Lucia Repašská

She graduated in drama direction at Janáček Academy for Music and Performance Arts under Arnošt Goldflam, where, in 2015, she also defended her doctoral thesis Deconstruction Principles in Stage Creation. During her studies she underwent internships in Poland (PWST Krakow) and Denmark (Odin Teatret Holstebro) under such instructors and directors as Krystian Lupa, Bogdan Hussakowski and Eugenio Barba. As an artist straddling the boundary between the alternative and the underground theatre scene she consistently collaborates with outstanding personages of independent culture and through her work with D’Epog Theatre company and her activities as an instructor (seminars and workshops focused on the issues of presence, montage and the dramaturgy of space) she regularly presents her achievements at conferences and theatre festivals both at home and abroad.

PRESENTATION OVERVIEW

Based on the outcomes of a long-term research on behavioral patterns of contemporary audiences conducted within the laboratory conditions of D’epog Theatre and The Institute for Theatre Research at Janáček Academy of Music and Performing Arts in Brno, the workshop will tackle the issue of dichotomy between spectator and the audience and introduce the mechanisms of activating spectator’s receptive engagement and critical thinking. In order to liberate spectator from the predominance of metaphysical violence and undermine the totalitarian model of theatre represented by direct linear transmission of information by loosening slavishly self-replicating semiotic bonds between all units participating in stage work creation, the workshop will propose the model of “theatre-potential”. It will describe numerous experiments with extreme patterns of organizing stage space, unfolds new perspectives of viewing performers’ expressivity through outlining genuine psycho-physical training and analyzes their impact on perceptual habitus.

I would like to hold a workshop for theatre practitioners to introduce a codified concept of training the performers’ metaphysical qualities as it has been developed in the post-dramatic practice of the D’epog Theatre company which applies training practices rooted in the tradition of theatre anthropology on one hand and revisiting concepts of makers such as Michail Chekhov or Antoine Artaud. I would be particularly happy to focus on work with extreme energy, presence and contact. In theoretical reflection provided by an interactive audio-visual map outlining the seven-year-long effort of the D’epog Theatre laboratory and curated videos I would then like to comment on the issues concerning the performer’s role and his/her relationship to the recipient. Using direct examples of my own stage work I would demonstrate the concept of poetic theatre and its political impact and I would thus attempt to prove that the level of individual transformation is the only level on which a work of performance art can function in.

All participants are obliged to clearly state their position as active or observatory. Direct, active workshop participants must come equipped with sportswear and sport footwear.

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Organized by IUGTE in collaboration with "ArtUniverse" and New International Performing Arts Institute