one of the most vibrant theatre scenes in India.From experimental to commercial productions, the audiences from Gujarat andother parts of the world with Gujarati Diaspora receive a variety of plays inGujarati.

In the middle of an ongoing dialogue and concern on the reality and challengesof this field against the tough competition with television and cinema, Mr.Saumya Joshi, an eminent theatre artiste from Ahmedabad, is developing hisresearch on the audiences of Gujarati theatre. According to his study, theaudiences of Gujarati theatre are highly supportive to various experimentations,even on commercial stage, and have been ignored to receive due credit, despitebeing loyal, ticket-buying and frequent, compared to the audiences of otherparts of India.

What should we do to avoid losing these spectators?

The talk will be followed by an interaction with the artiste.

About the artiste: Born and brought up in Ahmedabad, Saumya Joshi is oneof the most acknowledged playwrights, directors and actors as well as poets incontemporary Gujarat. He taught English literature at the H. K. Arts College andgave up his job to pursue his passion and love for theatre."Dost, Ahi Chokkas EkNagar Vastu Hatu", "Aathma Taranu Akash", "Welcome Jindagi" and "102 NotOut" are a few among his other successful plays.

Country: India

Language: Gujarati / English



CONFERENCE


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CONFERENCE | Date: 26 | Venue: Sitanshu | Time: 6:15 pm


Synopsis: Based on the very famous novel "Invisible Cities" by the Nobel Prize for Literature contender Italo Calvino, Teatro Potlach created a unique projectcalled "Invisible Cities". This Project is developed on the theme of the city and thememory of the place where it is performed, that has an international diffusion stillactive today. It is an interdisciplinary and multimedia artistic project. Since 1991,

more than 60 “Invisible Cities” projects have been created around the world(Italy, France, Austria, England, Denmark, Brazil, the USA, etc.).

Theatre has always explored various performance spaces. Contemporary studieshave also enriched the field with the knowledge of organised and tested formulaeof dramaturgy in various contexts. Mr. Pino di Buduo will share his experiencesand will elaborate on how a dramaturgy of open space is developed withexamples from his project "The Invisible Cities".

The talk will be followed by an interaction with the artiste.

About the artiste: Pino Di Buduo was born in Rome and graduated inPhilosophy from the University of Rome La Sapienza where he was assistant forboth the chairs of Cultural Anthropology and Popular Tradition. In 1976, he founded the Teatro Potlach in Fara Sabina (Italy) with Daniela Regnoli, where hestill works actively as artistic director. He carries out an intense artistic activity ofperformance production, special projects and festivals.

For many years, he has been carrying out an intense pedagogical activity, heorganises seminars, practical workshops for young actors and directors;

collaborates with many Italian and International Universities.

Country: Italy

Language: English



Tête-à-tête with

Pino di Buduo"Dramaturgy of

Open Spaces based on the

'Invisible Cities' Project"

CONFERENCE


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Synopsis: Luis Miguel Cintra, renowned actor, stage director and director of the Portuguese theatre companyTeatro da Cornucópia, staged the play Illusion inearly 2014. This play was based upon texts by Federico García Lorca. However,

the 119th company’s show was no ordinary show, for in the cast there were 59non-actors, amateurs and theatre students. Following a challenge by Luis MiguelCintra, the actress and director Sofia Marques accompanied and documented the whole process: since the first candidate interviews, the cast selection, therehearsals, the premiere, up until the last presentation of the play. “Illusion”documents this unusual experience and reveals the way in which Luis MiguelCintra welcomes and directs his new accomplices in order to bring to life Lorca’s‘Illusion’. More than delusion of the senses or blurred utopia, the illusion thatlives in this film is closely linked to dreams, desires, wills, fantasies and its chances

of substantiation. In the realm of endless possibilities, this illusion regainsmeaning, transfigures and materialises itself.

Director: Sofia Marques

Country: Portugal

Language: Portuguese with English Subtitles



Illusion

Photography and Sound : Sofia Marques Film Editor : Tomás Baltazar

Sound Mixer : Elsa Ferreira Assistant Editor : Micael Espinha

DOCUMENTARY | Date: 25 | Venue: Sitanshu | Time: 3:00 pm


DOCUMENTARY


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World Climate

Change Conference

Synopsis: In the beginning of December 2015, France's capital was the host city for theinternational climate conference. Representatives of 195 countries met here to risk thenext step–towards a legally binding climate-protection agreement. This mammoth-scaledrama of diplomacy, aimed at protecting the world’s atmosphere, lends itself to being

arranged into individual acts and scenes playing out on main stages and secondary stages.There are preliminary discussions and background discussions, negotiations in individual

working groups, with fine nuancing of verbal formulations. Parties will battle with oneanother, block and ignore one another, with each insisting on their own position. Alliances

will be formed and power relationships will be adjusted (again). Accordingly, after an opening ceremony the audience in the Hamburger Schauspielhaus theatre will leave their red upholstered seats; in sub-groups they will be "sworn in"regarding their respective negotiating tactics.They could: a) represent India, persisting with efforts to undermine the plan of action byintroducing feeble formulations with minimum commitment. b) belong to the group based

around the Philippines' principal negotiator, Yeb Sano, who, at the Warsaw 2013 summit,announced a hunger strike, to last until the meeting achieved "significant" progress. c) Butperhaps they will represent - Canada or Japan, who have long since turned their backs on

the Kyoto Protocol. d) they may belong to the - Alliance of Small Island States, and be sent to make a mark on events by lending emphasis to that alliance's demands.e) Alternatively, they may wish to - negotiate for the EU countries, in prompting further states to back theonly binding instrument there is, the Kyoto Protocol. f) Another option is to participate forCyprus; jointly with Poland, this country succeeded in defying the plans for tightening therules on CO2 trading. g) In Paris they could also champion an issue on behalf ofBangladesh, one absolutely not to the industrial nations' liking: compensation for theenvironmental damage caused by storms and floods. h) Or they take the international coal

industry up on its invitation, as it confers at the Ministry of Economic Affairs with regard tohow it best pursues its interests...


Language: German with English Subtitles



Director: Helgard Haug, Stefan Kaegi, Daniel Wetzel



DOCUMENTARY


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Synopsis: In his debut documentary, Afrikaaps, Dylan Valley explores the untoldCreole history of Afrikaans, using what he knows best: HipHop, humour andpersonal perspective. The film follows a group of local artists creating the stage

production, Afrikaaps, as they trace the true roots of Afrikaans to slaves in theCape. It features the musical greats, Jitsvinger, Kyle Shepard, Emile (black noise),Moenier Parker, Shane Cooper, Blaq Pearl, the powerhouse b-boy, Bliksemstraal,and the poetic genius of Jethro Louw. The film reclaims and liberates Afrikaans from its reputation as the language of the oppressor, taking it back to the people who own it.

Special mentions: Afrikaaps won Best South African Documentary at the Cape Winelands Film Festival in 2011 and the Right to Speak award at Babel Film Festivalin Italy. It premiered at Encounters documentary festival in August 2010 where itreceived the runner-up audience award for best South African documentary. It hassince screened at the Tri-Continents documentary festival in Johannesburg,Cinema Novo in Belgium, and and screened on Mzansi Magic, Mnet’s new Africa-based channel on DSTV.

Director: Dylan Valley

Country: South Africa

Language: Creole Afrikaans, English, German with English subtitles



Afrikaaps

Producers: Miki Redelinghuys, Lauren Groenewald Editor: Khalid Shamis

Camera: Dylan Valley Additional Camera: Tim Wege, Angela Ramirez, Sara

Gouveia Sound: Dylan Valley, Juan Kindo, Antoinette Engel, Aryan Kaganof FinalMix : StefAlbertyn The Glasshouse Producers : Catherine Henegan, WilmaKuite, KeesRoorda



DOCUMENTARY


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Synopsis: Theatre of War follows a unique collaboration between two unlikelypartners leading to a groundbreaking West End play that shocked, entertainedand inspired all who saw it. Professional front line soldiers, all badly injured,

joined forces with a West End theatre company to help write, rehearse andperform a play based on their experiences of war. This feature documentary follows every aspect of the process to tell an incredibly moving and powerfulstory.

Director: Chris Terrill

Country: United Kingdom

Language: English



Theatre of War



DOCUMENTARY


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Synopsis: Pierre Coulibeuf's "Pavillon Noir" explores the first production centre for dance where artists can both work on the entire creation process and as wellas perform the work they have created. The new Choreographic Centre will

have four rehearsal studios and one performance hall with 378 seats.Creation centre: this will provide a residence for various companies, up through the performance of their creation.

Experimentation pole: the centre will be the relay point in theProvence-Alpes-Côte d’Azur region for an international network, and willpromote the emergence of new talent.

Educational space: the centre will facilitate broad public access to dance, byperforming a wide range of works by national and international companies, andproviding related educational activities.

Dissemination space: the centre will contribute to the diffusion of dancecompanies’ works, by offering several different artistic events and schedulingchoreographic performances throughout the entire year.

Multi-cultural cooperation centre: the centre will participate in theconstruction of cultural cooperation projects, providing access to new aestheticsby hosting international companies.

Director: Pierre Coulibeuf

Country: France

Language: French with English Subtitles



Pavillon Noir



DOCUMENTARY


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Synopsis: In the revival of South Indian classical dance in the last century the two names at the forefront are those of Rukmini Devi Arundale and MrinaliniSarabhai. Both from highly educated and evolved families, they not only

performed, but wrote about the art forms, giving them the respect and value that they deserved.

This documentary portrays the seminal pieces of Mrinalini Sarabhai andinterviews the creator about what inspired her, how she chose the form andmoulded the content, of her vision behind these pieces and her need to break from the traditional repertoire of the forms. The film is set in a black box theatre, the creator's matrix and places the choreographer in the midst of her work, visually connecting different epochs, spaces and planes. It also gives the audiencea view of the choreography that is never seen in a theatre, by placing the viewerof the film too atop and abreast of the dancers, the creation and the creator.

Director: Yadavan Chandran, Mallika Sarabhai

Country: India

Language: English



Mrinalini Sarabhai -

The Artist and her Art

Conception and Script : Mallika Sarabhai, Yadavan Chandran Lighting,

Camera and Editing : Yadavan Chandran Narratation : Tom Alter Recreation of Choreography : Mallika Sarabhai Music performed by : The Darpana Musicians



DOCUMENTARY


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Synopsis: They were meant to be a sign of change and a means of realising thedream of accessible education for all: Thousands of arts centres wereconstructed across the GDR in the fifties – most in smaller localities situated

close to publicly-owned operations. One was also built in the central-Germanmunicipality of Schkopau, where the Buna plants used to be located. There wasa lot on offer there, including painting courses, dancing lessons, choir practice,concerts, theatre performances and literary circles. Many prominent artists andartistic groups made guest appearances, including the Berliner Ensemble, WalterFelsenstein, Marcel Marceau, David Oistrach and the Bolshoi Ballet. After theGerman Reunification in 1990, no one was interested in the arts centreanymore. It fell into decline, and politicians haven’t done anything about it.

Director: Peter Goedel, Helga Storck

Country: Germany

Language: German with English subtitles

Co-author : Helga Storck

Production: Peter Goedel Filmproduktion (München), BR (München)



A Bright Beach

on the River Saale –

An Arts Centre Recounts



DOCUMENTARY


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Notes


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Notes


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Mruga Thakkar, Rupesh Baviskar, Nirja Parmar, Deviba Wala, Anshu Choksi, JeetPandya, Viral Marathe and team

Festival Director and Curator Chintan Pandya

Festival Team

British Council | Goethe-Zentrum Ahmedabad (Goethe-Institut) | InstitutFrançais / Embassy of France in India | Instituto Camões / Embassy of Portugal inIndia | Pro Helvetia - Swiss Arts Council

C.R.I.M. Produções Audiovisuais | Dalcroze - Associazione Italiana Jaques-Dalcroze| Darpana | Etincelle | Il Funambolo | Mudra Institution for Performing Arts |Orna Porat Theatre | Plexus Films | Residui Teatro | Teatro Potlach | The GlassHouse | Vibrations Academy of Music | Vishalla

Festival Partners

Watercolour Drawings Jeet Pandya

Festival organised and owned by Fanatika, TransIndus Foundation

Festival Associates Gujarat Vidyapith

Ambient Media Partner Khushi

Outdoor Partner KOMM

Festival Supported by Dept. of Sports Youth and Culture Govt. of Gujarat, Panna Lalbhai Foundation

Festival Credits



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Documents

Fanatika International Theatre Laboratory Festival