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Biennale College - Theatre 2016

Venice, 25 July > 14 August
Project by Àlex Rigola – Director of the Theatre section
 
Biennale College is a project aimed at training young artists, conducted by the Dance, Music, Theatre and Cinema sectors of the Biennale di Venezia. To encourage young talents, offering them the opportunity to work side by side with the masters to develop “creations”: this is the spirit of the Biennale College, a well-fitted bridge that allows young people who wish to engage in one of the arts to do so under the finest conditions that an international institution can offer.

Following the experience of the International Theatre Workshop, the Theatre section presents the new project by Àlex Rigola which will involve those applicants that the artistic Director of the Theatre Sector of the Biennale considers, at his own discretion and in agreement with the Masters conducting the various workshops, to respond to the goals of each of the workshop experiences described below and the requirements for each of them, an integral part of his 2016 artistic project.

The Biennale College –Theatre project is oriented again this year towards the spirit of a scientific laboratory: a place of inquiry and dialogue. La Biennale, as a space open permanently to discussion and experimentation, wishes to present itself as an opportunity for artists, scholars, spectators, and theatre lovers. A veritable factory of ideas to explore the potential of theatre: languages, codes, techniques and technology, the theatre sciences, all provide the guidelines for a systematic evaluation, led by masters and experts from all over the world.

 
The workshops of the Biennale College – Theatre 2016
The programme requires participants to attend the workshops in the morning and through the early afternoon, the meetings with the Masters of the College in the late afternoon, and in the evening the performances presented at the 2016 Theatre Biennale and the open-doors events of the companies-in-residence and of the workshops underway at the time.
 
The deadline for the submission of applications is June 5th, 2016.
All candidates must fill out the application form in all of its parts, and attach the required documentation.
For all the workshops that require the submission of a video with no specific instructions, it is understood that the video must focus on the applicants’ work for the theatre.
 
 
 
BARO D’EVEL CIRK CIE
Dates: 26 July –  1 August
Language: French / Spanish / Italian
For: This workshop is intended for multifaceted professionals who engage in a practice of the body (dance/circus/theatre/music)
Participants: 15 active participants / 5 auditors
 
There will be a short presentation to the public of the final outcome of the workshop.
 
WORKSHOP
We propose a full immersion into the heart of our company. Our big-top will be our workplace. Our research will focus on animality, transformation, and matter. Our work consists in generating states of the body, emotional states and to play at blurring the boundaries of language between acrobatics, song, dance, and acting. All these practices will be placed at the service of a quest for intensity and the urgency of play.
Blaï Mateu and Camille Decourtye for Baro d'Evel
 
Camille Decourtye and Blaï Mateu Trias, a French-Catalan duo
They conceive each project as a sonorous and corporeal partition, a painting, an immersion, a journey. In their research on movement as well as their approach to writing, they assign a special role to rhythm, voice and musicality.
In 2004 they included horses in their research. This approach takes them further into their exploration of animality and improvisation. Since 2007, they have been developing a project on an itinerant circus, Le sort du dedans: this production has enabled them to devise a big top and a singular indoor space, it also answers their need to create a troupe that can defend a powerful artistic project on the roads of France and Spain.
In all the creations of Baro d’Evel, they have collaborated with different artists such as André Minvielle, Pierre Heydorff, Thibauld Soulas, Sébastien Lalanne, Dimitri Jourde, Abdel Senhadji, Jean Gaudin, Virginie Base as well as Michel Cerda who accompanied four of their creations. For Mazùt they formed a team with with Catalan choreographers Maria Muñoz and Pep Ramis of the creative group Mal Pelo, and with graphic designer Benoit Bonnemaison-Fitte. They carried on these collaborations in Bestias, asking musician Nicolas Lafourest to take part in the project.
 
Applicants are required to submit, in addition to their personal data:
·  a passport photo
·  a full-figure photo
·  a curriculum vitae in PDF format
·  a link to a video at least 1 minute long in which they show their work -



 
ROGER BERNAT
Dates: 25 - 31 July 2016
Language: Italian / Spanish
For: anyone interested in the project
Participants: 15 active / 5 auditors
 
There will be a short presentation to the public of the final outcome of the workshop.
 
WORKSHOP
Far from the scenario of a vanishing civilization, Venice represents an extremely contemporary culture of consensus. Visitors and tourists form a unique community that ceaselessly celebrates the collective experience of recognizing each other among the palaces. However, within the incomparable atmosphere of its performance, it also celebrates its transparency. Like in Carnival or in processions, or as it might have been the case in mass theatre from Reinhart to Piscator or in Nazi Germany’s Thingspiel, the actors of twenty-first century Venice have no desire to be protagonists. They celebrate their invisibility for the benefit of the festive-effervescent device of agglomeration itself. This tourist community, which is highly manipulable, potentially violent and mindlessly somatic will be the star of Roger Bernat’s workshop. For it (and perhaps with it), we will design stage devices that will become a portrayal and at the same time an instrument of recognition. The projects that we will develop during the workshop will be borrowed from the proposals submitted by the participants. For this reason, we ask all interested applicants to send a text at least 400 words long with a declaration of intents.
 
Roger Bernat retrieves documents, images, manifestations, historical accounts and re-enactments to develop projects in which the collectivity becomes the star. There are no individual actors playing the characters in the story, it is the audience that, not without a touch of irony, represents the collectivity. Roger Bernat’s most famous projects are Domini Públic (2008), Please Continue (Hamlet) (2011) or Numax-Fagor-plus (2014), which have been produced in Italy and in about twenty different countries.
 
Applicants are required to submit, in addition to their personal data:
·   a passport photo
·   a full-figure photo
·   a curriculum vitae in PDF format
·   a text in PDF format no longer than 400 words with a declaration of intent
·   a link to a video at least 1 minute long in which they show their work
 



 
ANNE BOGART
Dates: 1 – 7 August 2016
Language: English (The workshop will be led predominantly in English but other languages can be spoken on stage)
For: twelve actors and three directors. All fifteen participants should have a particular interest or background in movement or dance.
Participants: 15 active / 5 auditors
 
There will be a short presentation to the public of the final outcome of the workshop.
 
WORKSHOP
The sessions will include an introduction to Viewpoints and Composition.  The Viewpoints is a method of movement and vocal improvisation. Composition is a technique to create compelling theatrical material.  The workshop will investigate the influences of composer/philosopher John Cage. Anne Bogart and SITI Company are currently engaged in the creation of a new production entitled Theater Piece #1 based upon John Cage’s impact in the world. The workshop will incorporate Cage’s own written texts as well as interviews that people conducted with Cage over his lifetime.  The participants are encouraged to arrive with a basic knowledge of Cage’s biography, theories and music.  
In addition to a CV, each applicant should include an essay describing their background and how they imagine their future. Two or three paragraphs will suffice.
 
Anne Bogart is one of the three Co-Artistic Director of SITI Company, which she founded with Japanese director Tadashi Suzuki in 1992. She is a Professor at Columbia University where she runs the Graduate Directing Program. Works with SITI include: the theater is a blank page; Persians; Steel Hammer; A Rite; Café Variations; Trojan Women; American Document; Antigone; Under Construction; Freshwater; Who Do You Think You Are; Radio Macbeth; Hotel Cassiopeia; Death and the Ploughman; La Dispute; Score; bobrauschenbergamerica; Room; War of the Worlds; Cabin Pressure; War of the Worlds – The Radio Play; Alice’s Adventures; Culture of Desire; Bob; Going, Going, Gone; Small Lives/Big Dreams; The Medium; Noel Coward’s Hay Fever and Private Lives; August Strindberg’s Miss Julie; and Charles Mee’s Orestes. She is the author of five books: A Director Prepares; The Viewpoints Book; And Then, You Act; Conversations with Anne; and What’s the Story.
 
Applicants are required to submit, in addition to their personal data:
·   a passport photo
·   a full-figure photo
·   a curriculum vitae in PDF format
·   an essay (Pdf) describing their background and how they imagine their future. Two or three paragraphs will suffice
·   a link to a video at least 1 minute long in which they present their work

 


ROMEO CASTELLUCCI
Dates: 1 – 3 August 2016
Language: Italian
For: directors (under 38)
Participants: 15 active / 5 auditors
 
WORKSHOP
These study sessions dedicated to directing for the theatre will involve 15 young directors. The workshop intends to develop an idea of performance as a thing in and of itself, free of the absolutism of meaning.
The workshop will address the themes of the discipline of Classical Performance; then each participant will be given the assignment to mentally prepare a production, which must be conceived in all its parts. Each director, at the conclusion of the creative process, must publicly present his work in a story that can make visible what he, in private, has formed in his mind.
 
Romeo Castellucci was born in 1960 in Cesena. Known around the world – his works have been presented in over fifty countries – as the author of a theatre founded on the totality of the arts that seeks to achieve integral perception, he has written many theoretical essays on the mise-en-scène, which follow the evolution of his theatre. The productions he directs propose dramatic outlines that are not subject to the primacy of literature, turning theatre into a complex plastic art that expresses a wealth of visions. He has developed a language that can be understood by all, just like music, sculpture, painting and architecture. His work is regularly invited and produced by the most prestigious theatres, opera houses and international festivals.
His most important acknowledgments are as follows: in 1998 he was awarded the Europe Prize as best new talent in theatre, Taormina; in 2002 he was named “Chevalier des Arts et des Lettres” of the French Republic; in 2005 he was named Director of the Theatre Sector of the Biennale di Venezia, in 2008 he became “Artiste Associé” of the Festival d’Avignon; in 2013 he won the Golden Lion for Lifetime Achievement in Theatre at the Biennale di Venezia; in 2014 he was awarded an honorary degree from the Alma Mater Studiorum Università di Bologna in the Disciplines of Music and Live Performance.
 
Applicants are required to submit, in addition to their personal data:
·   a passport photo
·   a full-figure photo
·   a curriculum vitae in PDF format
·   a link to a video at least 1 minute long in which they show their work

 


MARTIN CRIMP
Dates: 26 – 29 July 2016
Language: English (spoken at a satisfactory level)
For: dramaturges/playwrights
Participants: (15 active / 5 auditors)
 
WORKSHOP
“The more you talk, the less you really say”
WORD / ACTION / IMAGE
Using as points of departure texts by Chekhov, Pinter, Sarah Kane and Bernard-Marie Koltès, we will explore the very different ways writers make plays - and celebrate the limitless flexibility of our essential material - language.
These workshops will be aimed at experienced playwrights who would welcome a unique opportunity to analyse, criticise, exchange ideas, and to experiment.
 
Martin Crimp is a British playwright whose play Attempts on her Life, which premiered at London’s Royal Court Theatre in 1997, established his international reputation. The plays which followed - The Country (2000), Cruel and Tender (2004 - written for director Luc Bondy), Fewer Emergencies (2005), The City (2008) and In the Republic of Happiness (2012) - have all been seen by audiences throughout Europe and beyond - and produced by major festivals from the Wiener Festwochen to the Festival d’automne in Paris.
His most recent play, The Rest Will Be Familiar to You From Cinema, directed by Katie Mitchell, opened at the Schauspielhaus Hamburg in 2013 and remains in the repertory there.
Into the Little Hill (2006) marked his first opera collaboration with composer George Benjamin, and the second, Written on Skin, was produced by the Festival d’Aix-en-Provence in 2012 to great critical acclaim.
Martin has also translated or adapted plays by Marivaux, Genet, Ionesco, Koltès and Molière.
 
Applicants are required to submit, in addition to their personal data:
·   a passport photo
·   a full-figure photo
·   a curriculum vitae in PDF format
·   a link to a video at least 1 minute long in which they show their work




WILLEM DAFOE
Dates: 8-11 August 2016
Language: English (Satisfactory level)
For: Actors
Participants: 15 active + 5 auditors
 
WORKSHOP
The workshop will be shaped very much by the people in it. Participants will bring in a song or a piece of recorded music, and a text or a short two-person scene. Using these sources, we work in a physical and practical way to explore what personality attachments inhibit freedom in performing and what can encourage us to disappear into performing tasks in a dynamic way. We will work with imitation, observation and distraction.
 
Willem Dafoe is one of the founding members of The Wooster Group, the NYC based experimental theatre collective. He created and performed in all of the group’s work from 1977-2005 both in the US and internationally.  Since then, he has worked with Richard Foreman in IDIOT SAVANT and Robert Wilson in LIFE AND DEATH OF MARINA ABRAMOVIC and most recently THE OLD WOMAN with Mikhail Baryshnikov.
He is a two-time Oscar nominated film actor of over 100 films, choosing his projects for diversity of roles and the opportunity to work with strong directors.
He has previously conducted workshops The Danish National Theatre School and New York University.
 
Applicants are required to submit, in addition to their personal data:
·   a passport photo
·   a full-figure photo
·   a curriculum vitae in PDF format
·   a link to a video at least 1 minute long in which they show their work



 
DECLAN DONNELLAN
Dates: 6 - 14 August 2016
6 -7 August: 2 days of rehearsal among the Participants to learn, prepare and rehearse (in pairs) scenes no more than 3 minutes long from Macbeth
8 - 14 August: workshop with the Maestro
Language: English / Italian (an excellent level of English is not required)
For: young, professional, classical actors who are either in training or have recently completed training
Participants: (20 active)
There will be a short presentation to the public of the final outcome of the workshop.
 
WORKSHOP
Declan Donnellan, Artistic Director of Cheek by Jowl, will lead professional actors in an exploration of principles from his book ‘L’attore e il bersaglio’ which may enable them to feel more free in their work, in areas they feel blocked.
 
Instructions from the Maestro
As preparation the participants should learn, prepare and rehearse (in pairs) scenes of under 3 minutes (there should be no soliloquies), from Macbeth.
The actors must perform the speeches in their NATIVE language. Declan will not hear any scenes in English by non-native speakers for artistic reasons.
 
Declan Donnellan (director) is joint Artistic Director of Cheek by Jowl with his partner Nick Ormerod.
The company produces work in three languages, Russian, French and English, and has performed across six continents. Recent performances include Ubu Roi, in French, Measure for Measure in Russian and The Winter's Tale in English.
Donnellan has been invited by Peter Brook to stage Andromaque at the Bouffes ‎Du Nord; by Claudio Abbado to stage Falstaff at Salzburg; and by Lev Dodin to direct The Winter's Tale at the Maly Drama Theatre in Saint Petersburg.
He has created two new ballets for the Bolshoi - Hamlet and Romeo and Juliet
His feature film Bel-Ami starred Kristin Scott Thomas and Uma Thurman.
Donnellan has received awards in Moscow, New York, Paris and London, including the Olivier Award for Outstanding Achievement. His book The Actor and the Target, originally published in Russian, has been translated into fourteen languages, including Italian.
He shared the Charlemagne Award with Craig Venter and Desmond Tutu.
 
Applicants are required to submit, in addition to their personal data:
·   a passport photo
·   a full-figure photo
·   a curriculum vitae in PDF format
·   a link to a video at least 1 minute long in which they show their work



 
CHRISTIANE JATAHY
Dates: 7-9 August 2016
Language: Portuguese / Italian
For: directors or actors interested in the experience of being a director
Participants: 14 active / 6 auditors
 
WORKSHOP
Creative clips – Possible narrations in the relationship between theatre/cinema
The workshop will centre on the creation of projects in small formats the premise of which will be the relationship between theatre and cinema, on the basis of existing texts.
Each participant will bring a text (from the theatre or literature) on which to base the creation of his project. The choice of text must take into account the possible relationships between the stage and the film (in fiction or documentary form).
 
Christiane Jatahy is an author, theatre director and filmmaker. Since 2003, her works have engaged a dialogue between different artistic fields. In the theatre, she has staged several works that blur the boundaries between reality and fiction, between actor and character, between theatre and cinema. In cinema, she directed the film “A Falta que nos move”, shot continuously for 13 hours with three hand-held cameras. She is currently on tour in the major European festivals with her two latest works for the theatre. In 2011, she premiered “Julia”, an adaptation of Strindberg’s “Miss Julia”. This work won her the “Shell de Melhor Direçao” for best director in 2013. That same year she developed a project for an audio-visual installation and documentary film “Utopia.doc” in Paris, Frankfurt and São Paulo.  In 2014, she premiered “E se elas fossem para Moscou?” (What if they went to Moscow?) inspired by Anton Chekhov’s “Three Sisters”, a performance and a film shown in two different spaces at the same time. The theatre production is filmed, edited and mixed, and screened simultaneously in the movie theatre. In 2015 it won the Shell Award, the APRT award and the Critics’ award for best director and best production. In 2015 she created a new project, "the walking forest" - a video installation, with a documentary, live cinema and a performance by the audience. The work is inspired by Macbeth. Christiane Jatahy is “artiste associé” of the Odéon Théâtre de l'Europe and the Centquatre in Paris.
 
Applicants are required to submit, in addition to their personal data:
·   a passport photo
·   a full-figure photo
·   a curriculum vitae in PDF format
·   a link to a video at least 1 minute long in which they show their work




STEFAN KAEGI
Dates: 30 July – 5 August 2016
Language: English
For:  directors, writers, researchers, architects, multimedia artists, playwrights, stage designer, artists, journalists and performers (It isn’t a technical acting workshop)
Participants: 15 active / 5 auditors
 
There will be a short presentation to the public of the final outcome of the workshop.
 
WORKSHOP
Simultaneous Constructions
“Construction sites are fascinating performances. They are often delayed, and sometimes even remain unfinished and in their complexity, they become models of our society. Carpenters, architects, city planners, investors and public authorities try to cooperate - and misunderstand one another. The Italian A3 highway, or the new Berlin Airport are monuments of inefficiency, images of failed state control over a globalized industry, often driven by hidden powers. Dozens or even hundreds of different employers collaborate - and often sue each other afterwards.
Construction sites can be role models for complex performance set-ups where the classic dialogue behind the fourth wall is replaced by interwoven models of story-telling. In this workshop we try to research and construct a documentary setup that makes it possible to address different audiences simultaneously. A multidimensional time-line. Using headphones, we segment and target audiences in a direct way and build a spatial model that becomes as complex and narrative as a construction site - but with no delays.”
Stefan Kaegi
 
Stefan Kaegi / Rimini Protokoll
Stefan Kaegi is based in Berlin and produces documentary theatre plays and works in public space with a diversity of collaborative partnerships. Kaegi toured across Europe and Asia for over three years with two Bulgarian lorry drivers and a truck which was converted into a mobile audience room (“Cargo Sofia”). He developed “Radio Muezzin” in Cairo – a project about the call to prayer in this age of technical reproduction, and in 2011, “Bodenprobe Kasachstan” about migration and oil in central Asia. At the moment he is adapting "Remote X", an audio-tour for 50 headphones, to cities like Houston, Helsinki and Brussels. Kaegi co-produces works with Helgard Haug and Daniel Wetzel, under the label “Rimini Protokoll”. Using research, public auditions and conceptual processes, they give voice to ‘experts' who are not trained actors but have something to tell. Recent works include the multi-player-video-piece “Situation Rooms”, “100% São Paulo” with 100 local citizens on stage and the “World Climate Conference” - a simulation of the UN-conference for 650 spectators in the Schauspielhaus Hamburg.  They are currently performing "Homevisit Europe" as an interactive performance game in hundreds of households across the globe.
 
Applicants are required to submit, in addition to their personal data:
·   a passport photo
·   a full-figure photo
·   a curriculum vitae in PDF format
·   a link to a video at least 1 minute long in which they show their work


 
JAN KLATA
Dates: 4 - 10 August 2016
Language: English / Italian
For: actors and performers primarily, directors not excluded
Participants: 15 active / 5 auditors
 
There will be a short presentation to the public of the final outcome of the workshop.
 
WORKSHOP
50 SHADES OF MARTYRDOM
(STRATEGIES FOR SURVIVAL)
'Whatever happened to all the heroes?
All the Shakespearoes?
They watched their Rome burn'
'Now I know how Joan of Arc felt
As the flames rose to her Roman nose
And her hearing aid started to melt'
Acting as if nothing happened?
 
Jan Klata is a theatre director and playwright, born in 1973. He is one of the most famous Polish theatre artists in recent years. He has produced over 30 shows in theatres in Wroclaw, Gdansk, Bydgoszcz, Cracow, Warsaw as well as Graz, Düsseldorf, Bochum and Berlin. He is the winner of the Passport Prize awarded by Polityka and the Konrad Swinarski Award. 
 
Applicants are required to submit, in addition to their personal data:
·   a passport photo
·   a full-figure photo
·   a curriculum vitae in PDF format
·   a link to a video at least 1 minute long in which they show their work




OSKARAS KORŠUNOVAS
Dates: 1 – 7 August 2016
Language: Lithuanian / Italian
For: actors
Participants: 15 active and 5 auditors
 
There will be a short presentation to the public of the final outcome of the workshop.
 
WORKSHOP
The rehearsal of “Hamlet” was the point at which director Koršunovas and his actors began the process, developed in the next two performances of the trilogy – Maxim Gorky’s “The Lower Depths” and Anton Chekhov’s “The Seagull”. “In our “Hamlet”, the starting point of creation was the perception that we could only act it if we could see ourselves in the situations of the play. It’s the confrontation with ourselves, meeting with our conscience as theatre professionals and, of course, as human beings”, - says Koršunovas. So, he invites the actors of Biennale College to try to see themselves in the situations of “Hamlet”.
 
Oskaras Koršunovas (1969) graduated from the Lithuanian Academy of Music and Theatre with a Master’s degree in Theatre Directing. At that time the young director already stood out for his unusual theatrical language. Although his early performances were created under the aegis of the Lithuanian State Academic Drama Theatre (now called Lithuanian National Drama Theatre), they were often referred to as a separate body, a theatre within a theatre. Contemporary theatre critics, titling their articles simply: “Oskaras Koršunovas Theatre?” foresaw the inevitable emergence of a new theatre. In 1998 he founded an independent theatre, called Oskaras Koršunovas Theatre, shortened to OKT. Koršunovas, assisted by guest directors, has built a solid repertoire that encompasses both contemporary drama and classic staging. In his opinion, contemporary theatre must reflect the present day and sometimes even be ahead of its time, it must predict the future and act as a warning. Shakespeare’s “Hamlet” (2008) and the play’s work-in-progress marked the beginning of a new phase in Koršunovas’ biography. The director discovered a new work space in the OKT studio, and turned in the direction of laboratory explorations. Working on “Hamlet”, the director and the actors were more concerned with the creative process itself than the play. The process they began continued in the productions of “The Lower Depths” and “The Seagull”. Over the years, Koršunovas has won many awards and earned international recognition. His tours in international festivals, performances and projects in foreign theatres have taken him to the United States, South Korea, Australia, Argentina, and the territory in between. Every year, the OKT theatre appears on more than ten different stages in different parts of the world. Hence, the motto of the director and his theatre: only by being “there” can we stay “here.”
 
Applicants are required to submit, in addition to their personal data:
·   a passport photo
·   a full-figure photo
·   a curriculum vitae in PDF format
·   a link to a video at least 1 minute long in which they show their work




FABRICE MURGIA
Dates: 8-14 August 2016
Language: English
For: Actors
Participants: 15 actors + 5 auditors

There will be a short presentation to the public of the final outcome of the workshop.
 
WORKSHOP
Think different. At all levels, the great democratic and libertarian principles on which Internet was founded are quite different from what we observe today. For this workshop, we will work on the figure of Steve Jobs. Steve Jobs is an important actor in the numerical Revolution. He is also a mystical figure, a marketing genius, an intransigent worker and an old hippie. Using his speeches, his keynotes and images from the archives, our work will be based on improvisation that will lead us to the creation of a moment of dispute concerning Steve Jobs’ personality.
 
Fabrice Murgia was born in 1983 in Verviers. Trained at the Liège Drama Academy by Jacques Delcuvellerie, he works as an actor for theatre, film and television.
Today, he is mainly active as a playwright and a director. Moreover, he manages the Artara Company, a group of performers, video directors, plastic artists, musicians - gathered around his creations - anxious to be witnesses to the world with the perspective and the language of their generation. 
In 2009, he wrote and directed his first play Le Chagrin des Ogres. Fabrice then became an associated artist at the Théâtre National in Brussels. Within this context, he created his next 2 productions: LIFE:RESET/Chronique d'une ville épuisée, a silent play, and Dieu est un DJ adapted from the text by Falk Richter. 
In 2012, Fabrice revealed his creation Exils, a play that inaugurated the European project, Cities on stage which gathered seven European directors around the question of "living together" in the European cities. He later created Les enfants de Jéhovah in Switzerland, at the Théâtre Vidy-Lausanne, a play in which he tackled the subject of the sectarian drift. In 2012, he made Ghost Road with the composer Dominique Pauwels: they took a trip down Route 66 and were fascinated by the desolate landscapes and ghost towns.
In July 2014, Fabrice Murgia worked on his creation Notre peur de n’être for the Festival of Avignon. 
In August 2014, he was awarded the Silver Lion for Innovation in Theatre at the Venice Biennale.
In September 2014, the director branched out, directing his first Opera-Circus Daral Shaga at the Opéra Théâtre de Limoges, alongside Laurent Gaudé (Writing), Kris Defoort (Composition) and Philippe De Coen (Acrobatic figures). In 2015, he created Children of Nowhere in Santiago, Chile. Between the documentary and the musical play, it stages Viviane De Muynck in the Chacabuco concentration camp. 
Last September, Fabrice Murgia created Karbon Kabaret, a large Community show about the identity of the city of Liège. Fifteen thousand people gathered on Place St. Lambert.
 
Applicants are required to submit, in addition to their personal data:
·   a passport photo
·   a full-figure photo
·   a curriculum vitae in PDF format
·   a text in PDF format no longer than 1000 characters with a declaration of intent
·   a link to a video which includes 10 pictures representing who you are

 
 
ANNA PÉREZ PAGÈS / ANDREA PORCHEDDU / ROBERTA FERRARESI
Dates: 30 July - 14 August 2016
Language: Italian / Spanish
For: 4 under-30 journalists / bloggers / videomakers /community managers who wish to work with communication and theatre by giving coverage to the Biennale Theatre College 2016 + 1 editor/blogger under 35, who has worked for at least 2 years for blogs, websites, printed newspapers or magazines in the theatre, performance, or live performance sector.
Participants: 4 for the media + 1 as critic
 
Media Workshop
Students will put in practice and develop their skills in social media and videomaking, exploring the use of Facebook, Twitter, Instagram, Youtube and Wordpress. The participants will become part of an editorial staff that will be assigned the task of witnessing what takes place during the activities, and sharing it with the community of artists that once again will be in Venice for the Biennale College Theatre workshops. Good command of Italian and/or English is required. A competent knowledge of blogging, social media strategies, and basic video editing is also necessary. Applicants should have their own laptop computer, smartphone and photo or video camera. The workshop does not observe a regular schedule, it is full-time and the hours depend on attendance at the activities for the creation of videos, reviews, interviews and for the coverage of the Biennale Theatre 2016 on social media.
 
Criticism Workshop
The project is finalized towards the publication of a daily online journal of the Theatre Biennale. The editorial staff will be responsible for reporting and bearing witness to what takes place during the festival. The selected applicants must ensure their active presence at the festival, to write reviews, articles, interviews with the personalities at the Theatre Biennale. Requirements include adequate knowledge of the history of theatre and the practice of journalism. Good command of the English language is also required.

Anna Pérez Pagès holds a Bachelor of Arts degree both in Journalism and English literature and a Masters degree in Drama Studies. She is CEO of Mipiatxe Digital Content Agency and has directed and hosted several television programs, as well as being a regular contributor to various newspapers and radio stations in Catalonia. She is a member of the editorial board of the theatre magazine Pausa, and teaches Social Media and Digital Culture at the iDEC-UPF (Pompeu Fabra University).

Andrea Porcheddu (1967) is a theatre critic living in Rome. He has written for various Italian news organizations, online, in print, radio and television, dealing primarily with emerging artistic talents. He has written books on the theatre of Emma Dante, Ascanio Celestini, Arturo Cirillo, Virgilio Sieni, Ricci/Forte and others. He has published numerous essays, plays and three detective novels. He has also dedicated himself to critical theory applied to the theatre in the book “Questo fantasma, il critico a teatro” (Titivillus publishing company). He holds courses and workshops in criticism at universities and cultural institutions, including the Theatre Biennale in Venice and other festivals. He has been a member of international juries (such as the Fadjr Festival, Teheran; the Mess in Sarajevo). He currently writes for glistatigenerali.com.
 
Roberta Ferraresi (1983) is a critic and scholar of the theatre. She is a researcher at the Department of Arts of the University of Bologna, focusing on the development of drama studies and in particular on the role of the relationship between theory and practice, and between scholars and artists in the twentieth century. She co-directs the webzine Il tamburo di Kattrin and is a member of the Theatre Commission of the Ministry for the Cultural Heritage and Activities (2014/2017).
 
Applicants are required to submit, in addition to their personal data:
·   a passport photo
·   a full-figure photo
·   a curriculum vitae in PDF format
·   a letter of motivation in PDF format (maximum 1000 characters)
·  For Media - Camera operator /Video editor/Photographer: link to 1 minute video edited (even if recorded with a smartphone) and some photographs that you have posted online
For  Media - Journalist /Blogger: link to texts in your own blogs or other online publications
For Media - Community Manager: link to Twitter/Facebook/Instagram accounts you manage
For Criticism - Critic: link to two (2) articles/reviews that you consider particularly representative of your work
 
 

 
PASCAL RAMBERT
Dates: 25 – 31 July 2016
Language: French / English
For: Performers + playwrights and actors
Participants: 15 active and 5 auditors
 
There will be a short presentation to the public of the final outcome of the workshop.
 
WORKSHOP
The work will lead to the creation of new “Annunciations”. Contemporary “Annunciations”. We will write some and we will stage them. Each person will perform + write + stage. In every language. Maybe will we go and see some in Venice. And we will bring new text to ancient forms. New words to ancient gestures. It is time to announce new words.
 
Pascal Rambert (born in 1962) is a French writer, choreographer, and director for the stage and screen. Since 2007, he has served as the Director of T2G, Théâtre de Gennevilliers, the national dramatic centre for contemporary creation. His plays and choreography have been staged in Europe, North America, Asia, Russia, South America, Middle East. His writings (theatre, stories, and poetry) are published in France by Solitaires Intempestifs and have been translated, published, and staged in many languages.
His choreographies have been performed at major festivals and contemporary dance festivals. His play Clôture de l’amour (Love’s End), created at the 65th Festival d’Avignon in 2011 with Audrey Bonnet and Stanislas Nordey, is an international success. The script won the prize for public theatre in the Theatre 2013 – Dithea competition, the prize for best new French-language play from the Syndicat de la Critique in 2012, and the Grand Prize for drama literature from the French Centre national du théâtre in October, 2012. Today, Clôture de l’amour has been staged more than 150 times in France and far more all over the world.
His play Une (micro) histoire économique du monde, dansée  (A (micro) history of world economics, danced) created in 2010 at T2G has been adapted for stages in Japan, Germany, the United States, Egypt, and Thailand.
Avignon à vie (Avignon for Life), read by Denis Podalydès, was first staged at the  67th Festival d’Avignon in 2013 in the Cour d’Honneur of the Palais des Papes.
His play, Répétition (Rehearsal), written for Emmanuelle Béart, Audrey Bonnet, Denis Podalydès of the Comédie Française, Stanislas Nordey, and Claire Zeller, premiered in 2014 at the T2G as part of Festival d’Automne in Paris. It was later performed in Lyon and toured nationally and internationally in the fall of 2015. The French Academy awarded its annual literature and philosophy Prize to Répétition in 2015. In 2016, Rambert will stage the Italian version of Répétition entitled La Prova at the Teatro Arena del Sole in Bologna and at the Piccolo Teatro in Milan, and the Spanish version, Ensayo, in Madrid in 2017.
He created  Argument in January 2016, which he wrote for Laurent Poitrenaux and Marie-Sophie Ferdane at the CDN Orléans / Loiret / Centre, and presented it at La Comédie in Reims and at the T2G.
He is currently writing Actrice (Actress) for the Ensemble of the Moscow Art Theatre, a life for the Ensemble of the Comédie Française and Die for French actress Isabelle Huppert.
 
Applicants are required to submit, in addition to their personal data:
·   a passport photo
·   a full-figure photo
·   a curriculum vitae in PDF format
·   a link to a video at least 1 minute long in which they show their work



 
MARK RAVENHILL
Dates: 10-14 August 2016
Language: English
For: The participants should be working playwrights, with at least one piece already produced by a theatre.  They will need to work in English, with English language at the level B.2 as defined in The Common European Framework of Reference for Languages.
Participants: 15 active participants + 5 auditors
 
WORKSHOP
The Seducer and the Seduced. Workshop description: “Casanova, the famous seducer, was born in Venice and spent much of his life here. He will be the inspiration for our work. This workshop for experienced playwrights will explore scenes of seduction of all kinds. We will look at scenes of famous seduction from theatre and write our own scenes exploring the possibilities of seduction.  The group will be selected to include at least 50% female writers so that the full story of seduction can be told."
 
Mark Ravenhill was born in Haywards Heath, West Sussex in 1966. He studied Drama and English at Bristol University.  His first play ‘Shopping and Fucking’ was produced by Out of Joint and the Royal Court Theatre in 1996.  Subsequent plays include ‘Faust Is Dead’ and ‘Handbag’ (both Actors Touring Company), ‘Some Explicit Polaroids’ (Out of Joint at the Ambassadors Theatre), ‘Mother Clap’s Molly House’ and ‘Citizenship’ (both National Theatre), ‘Pool No Water’ (Frantic Assembly at the Lyric Theatre) ‘The Cut’ (Donmar Theatre) and ‘Shoot/Get Treasure/Repeat’ (Paines Plough) and ‘Over There’ (Royal Court). From 2012 to 2014, Mark was playwright in residence for the Royal Shakespeare Company, producing a new version of Brecht’s ‘Galileo’ and a new play ‘Candide’ inspired by Voltaire (both Swan Theatre, Stratford-Upon-Avon).  Mark’s work in music theatre includes a new English version of Monteverdi’s ‘The Coronation of Poppea’ with additional material by Michael Nyman (King’s Head)’, ‘Ten Plagues’, a song cycle for Marc Almond with composer Connor Mitchell (Traverse Theatre) and ‘Elysium’ with composer Rolf Wallin for the Norwegian Opera.  Mark is the co-creator of the ITV sitcom ‘Vicious’.
 
Applicants are required to submit, in addition to their personal data:
·   a passport photo
·   a full-figure photo
·   a curriculum vitae in PDF format
·   a link to a video at least 1 minute long in which they introduce themselves


 
SIMON STEPHENS
Dates: 1-5 August 2016
Language: English
For: Playwrights
Participants: 15 active and 5 auditors
 
WORKSHOP
Post-post. I would like to use the opportunity of workshop in Venice to interrogate the conventions of the playwright’s function in performance and those conventions, often defined as “Anglo-Saxon” notions of what a play should be.
I have worked in conversation with those conventions for seventeen years. While many of my plays have been produced widely in Europe, and a handful premiered in Germany, I continue to write plays defined by narrative, action and character. The more I interrogate those conventions the more I learn. The more I wonder if movements away from story were born out of the luxury of affluence. In times of uncertainty do we need story more than ever?
Is post-dramatic theatre redundant as an idea?
I would like to bring a room full of playwrights from throughout Europe together to interrogate the validity of action and character and story in European theatre.
I also want to raise questions about where the playwright stops and the director or the actor starts.
During the week I want to write something myself unlike anything I have written before.
I want to provoke the participants into writing and be provoked into writing myself.
I hope the workshop is active more than it is discursive and creative more than it is academic.
 
Born in South Manchester Simon Stephens has written over twenty-five plays that been widely translated and produced throughout the world. He is an Associate at the Lyric, Hammersmith and Royal Court Theatres in London.
 
Applicants are required to submit, in addition to their personal data:
·   a passport photo
·   a full-figure photo
·   a curriculum vitae in PDF format
·   a link to a video at least 1 minute long in which they introduce themselves



 
EVA-MARIA VOIGTLÄNDER
Dates: 6 - 9 August
Language: German / Italian
For: Directors, playwrights, dramaturges, set designers
Participants: 15 active and 5 auditors
 
WORKSHOP
What about drama? Exercises on creating (and studying) theatre performances with and without written plays. The German term Stückentwicklung means roughly translated: developing a play. Without a drama or even any text - just themes and sujets. How do you create a theatre performance? How do you do research – which (dramaturgical) techniques can help you build the necessary structure and foundation? Playwrights and directors together with designers will build a "think tank" - what needs to be told on stage, by which means? Collecting texts, songs, pictures etc., that can help encourage your imagination. Try to tell stories about these things. This could be the beginning of Stückentwicklung. The aim: perhaps some “short plays” to present at the end of the workshop.
 
Eva- Maria Voigtländer, born in Hannover/ Germany, studied Philosophy, German literature and Theatre in Berlin from 1979 to 1985. She was the dramaturge at the Thalia Theater in Hamburg (Artistic director: Jürgen Flimm); in 1991-92, dramaturge -in-Residence at the Nottingham Playhouse; from 1992 to 1995, dramaturge at the Nationaltheater in Mannheim, and from 1995 to 2000, at the Staatstheater Stuttgart. In 2000, she was the Leading dramaturge at the Deutsches Schauspielhaus in Hamburg, and began teaching as a professor of Drama at the Theaterakademie in Hamburg, a position she still holds today. She was the dramaturge for the Salzburger Festspiele in 2005 and 2006 with artistic director Martin Kusej, working with directors Stephan Kimmig, Roger Vontobel, Martin Kusej, Andreas Kriegenburg. From 2009 till 2011, she was chief dramaturge of the Ruhrtriennale, under the artistic direction of Opera director Willy Decker. In June 2014 she was the dramaturge for “A Midsummer Night’s Dream” directed by Àlex Rigola at the Düsseldorfer Schauspielhaus. Since 2015, she has been head dramaturge at the Burgtheater in Vienna.
 
Applicants are required to submit, in addition to their personal data:
·   a passport photo
·   a full-figure photo
·   a curriculum vitae in PDF format
·   a link to a video at least 1 minute long in which they introduce themselves


 
RULES OF PARTICIPATION
The material containing the documentation in digital form must be sent and received on or before June 5th, 2016.
The selections will be made at the discretion of the Artistic Director Àlex Rigola, in collaboration with the Masters leading the individual workshops, and all decisions will be final.
The results will be announced to the interested parties starting from June 22nd 2016.

• FEES
Workshop with
BARÓ D’EVEL CIRK CIE, ROGER BERNAT, ANNE BOGART, DECLAN DONNELLAN, PASCAL RAMBERT, STEFAN KAEGI, JAN KLATA, OSKARAS KORSUNOVAS, FABRICE MURGIA       
170,00 euro
 
Workshop with
ROMEO CASTELLUCCI, MARTIN CRIMP, SIMON STEPHENS, EVA-MARIA VOIGTLÄNDER, CHRISTIANE JATAHY, MARK RAVENHILL, WILLEM DAFOE
120,00 euro
 
Workshop with
PEREZ - PORCHEDDU - FERRARESI      
free
Applicants selected for the workshop will be offered housing (in a double room shared with another participant) for the entire duration of the workshop.
 
Each selected applicant must pay the registration fee following the announcement of his/her acceptance and in any case no later than June 26th, 2016. All costs for participation in the workshops (travel, room and board) will be at the expense of the Participants.
The registration fee for the workshop includes the tickets to the performances and the Open-Doors events on the programme of the Biennale Theatre 2016 during the period corresponding to the duration of the workshop itself, as well as a ticket to visit the 15th International Architecture Exhibition.