"I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being."
Arts on Location founded in 2008 with aims to create projects, which will serve as platforms for international artistic exchange, and dialogue through intercultural activities, professional development, as well as performance creation and presentation.
Initially established to promote and encourage the evolution of traditional Thai performance arts, Arts on Location now together with its growing international theatre network and collaborators extends its intercultural programmes, facilitating international mobility for artists, enabling exchanges of theatre crafts and knowledge beyond local context.
Adjjima Na Patalung is a theatre director and producer who holds two MA degrees from Goldsmiths College and Middlesex University. She was the recipient of ITC’s Theatre Administrative Bursary, attached to Almeida Theatre (2006-7), and assist-directed with Sue Buckmaster as a Bursary Artist of Theatre Rites (2006-8). She was nominated by the International Association of Theatre Critics Thailand as Best Director for “The Chair” in 2013.
Na Patalung’s passion in intercultural exchanges and international mobility in theatre took her to work in the UK, mainland Europe and Thailand. Arts On Location (AOL) was established in 2008 to support her increasingly growing work within these areas.more details..
AOL has now grown into a Thai/UK organisation that works within theatre and internationally to create platforms for artistic dialogues through intercultural programmes and to facilitate international mobility for artists. The term “on location" reflects Na Patalung’s vision to work with artists not just by gathering them on location but to work with the awareness of being in that particular locality and its contexts.
In the past five years, AOL consistently produced self-funded workshops in England and Thailand, e.g. Zygmunt Molik’s “The Body Alphabet", Pig Iron School’s “Something from Nothing”, SITI Company’s “Viewpoints” and Michael Chekhov’s “Psychological Gestures”. AOL also organised Khon (Thai Mask Dance Drama) Workshop in partnership with the College of Dramatic Arts, Bangkok where artists from all over the world participated workshops in Bangkok led by the great and nationally renowned masters of the college.
Stephen first came in contact with Anne Bogart and the Viewpoints while teaching the Suzuki Training at the SITI Summer Intensive in Saratoga Springs in 1994. Since then I have been working continuously with Anne and the SITI Company on the Viewpoints. I started teaching the Viewpoints at Saratoga in 1997 and I have worked with students on the Viewpoints and related topics all over the world and around the US ever since. The Viewpoints have their roots in the post-modern dance world of New York in the 1960s. But ultimately, the sources of the work go farther back to John Cage and Merce Cunningham and the renewed interest in Buddhism in America that arose around the middle of the 20th Century and continues to this day. In both trainings I teach, the central questions seem to be: 1- What is presence and how can we develop it? 2- What is the relationship between the audience and the stage? 3- What is my technique and how much mastery do I have over it?
The Viewpoints class will focus on the basic elements of the viewpoints as well as the role of sensation in helping the actor to be present in the space and visible on the stage or wherever they do their work, including in front of the camera. Students will work on developing open and conscious movement, practice developing and working with an ensemble, learn the basic philosophy of the viewpoints, and practice being seen while discovering their own work. The Viewpoints work is a Pandora's box that continually opens up new areas of interest and research in an actor. We will go as deep as we can.
Pig Iron Theatre Company, forged in 1995 to push the boundaries of what live performance could be, is a multidisciplinary ensemble based in Philadelphia. The company has created over 25 original works over the past 16 years, performed both locally and internationally. The company have been called "one of the few companies taking theatre in new directions" in The New York Times, and has received numerous awards for their work, including 9 Barrymore awards and an OBIE Award (2004-Hell Meets Henry Halfway). In 2010 co-artistic directors Gabriel Quinn Bauriedel, Dan Rothenberg, and Dito van Reigersberg won a Fellow award granted by Unites States Artists
In 2011, Pig Iron School for Advanced Performance Training (APT) was founded. It offers a two-year post-graduate program for performers and directors rooted in Pig Iron's own methods of physical and ensemble-based theatre
In 1992, Jorge Parente met Zygmunt Molik (Co-founder of the Laboratory Theatre of Grotowski) for the first time in Paris. This "encounter with a remarkable man" formed a master-student relationship and support over a long period. Indeed, for 18 years, Jorge had been Zygmunt Molik 's close assistant, then a successor, to teach Molik's method of physical actions "Alphabet of the Body.
Currently, Jorge teaches and transmits the method of Zygmunt Molik in France, Portugal, Brazil, Netherlands, Thailand and Poland.
A theatre facilitator, Nico was trained in Portugal as an actor, studied theatre directing in London and Moscow and has been teaching acting and improvisation at University of Evora, Portugal since 2007. He worked as an actor since 1993, although in the last years he has been mainly teaching and directing.
"What a fantastic cultural experience! A complete immersion in the gesture and physicality of this fascinating art form. We were put through our paces by Thai masters who gave their time and energy to try to bring through the right quality and precision in our movements, so that we could convey the emotion and story of the Ramakien (Ramayana)."
"This work was quite new to me despite having trained in Paris, in the seventies and eighties, in Corporal Mime with Etienne Decroux, and with Lecoq, with Francoise Chantraine in Dance, in ballet, in classical singing and in the Meisner technique of drama. So Body alphabet was a discovery, and WHAT a discovery it was!"
"What a fantastic cultural experience! A complete immersion in the gesture and physicality of this fascinating art form. We were put through our paces by Thai masters who gave their time and energy to try to bring through the right quality and precision in our movements, so that we could convey the emotion and story of the Ramakien (Ramayana). Many thanks to Adjjima for her seamless hosting and welcome. See you soon "