The workshop will be held from 9:30 to 11:30 h. and from 12:00 to 14:00 h.
from 2nd /Monday/ to 6th /Friday/ February
7th February /Saturday/ – Open House showing with Public Discussion
Location: Theatre Laboratory Sfumato – big hall

SUZUKI METHOD
Developed by internationally acclaimed director Tadashi Suzuki and the Suzuki Company of Toga, the Suzuki Method’s principal concern is with restoring the wholeness of the human body to the theatrical context and uncovering the actor’s innate expressive abilities. A rigorous physical discipline drawn from such diverse influences as ballet, traditional Japanese and Greek theater, and martial arts, the training seeks to heighten the actor’s emotional and physical power and commitment to each moment on the stage. Attention is on the lower body and a vocabulary of footwork, sharpening the actor’s breath control and concentration.

VIEWPOINTS
A technique of improvisation that grew out of the postmodern dance world. It was first articulated by choreographer Mary Overlie, who broke down the two dominant issues performers deal with—time and space—into six categories. She called her approach the Six Viewpoints. SITI’s company members have expanded Overlie’s notions and adapted them for actors. The Viewpoints allows a group of actors to function together spontaneously and intuitively, and to generate bold, theatrical work quickly. It develops flexibility, articulation, and strength in movement and makes ensemble playing quickly possible.

REQUIREMENTS

• Open to all artists with fluent Engish from both the Theatre and Dance Communities
• Participation in both classes is required for entire week
• No previous experience required.
• Classes are physically rigorous.
• Come dressed to move.
• Bring a light snack for the break.
• Dress:
Suzuki Training requires hair tied back, no jewelry, dance wear so that the teacher is able to see the bend in the knee. Please bring Tabi or old Socks to wear on feet as well.

Viewpoints Training requires loose dance wear, bare feet, bring layers of clothing to cover legs and arms for floor work and warmth.

• Speaking text will be required. Text will be assigned prior to the start of the workshop. Please have memorized.
• Space will be open for warming up approximately one half hour before the start of the first class.
• The working language for the workshop is English.

• For any questions please contact Rada Balareva, international cooperation manager of Sfumato, tel. 0894453669, e-mail sfumato@box.net1.bg
You can contact also Ellen Lauren, e-mail ellen@siti.org

HOW TO APPLY
Please, send to Sfumato’s e-mail sfumato@box.net1.bg
your artistic cv in English with the followng information :

• name
• contact
• age
• past experience
• current project you work on
• any issues with health or physical condition that might hinder full participation

brief statement of why artist is applying for workshop.

THE DEADLINE FOR APPLYING IS 20th JANUARY 2015.

Ms. Lauren is a founding member and Co-artistic director of SITI. SITI Company credits include: Persians, Café Variations, Trojan Women, Under Construction, Radio Macbeth, Who Do You Think You Are, Hotel Cassiopeia, Death and the Ploughman, Midsummer Night’s Dream, Room, bobrauschenbergamerica, systems/layers, War of the Worlds, Cabin Pressure, The Medium, Culture of Desire, Going, Going, Gone, Orestes, American Document with Martha Graham Dance Co. A Rite(Meditations on The Rite of Spring) with the Bill T Jones/Arnie Zane Dance Co. National venues and international Festivals include: Bonn Germany, Iberoamericano, BAM Next Wave, Nordic Theater, Jerusalem, Humana, Bobigny, Melbourne, Edinburgh, and Singapore Festivals; Wexner, Krannert and Walker Center for the Arts; In NewYork; New York Live Arts, New York Theater Workshop, The Women’s Project, Classic Stage Company, Miller, Public, Lincoln Center, and Joyce Theater. Regional credits with SITI include: San Jose Rep, ARTCambridge, Court Theatre Chicago, Alabama Shakespeare, and Actors Theatre of Louisville: (including Picnic, Adding Machine, Hay Fever, Miss Julie, Private Lives).
She head of SITI’s Education programming and helped conduct ongoing Training residencies in over 250 institutions and theaters in the US and abroad for over 23 years, including-Royal Shakespeare Company, Teatro Abadia Madrid, The Le Coq School and Micadanses in Paris, and the Nordic Theater Festival, Aberystwyth Wales, Harvard School of Drama, The Malt House in Melbourne, and Singapore Center for the Arts
Additional credits include The Women (Hartford Stage), Seven Deadly Sins, New York City Opera, Lincoln Center -(Kosovar Award for Anna II) Marina, a Captive Spirit, all with Anne Bogart. She was a resident company member: StageWest, Mass. (5 years), The Milwaukee Repertory (5 years), The Alley Theatre, Houston (2 years).
She is a regular guest artist at TEAC, Finland’s National Theater Academy in Helsinki, UCLA, and Windsor University in Canada and has been on the faculty of Columbia University and Fordham University.
Associate Artist with The Suzuki Company of Toga (SCOT), under the direction of Tadashi Suzuki. Roles include; Agave in Dionysus for over 15 years. Other credits under the direction of Suzuki include; Jocasta in Oedipus, Juliet in Waiting for Romeo, and Goneril in King Lear, most recently performing at the Kichijoji Theatre in Tokyo, Japan.
Performance venues with SCOT include: Moscow Art Theatre, Toga International Festival, Alexandrinsky Theatre in St. Petersburg, Royal Shakespeare Co., Swedish Festival, Theatre Olympics in Athens and Delphi Greece, Shizuoka Japan, Buenos Aires Festival, Vienna Festival, Istanbul Festival, Festival Mundial Chile, Teatro Olympico Italy, Montpelier Festival France, Harbour Front Festival Toronto and the Hong Kong Festival. Under the leadership of SCOT’s executive director, Ikuko Saito, she is a founding member of the International Symposium on the Suzuki Method of Actor Training. The committee’s book of essays was published in 2013. She was also associate director of the Summer Training Program, Toga, Japan 2003-2008.

She is an ongoing faculty member at the The Juilliard School of Drama since 1995 teaching the Suzuki Training, and directed Ellen Mclaughlin’s Iphigenia and Other Sisters for Group 44 in their graduating year.
She is a recipient of the TCG Fox Fellowship for Distinguished Achievement (2008-2010).
Ms. Lauren is published in American Theater Magazine (January 2011, In Search of Stillness), as well as in the Modern Masters series on Anne Bogart published in 1998. She is currently at work on a book about her experience with the Suzuki Company, The Invisible Body.

Sfumato” is a long-term creative strategy working on the conviction that the artistic and the spiritual have a common nature. We’re not so much interested by man in himself or by man in the community, but rather by man in genesis. Not the application, but the purpose of creation.We see theatre as an intuition for genesis, as a vertical living which bounces off the “worldly prose” and pulls “here” to “there”, “now” to “always”.A theatre of the erstatement. The performance – “a machine for transportation elsewhere” (A. Artaud)

“Sfumato” is a theater in the statute of theater-laboratory subsidized by the State and financed by programs, sponsors and own contributions (box office and others).

“Sfumato” is created in 1989 by directors MARGARITA MLADENOVA and IVAN DOBCHEV as a territory of theatrical researches based on the following artistic principles: researches in long-term programs, workshops, parallel programs; it is a long-term authors strategy which works according to its own methods and creative models.

Theater Laboratory Sfumato occupies a very prestigious place in the Bulgarian and European theatrical landscape, its experience in the work in the international is very rich / with more than 200 representations on touring/.

After 2002 we began to develop the new place as a place for research, creation and presentation, as an ternational center of theatrical innovation where we emphasize the work with the young creators in all the artistic domains.

PROGRAM ‘CHEKHOV’1989–1996
PROGRAM ‘YOVKOV’1991–1992
PROGRAM ‘RADICHKOV’1993–1994
PROGRAM ‘MYTHS’1997–1998
PROGRAM ‘ARCHETYPES’1997-2000
PROGRAM ‘NOMINA TRIVIALIA’2001-2002
PROGRAM ‘DOSTOEVSKY’2003-2005
PROGRAM ‘EXIT’2005-2006
PROGRAM ‘STRINDBERG’2006-2007
PROGRAM ‘ARCHETYPES’2008-renewal
PROGRAM ‘GOGOL’2008 – 2009
PRPGRAM ‘SHAKESPEARE’ 2010-2011

Workshops
In the last few years, in our theatrical practice we constitutionalized the workshops – ateliers, as a kind of recursory preparation of each new project.It shouldn’t be mixed up with terms like “casting” or “selection”. Atelier means initiating of a group of artists, who have voluntarily engaged themselves with the theme of the future performance, in the areas and the poetics of future performance. In such aspect, the effect of this atelier has got the sense of qualification course, a way of keeping actors’ creative condition up, a way of extending the horizon of their professional abilities. The great atelier’s purpose-dream is provoking thrill in constructive nature, creating air
for living around the phantasm of the new project. If we should use an analogy, so it is like space-men training in landing and walking on Moon in earth conditions.

Festivals
AUTUMN FESTIVAL – Paris – France – 1991;‘CONTACT’ – Torun – Poland – 1994; BIENALE OF CONTEMPORARY DRAMA IN BONN – Germany – 1994; LUXEMBOURG – EUROPEAN CULTURE CAPITAL – 1995; WIENER FESTIVAL – Vienna – Austria – 1995; ‘OHRID SUMMER’ – Macedonia – 1995; FESTIVAL D’AVIGNON – France – 1996; ‘PASSAGES’ – Nancy – France – 1996 and 1997; SIBIU INTERNATIONAL THEATRE FESTIVAL – Romania – 1998; ‘NEIGHBOURING VOICES’ BALKAN THEATRE FESTIVAL Sofia – Bulgaria – 1998;TEATER DER WELT – Berlin – Germany – 1998;LEIPZIG FAIR – DAYS OF BULGARIAN CULTURE – Germany – 1999; HAMBURG SUMMER TEATRE FESTIVAL – Germany – 1999; HEBBEL THEATRE – Berlin – Germany – 2000; THE AVIGNON FESTIVAL – France – 2000;MITTELFEST – Cividale – Italy – 2000;
SAN MARINO STAGE FESTIVAL – 2000; MESS INTERNATIONAL FESTIVAL – Sarajevo – Bosnia&Herzegovina – 2000;
‘MIGRATIONS’ FESTIVAL – PICCOLO TEATRO DI MILANO – Italy – 2000; SMALL THEATRE FORMS FESTIVAL – Rijeka – Croatia – 2001; SPRING ARTS FESTIVAL-SHIZUOKA PERFORMING ARTS CENTER – Japan – 2001; INTERNATIONAL FESTIVAL EX PONTO – Ljubljana – Slovenia – 2001; THEATRE DE LA TEMPETE – Paris – 2001; CHRISTMAS FESTIVAL – Novosibirsk, Russia – 2001;TH??TRE OF NATIONS – Moscow, Russia – 2001; CULTURGEST – Lisbon, Portugal – 2002;
THEATRE STUDIO – Warsaw, Poland – 2003; PASSAGES – Nancy, France – 2003; THEATRE DE LA TEMPETE – Paris – 2004; INTERNATIONAL FESTIVAL ‘BALTIC HOUSE’ – St.Petersburg – Russia – 2005; FIAT FESTIVAL – Podgoritza, Monte Negro – 2005; BUCAREST INTERNATIONAL THEATRE FESTIVAL – Roumania 2007; MESS INTERNATIONAL FESTIVAL – Sarajevo – Bosnia&Herzegovina – 2007; SMALL THEATRE FORMS FESTIVAL – Rijeka – Croatia – 2008; SUWON HWASEONG FORTERESSE FESTIVAL – SUWON, KOR?E– 2008; OHRID SUMMER, MACEDONIA – 2008; INTERNATIONAL FESTIVAL EX PONTO – Ljubljana – Slovenia – 2008; AUTUMN FESTIVAL – Paris – France -2008; ‘PASSAGES’ – Nancy- France – 2009;

Parallel program
Little seasonAt the end of the season ‘SFUMATO’ invites young professionals from all art fields, students from different art academies, authors of their own productions to perform complete plays, fragments, sketches or projects at a stage of realisation, performances, documentaries, short films, installations, etc.

Some of the highlights in the new strategy of the theater are:
– Conversion of TLab Sfumato in international center for theatrical searches – a process already begun, which insists on its terms;
– Space for performances of the youngest in art – initiate annual “Little Season” of debuts in film and theater;
– Presentation of performances, concerts, exhibitions, cinema with non-commercial orientation;
– Expanding the circle of young audiences with humanitarian education and high requirements for art.

International awards:

Apokrypha
1997 Best Radio Show–International Radio Festival, Croatia
1998 II Award for Radio Show-International Radio Festival,Berlin

The Atoll Bulgarian National Radio,Triumviratus Art Group&Ars Digital co-production
1999 Best European Radio Drama – Grand Prix Europe, Berlin

The Black Fleece
2000 Golden Laurel Award from MES–Sarajevo, Bosna and Herzegovina for:
Best show
Audience award
2001 Awards from Small Theatre Forms Festival, Rijeka, Croatia for:
Best music
Best dramaturgy
Special award for the ensemble collective acting
Audience silver award

The Dance of Death
2008 Awards from Small Theatre Forms Festival, Rijeka, Croatia for:
Best actor Vladimir Penev
Best in second role Tsvetan Aleksiev
Best music Asen Avramov