Tribuana theater of life - Workshop:
"To awaken and to cultivate the expression
of the Three Worlds of human:
Thought, Energy of life, Body "
up dated 21 fébruary 2016.
In order to reveal this life (this mystery), the actors must mobilize all their resources, their capacity to give life, to re-incarnate those things into performed living presentation.
The work consists to wake up, to be aware, to cultivate and to unify the expression of the three worlds (body, energies of life, and thought) in order to arrive to a total expression through deep solution, cleverly intellectual, scientific and also sharply intuitive, analytical and global at the same time. Of course we cannot always reach those ideal-parameter, but important to be in the path that lead us to ideal destination. To be understood, that a destination will lead to the next one, and so on and on.
The history must be carrying the three natural, creative and generating ingredients:
1. It cultivates the intelligence in a creative way in the way of the harmony; therefore, it must make people more intelligent, a bright clear brain quality.
2. It gives a long life to its essence, its existence will last beyond its presence, longer than its physical life, beyond the emotion, beyond this earthy energy of life.
3. It must have the transforming (magical) effect, it transforms the actor/ the actress, the spectators and the surround (the world, "three worlds")
The field of exploration includes 28 lessons:(from n°: 0-27)
lesson n°0 is PREP. About PREP, klick here please.
1. Silat Tribuana (based on martial arts from Indonesian Pencak Silat, I translate it as the art of survival). To foresee for this lesson, preferable to dress in white (white trousers and white T-shirt if it is possible). My Silat vocabulary come from memories of my uncle guru silat : I Nyoman Siki (younger brother of my father) in the 1950's, in Denpasar, and later I started Silat PGB Bangau Putih (White Crane Silat of Bogor, Indonesia, Subur Raharja) with Rendra Bengkel Teater Jogjakarta in 1970's, when we were preparing for Macbeth, where i played Macthbeth that time. I continued PGB Bangau Putih with Palisandra Finger , one of the 18 international heirs if PGB from French, designed by Master Subur Raharja, the founder.)
2. Tai Chi Tribuana (awareness of the movements, profound attention, carrying out to the conscience of the physical articulation and energy = chi=prana=Ki in a natural flow). Klick here among some video I made.
3. Chi Kung Tribuana (of the exercises: physical and mental carrying out to the conscience of precious fine yet powerful energy and very subtle which animates life and cosmos)
4. Koukoul Djagat, the work of percussions inspired by the Kodo (Japanese drum) to exert the work a ritualistic manner on rhythm, endurance, force, voices of the Three Worlds. The instrument KodoTribuana must be built. Klick here to see a video.
5. Yoga Tribuana: being in a static posture, to wake up sensitivity and be aware of breathing and sensation, which makes it possible to feel the first natural interior impulse, which carries out an actor to the action and the realization. Yoga tribuana can lead into exposing the statue of your divinity or demonity, vegetal, animal, spirit.
6. Pranayama Tribuana, exercises of breathing; inspiration and expiry of energy (to perceive and try out various kinds of energies);
7. Daily practice of some exercises of Taoist health. This exercise engages: the image, the movement, the sound and mental activities in link with the energy of life such as emotions, the organs of digestion, the 5 elements, the colours... etc). Klick here for a video.
or this one, to klick, six healing sound.
8. TongkatTribuana:The work of the stick; the actors handle the stick and play with by repeating some precisely determined movements. The exercise of the stick is inspired by the martial arts for the aim of warming-up, health maintenance, work in group, meditation, and to awaken the feeling to be "ready to follow" (in the direction where the actor must serve, follows and gives life to a character or a story). The participant invited to bring with them a stick (of wood ) 35 mm in diameter, a length equal to that which separates the feet from the eyebrows (third eye).
1. Silat Tribuana (based on martial arts from Indonesian Pencak Silat, I translate it as the art of survival). To foresee for this lesson, preferable to dress in white (white trousers and white T-shirt if it is possible). My Silat vocabulary come from memories of my uncle guru silat : I Nyoman Siki (younger brother of my father) in the 1950's, in Denpasar, and later I started Silat PGB Bangau Putih (White Crane Silat of Bogor, Indonesia, Subur Raharja) with Rendra Bengkel Teater Jogjakarta in 1970's, when we were preparing for Macbeth, where i played Macthbeth that time. I continued PGB Bangau Putih with Palisandra Finger , one of the 18 international heirs if PGB from French, designed by Master Subur Raharja, the founder.)
2. Tai Chi Tribuana (awareness of the movements, profound attention, carrying out to the conscience of the physical articulation and energy = chi=prana=Ki in a natural flow). Klick here among some video I made.
3. Chi Kung Tribuana (of the exercises: physical and mental carrying out to the conscience of precious fine yet powerful energy and very subtle which animates life and cosmos)
4. Koukoul Djagat, the work of percussions inspired by the Kodo (Japanese drum) to exert the work a ritualistic manner on rhythm, endurance, force, voices of the Three Worlds. The instrument KodoTribuana must be built. Klick here to see a video.
5. Yoga Tribuana: being in a static posture, to wake up sensitivity and be aware of breathing and sensation, which makes it possible to feel the first natural interior impulse, which carries out an actor to the action and the realization. Yoga tribuana can lead into exposing the statue of your divinity or demonity, vegetal, animal, spirit.
6. Pranayama Tribuana, exercises of breathing; inspiration and expiry of energy (to perceive and try out various kinds of energies);
7. Daily practice of some exercises of Taoist health. This exercise engages: the image, the movement, the sound and mental activities in link with the energy of life such as emotions, the organs of digestion, the 5 elements, the colours... etc). Klick here for a video.
or this one, to klick, six healing sound.
8. TongkatTribuana:The work of the stick; the actors handle the stick and play with by repeating some precisely determined movements. The exercise of the stick is inspired by the martial arts for the aim of warming-up, health maintenance, work in group, meditation, and to awaken the feeling to be "ready to follow" (in the direction where the actor must serve, follows and gives life to a character or a story). The participant invited to bring with them a stick (of wood ) 35 mm in diameter, a length equal to that which separates the feet from the eyebrows (third eye).
http://fr.youtube.com/watch?v=3II-2qjWoH0
Other video, klick here.
etc.
9. Mask work. Mask is considered as personal belonging, personal instrument of expression and considered as sacred object. Participants are suggested to bring their personal mask.
A Ritual of taking off a mask: klick here.http://tapasudana.blogspot.fr/2006/01/mask-ritual-balinese-approach-i-gede.html
http://www.youtube.com/watch?v=4yowOVbF7FE
Mask ritual (taking off) inspired by my Balinese tradition, see video.
10. Puppet, Objects (props), like tools of expression or accessory to tell a history.
11. Work with the musical instrument /percussion
12. Kéchak: The story of kechak from Bali was a vocal chorus of all the villagers who take part in this dance/ trance of Bali, for goal to move away the contagious mortal diseases, negative/ destructive energy, or the natural disaster who threaten to destroy the life of the people, animal or vegetal. This "chorus/ dance" in Sanghyang “dance ritual” from Bali, will give the possibility to the actors to work on the voice, on the collective rhythms, on the conscience and the energy of the group. It is a work on the harmonization, wakes up personal cosmic energy in a group for cures, for joy, for healthiness, for happiness of the life. Nowadays, this Kechak dance has become a very popular tourist attraction.
Here kechak use in film BARAKA http://www.youtube.com/watch?v=S-b895UdLzc
Kechak as public animation http://www.youtube.com/watch?v=q9J0YSk11Ac
http://www.youtube.com/watch?v=MzrLypRnDPA
As choreographic research http://www.youtube.com/watch?v=kNOSo85kNTM
As trance dance of Bali tradition: http://www.youtube.com/watch?v=05p6GcX1i-U
Kechak tribuana at Granara, Italia, klick. 2010.
13. Ethnic music. The actor is moved, danced and by ethnic music, by singing songs from various countries could be developed into improvisation. Ethnic song as theme of improvisation for movement and story to improvise. The sound of an ethnic instrument carries ethnic treasure, ancient seeds to taste and to grow.
14. Bayu Swara, a work on the sacred syllables - the sound – personal inner voice: to find, to give birth to a syllable each day. A syllable corresponds to a sound and is made up of only one vowel and 1 to 4 consonants. The progression of this work, the composition of the syllable, develops in such a way that the first day syllable will give birth to the syllable of the second day; the syllable/ the reality of the second day gives life to the syllable/reality of the third day, etc.To feel the "magic power" of sacreed syllable is to recite it repeatedly, to "che" it well, to move it in the body in an intense meditative way/celebration; space, time and situation/micro climate of working space is determinat parameter for the awakening of tha magic power.
See video Bayu Swara Tribuana, klick here.
15. Autumn leaves or crystal thought tribuana. To meditate on (to contemplate) short sentences which are to be regarded as the crystal of the thought, fruits of contemplation. To reflect and exchange opinions, to discuss subject/ problem in a group, all these activities are the field where the thought can be cultivated and involved in order to produce a common theatrical language, a common creation based on common understanding/comprehension, clarify the common destination/goal in action.
Here some video i made in french http://www.youtube.com/watch?v=-MR2vtcWzXQ&list=UU5xw1uvzrjiZIyri1I6i0AQ&index=1 http://www.youtube.com/watch?v=ErLfNm4Vhkg
Cristal thought in english-text http://tapasudana.blogspot.fr/2006/01/cristal-of-thought-for-acting-haloo.html
Cristal thought in Italian, english, spanish, french http://theatretribuana.blogspot.fr/2006/04/sparkling-italian-words-spanish-words.html
16. A work in the group and on the group: aware of oneself being member of a group, to remember, serving the centre of the common interest of the group, it is necessary to know "the magic and mysterious thing which binds us together", to feel the common energy, the common impulse/ common intension, which will give rise (realise) a story to tell, which will be then shared publicly. Aware of one common “thing/energy/story” to develop; at the same time the actors remain open, alert, sincere, essential, therefore simple and direct. To understand/to comprehend "theatrically" is to be, is an action (with or without accessory) of a definite comprehension/interpretation that being expressed in a living way. A tribuanic-actor who says, "I understood", they must be able to make it, to carry out their comprehension into action.
17. A work on improvisation, common creation, that relate with the work in/on a group. In this work 3 steps must be considered well: 1, knowing/comprehending the participants, 2, creating a common theatrical language and 3, choosing/working on “subject” in common to serve/to feed it together that link the member of the group, that must be honoured, that is more important then themselves during that improvisation.
18. Story telling, story which are told by participants, or by myself, who will give place then to improvisations. To find a common language to explore and build together. To give life to a story consists in finding together the inner impulse of the story inside us, a work where the sharing is experienced.
19. TOTEM Tribuana A totem is a material composition, in tribuanic manner which one develops by adding object/something to the previous composition; the work is like feeding everyday reality. Totem will be visited any moment, could be presented the last day of the workshop in open door session. The totem can be personal or collective. The totem can be made inside or outside in the nature. A totem can find its origin or/and initiated by a place or by an idea, which needs objects to make it real. It is a work to find the spirit of the objects, the energy of a place, the magic of a building, a charismatic present.
To see video and image of totem tribuana, klick here.
Visiting totem out side at Ermocolle tribuana 2012, video...klick.
20. TRIPASS. When the spirit of the totem concentrates on a piece of paper, it becomes an image, a drawing in one page and series of syllable in the next page, which is built with the passing days by daily adding a form or a line of colour and a sacred syllable. It is what is called: the Compact Disk of the personal identity or Diskette or Tribuana Passport (Tripass).
Klick for a video.
21. An introduction to ritual, by honouring the instruments of work, workspace and environment. A place where we work will be called and transform into:DO JO in Japanese way or MARGA PURA in Balinese words. The place is regarded as a place where one cultivates a way of life/a path of life, cultivate a way / manner of being. Each one takes care the place of work, and share/ participate its maintenance, to clean it, to put it in order before and after the work together. The preparation Marga Pura is depend on the work/lesson to come, and it will develops the work of group and awaken the sense of awareness and responsibility.
22. Bayu Panah, is inspired by Kyu-Do of Japanese ceremonial archery. This work needs bow (Japanese bow of bamboo ideally) and arrow and target, or we may use elastic to replace the present of bow. Students need to bring those instruments. There are some sequences of movement to be repeated every time in a ceremonial and intense-concentrate way. Total awareness is to be developed.
Once, i did used Kyu Do in my one man show in Roma 1992. Klick to video.
Other video, klick here.
etc.
9. Mask work. Mask is considered as personal belonging, personal instrument of expression and considered as sacred object. Participants are suggested to bring their personal mask.
A Ritual of taking off a mask: klick here.http://tapasudana.blogspot.fr/2006/01/mask-ritual-balinese-approach-i-gede.html
http://www.youtube.com/watch?v=4yowOVbF7FE
Mask ritual (taking off) inspired by my Balinese tradition, see video.
10. Puppet, Objects (props), like tools of expression or accessory to tell a history.
11. Work with the musical instrument /percussion
12. Kéchak: The story of kechak from Bali was a vocal chorus of all the villagers who take part in this dance/ trance of Bali, for goal to move away the contagious mortal diseases, negative/ destructive energy, or the natural disaster who threaten to destroy the life of the people, animal or vegetal. This "chorus/ dance" in Sanghyang “dance ritual” from Bali, will give the possibility to the actors to work on the voice, on the collective rhythms, on the conscience and the energy of the group. It is a work on the harmonization, wakes up personal cosmic energy in a group for cures, for joy, for healthiness, for happiness of the life. Nowadays, this Kechak dance has become a very popular tourist attraction.
Here kechak use in film BARAKA http://www.youtube.com/watch?v=S-b895UdLzc
Kechak as public animation http://www.youtube.com/watch?v=q9J0YSk11Ac
http://www.youtube.com/watch?v=MzrLypRnDPA
As choreographic research http://www.youtube.com/watch?v=kNOSo85kNTM
As trance dance of Bali tradition: http://www.youtube.com/watch?v=05p6GcX1i-U
Kechak tribuana at Granara, Italia, klick. 2010.
13. Ethnic music. The actor is moved, danced and by ethnic music, by singing songs from various countries could be developed into improvisation. Ethnic song as theme of improvisation for movement and story to improvise. The sound of an ethnic instrument carries ethnic treasure, ancient seeds to taste and to grow.
14. Bayu Swara, a work on the sacred syllables - the sound – personal inner voice: to find, to give birth to a syllable each day. A syllable corresponds to a sound and is made up of only one vowel and 1 to 4 consonants. The progression of this work, the composition of the syllable, develops in such a way that the first day syllable will give birth to the syllable of the second day; the syllable/ the reality of the second day gives life to the syllable/reality of the third day, etc.To feel the "magic power" of sacreed syllable is to recite it repeatedly, to "che" it well, to move it in the body in an intense meditative way/celebration; space, time and situation/micro climate of working space is determinat parameter for the awakening of tha magic power.
See video Bayu Swara Tribuana, klick here.
15. Autumn leaves or crystal thought tribuana. To meditate on (to contemplate) short sentences which are to be regarded as the crystal of the thought, fruits of contemplation. To reflect and exchange opinions, to discuss subject/ problem in a group, all these activities are the field where the thought can be cultivated and involved in order to produce a common theatrical language, a common creation based on common understanding/comprehension, clarify the common destination/goal in action.
Here some video i made in french http://www.youtube.com/watch?v=-MR2vtcWzXQ&list=UU5xw1uvzrjiZIyri1I6i0AQ&index=1 http://www.youtube.com/watch?v=ErLfNm4Vhkg
Cristal thought in english-text http://tapasudana.blogspot.fr/2006/01/cristal-of-thought-for-acting-haloo.html
Cristal thought in Italian, english, spanish, french http://theatretribuana.blogspot.fr/2006/04/sparkling-italian-words-spanish-words.html
16. A work in the group and on the group: aware of oneself being member of a group, to remember, serving the centre of the common interest of the group, it is necessary to know "the magic and mysterious thing which binds us together", to feel the common energy, the common impulse/ common intension, which will give rise (realise) a story to tell, which will be then shared publicly. Aware of one common “thing/energy/story” to develop; at the same time the actors remain open, alert, sincere, essential, therefore simple and direct. To understand/to comprehend "theatrically" is to be, is an action (with or without accessory) of a definite comprehension/interpretation that being expressed in a living way. A tribuanic-actor who says, "I understood", they must be able to make it, to carry out their comprehension into action.
17. A work on improvisation, common creation, that relate with the work in/on a group. In this work 3 steps must be considered well: 1, knowing/comprehending the participants, 2, creating a common theatrical language and 3, choosing/working on “subject” in common to serve/to feed it together that link the member of the group, that must be honoured, that is more important then themselves during that improvisation.
18. Story telling, story which are told by participants, or by myself, who will give place then to improvisations. To find a common language to explore and build together. To give life to a story consists in finding together the inner impulse of the story inside us, a work where the sharing is experienced.
19. TOTEM Tribuana A totem is a material composition, in tribuanic manner which one develops by adding object/something to the previous composition; the work is like feeding everyday reality. Totem will be visited any moment, could be presented the last day of the workshop in open door session. The totem can be personal or collective. The totem can be made inside or outside in the nature. A totem can find its origin or/and initiated by a place or by an idea, which needs objects to make it real. It is a work to find the spirit of the objects, the energy of a place, the magic of a building, a charismatic present.
To see video and image of totem tribuana, klick here.
Visiting totem out side at Ermocolle tribuana 2012, video...klick.
20. TRIPASS. When the spirit of the totem concentrates on a piece of paper, it becomes an image, a drawing in one page and series of syllable in the next page, which is built with the passing days by daily adding a form or a line of colour and a sacred syllable. It is what is called: the Compact Disk of the personal identity or Diskette or Tribuana Passport (Tripass).
Klick for a video.
21. An introduction to ritual, by honouring the instruments of work, workspace and environment. A place where we work will be called and transform into:DO JO in Japanese way or MARGA PURA in Balinese words. The place is regarded as a place where one cultivates a way of life/a path of life, cultivate a way / manner of being. Each one takes care the place of work, and share/ participate its maintenance, to clean it, to put it in order before and after the work together. The preparation Marga Pura is depend on the work/lesson to come, and it will develops the work of group and awaken the sense of awareness and responsibility.
22. Bayu Panah, is inspired by Kyu-Do of Japanese ceremonial archery. This work needs bow (Japanese bow of bamboo ideally) and arrow and target, or we may use elastic to replace the present of bow. Students need to bring those instruments. There are some sequences of movement to be repeated every time in a ceremonial and intense-concentrate way. Total awareness is to be developed.
Once, i did used Kyu Do in my one man show in Roma 1992. Klick to video.
23. Questionnaire-Tribuana: working on expression (in writing) of three parts of life-time: PAST (what are your ancestral heritage, c.v, education, important workshop being done, important accident, past important experiences); Present (job for living, what are you doing now in present living-time, what do you like to explore among 26 "lessons"); FUTURE (what are you like to be in the future, your dreams, your ideal goal in life .... have the courage and sincerity to express not being afraid or shy to write if your were able or not able to reach it).
This field to explore as lesson, as exercise, as ritual, as food, tribuana food, seems to me came from my past research in Jogyakarta, with Bengkel Teater Rendra, that time, 1970, Bengkel called it "Gerak Indah" = "Artistic/beautiful movement" for the first groups, and then with Rendra's second group we explored "Gerak Nurani", Inner voice movement. In my memories, may be i have introduced and have done exploration on this work in Athens, in an archelogical ancient ruin, late afternoon before sundown, with tribuana participants. For this work space climate/ambience is important as part of the guide. Every participants will bloom their atmic-bud, grain, in their own spring time. To start this work , we need to initiate it from lesson n° 0: Prep, a kind of Zero state mind meditation. Vegetarian is a step to maintain, and has been started before, to purify the fine inner impulse that open-spring a posture, into movement, into voice, into image, into word .. sentences ... it is a celebration. The 5 vows is mastering the moment. The criteria of cosmic symphony is being formed at that very moment, in evolution, togetherness. (to be continued)
27. Impro Tribuana 3 words, let spring 3 words just instantly without much thinking, and from that improvise a song, composing lyric and music; eventually it can grow into movement, dance;
https://www.youtube.com/watch?v=puPjfcayJCA
https://www.youtube.com/watch?v=hIUERM-qG8M
etc; can be found more by the 3 words above as key.
(to be continued)
It is impossible to do all these 27 lessons (0-26) during the workshop, but we may explore and taste each of it during the first 2 days, and then you are free to work deeper on one or some of them. How? We will decide it together with the time, space, and instruments.
In a retreat tribuana (different from workshop tribuana) participants will actively participate the cooking of the "lesson" to invited. Together prepare the food, cleaning and preparing the space, the instruments of the work to bring and to share, ..... together to open to share, step by step. Please be aware of the ripeness of your opening, the manner how to link with others, observe the means, understand the aim (step by step), examine the criteria of satisfaction (of right or wrong momentarily);
The past will make you sure to be present, and the future will attrack the present, hopefully with joy, naturally. For that, there are work to do, to find, to create together. Describing what you carry, is opening oneself to others? How much, how deep, what part of you is being opened-shared (please take off the judgement beforehand). To know others is wisdom, to know oneself is awareness/illumination. Little opening, little sharing. Superficial opening (expression) = superficial sharing (perception). Questionnaire must be sent by mail before the workshop to me, so I can accompany participants to prepare the "meeting", and to serve better each other. This lesson n°23 naturally will lead the creation of lesson n° 25: Post Notes tribuana in progression/ evolution, step by step, as Quest TB too.
24. Dialogue (Mekekawin) with Tapa, mirroring, personal exchange, speak about your personal question, personal quest, or speak and work about whatever you feel that Tapa can be useful for you. Not an obligation, but Tapa would like to honor your present and exchange opinion, hint of life, work on specific subject. What to be said during dialogue or multilogue is in preference to do it with attitude of "offering", to offer a sentence, a speach, with awareness that others will accept it or not. This attitude was ispired by my Balinese tradition: mehatur = to offer = also means to speak. ... Time of Dialogue, to be decided during the workshop during the pose/break.
25. Post-note tribuana. This field/lesson tribuana was born after Easter Retreat at Casa Natura Alpenise, Cima Grappa, Italia, 28 march-1 april 2013.
Here one exemple, klick.
26. Gerak nuraga, Olah Nuraga, Gerak Pranatman, ... Microcosmic dance ?25. Post-note tribuana. This field/lesson tribuana was born after Easter Retreat at Casa Natura Alpenise, Cima Grappa, Italia, 28 march-1 april 2013.
Here one exemple, klick.
This field to explore as lesson, as exercise, as ritual, as food, tribuana food, seems to me came from my past research in Jogyakarta, with Bengkel Teater Rendra, that time, 1970, Bengkel called it "Gerak Indah" = "Artistic/beautiful movement" for the first groups, and then with Rendra's second group we explored "Gerak Nurani", Inner voice movement. In my memories, may be i have introduced and have done exploration on this work in Athens, in an archelogical ancient ruin, late afternoon before sundown, with tribuana participants. For this work space climate/ambience is important as part of the guide. Every participants will bloom their atmic-bud, grain, in their own spring time. To start this work , we need to initiate it from lesson n° 0: Prep, a kind of Zero state mind meditation. Vegetarian is a step to maintain, and has been started before, to purify the fine inner impulse that open-spring a posture, into movement, into voice, into image, into word .. sentences ... it is a celebration. The 5 vows is mastering the moment. The criteria of cosmic symphony is being formed at that very moment, in evolution, togetherness. (to be continued)
27. Impro Tribuana 3 words, let spring 3 words just instantly without much thinking, and from that improvise a song, composing lyric and music; eventually it can grow into movement, dance;
https://www.youtube.com/watch?v=puPjfcayJCA
https://www.youtube.com/watch?v=hIUERM-qG8M
etc; can be found more by the 3 words above as key.
(to be continued)
It is impossible to do all these 27 lessons (0-26) during the workshop, but we may explore and taste each of it during the first 2 days, and then you are free to work deeper on one or some of them. How? We will decide it together with the time, space, and instruments.
In a retreat tribuana (different from workshop tribuana) participants will actively participate the cooking of the "lesson" to invited. Together prepare the food, cleaning and preparing the space, the instruments of the work to bring and to share, ..... together to open to share, step by step. Please be aware of the ripeness of your opening, the manner how to link with others, observe the means, understand the aim (step by step), examine the criteria of satisfaction (of right or wrong momentarily);
If the theatre is the "diamond of the life", its goal should be to crystallize the experience of life into luminous shared memory. Memory creates vocabulary, language and instruments of expression. By awaken and cultivating the expression of the "three worlds" (tribuana = body, energy, thought), we follow the way of the harmony with nature, adapting their reality to the needs of the space, time and situation. Situation, micro climate that we create together.
An actor (Tri Buana) must be in good health (tribuanicly), in the way of harmony, in order to be able to animate the story (which animates them) and to offer it to the public that came to share the authentic account of the hi-story.
Brahman signifies the imperishable supreme. The realm of the SELF is the pure clear liberated essence of ones being. To ACT is to be on the way of the manifestation of the creative process, which leads the invisible BEING to existence.
Inspired by Bhagavad Gita, song VIII, 3.
Another blog link to Tribuana Tapa Sudana, please see: http://tapasudana.blogspot.com/
Tapa Sudana,
Montreuil, thursday 03 jan. 2008.
tribuana@wanadoo.fr
tapasudana@neuf.fr
33 6 17 19 68 88
last english up dated 5 may 2013.
Tribuana in italian, translation by Enrico Pompeo.
« Risvegliare e coltivare l ’espressione
dei Tre Mondi :
Pensiero, emozione, corpo »
La mia opinione: a Bali, gli attori si comportano come dei servitori. Essi servono una storia
(o "qualcosa") che deve essere raccontata (onorata). Occorre che la storia sia più importante, più interessante e al di sopra di loro; la storia ha già una vita. Questa storia comprende meglio la conoscenza, la saggezza, come una strada naturale, visibile o invisibile, comprensibile o incomprensibile, da seguire. Per rivelare questa vita (questo mistero), gli attori devono mobilitare tutte le loro risorse. Il lavoro consiste nel risvegliare, coltivare ed unificare l'espressione dei tre mondi (corpo, emozione e pensiero) per giungere ad un'espressione totale attraverso un approccio profondo, intellettualmente scientifico ed anche intuitivo, analitico e globale.
Il campo d’esplorazione include 25 lezioni:
0. PREP.
1. Il Penchak Silat o Silat (arte marziale indonesiana = l'arte della sopravvivenza). Prevista per questa lezione una tenuta completamente bianca (pantalone e T-shirt bianchi se è possibile)
2. Il Tai Chi (dei movimenti che conducono alla coscienza dall'articolazione fisica e
dell'energia = chi)
3. Il Chi Kung ( esercizi fisici e mentali che conducono alla coscienza dell'energia preziosissima e sottilissima che ci anima)
4. Un lavoro di percussioni ispirate dal KO DO (tamburo giapponese) per esercitare il ritmo, la resistenza e la forza, le voci dei Tre Mondi. Lo strumento KO DO è da costruire.
5. Lo Yoga delle posizioni statiche; la sensibilità che permette di sentire l'impulso interiore che porta un attore all'azione ed alla realizzazione.
6. Il Pranayama, esercizi di respirazione; ispirazione ed espirazione dell'energia (per percepire e sperimentare differenti tipi di energia);
7. Alcuni esercizi di salute taoisti ( utilizzando l'immagine, il movimento, le emozioni, il suono e le attività mentali)
8. Il lavoro del bastone (Tongkat): gli attori manipolano il bastone e giocano ripetendo precisamente alcuni movimenti. L'esercizio del bastone è ispirato dall'arte marziale e mira al riscaldamento, al lavoro di gruppo, e a destare la sensazione di essere "pronto a seguire" (nel senso che l'attore segue e dà vita ad un personaggio/una storia.) I partecipanti sono invitati a portare con essi: oggetti, maschere, strumenti di musica, un bastone di 35 mm di diametro e di una lunghezza pari a quella che va dai piedi alle sopracciglia/terzo occhio.
9. Lavoro con le maschere, di musica-percussioni, degli oggetti, delle storie che saranno raccontate individualmente o in gruppo.
10. Lavoro con lo strumento musicale/percussione.
11. Lavoro con l'oggetto (accessorio), come attrezzi d'espressione o accessori per raccontare una storia.
12. Improvvisazione.
13. Un lavoro nel gruppo e sul gruppo: volgendosi al centro ( l'essenza) dell'interesse comune del gruppo, per sapere "la cosa magica e misteriosa che ci lega insieme" si va a dare nascita alla storia che sarà condivisa pubblicamente in seguito. Il "racconto della storia" riguarda ciascuno; allo stesso tempo gli attori restano aperti, svegli, sinceri, essenziali, dunque semplici e diretti. Comprendere "teatralmente" è un'azione, con o senza accessorio, fatta di emozione e di comprensione.
14. Kéchak: è all'origine un coro vocale di tutti gli abitanti del villaggio i quali partecipano a questa danza/transe di Bali, sacra, al fine di allontanare le malattie contagiose e mortali, le energie negative/distruttive, il disastro naturale che minaccia di distruggere la vita dell'uomo, animale o vegetale. Questa danza permette agli attori di lavorare sulla voce, sui ritmi collettivi, la coscienza e l'energia del gruppo. È un lavoro sull'armonizzazione, risveglio dell'energia cosmica del gruppo per le guarigioni.
15. Gli attori muovono e danzano su delle musiche etniche, cantando delle canzoni dei differenti paesi
16. Un lavoro sulla sillaba-sacra / sua / voce personale. Trovare, dare nascita ad una sillaba ogni giorno. Una sillaba corrisponde ad un suono ed è composta da una vocale e da 1 a 4 consonanti. Come per il totem, la progressione del lavoro, della composizione, del suono, si sviluppano in modo tale che il lavoro/composizione/suono del primo giorno darà nascita alla sillaba del secondo giorno; la realtà del secondo giorno darà nascita al terzo giorno, ecc.
17. Meditare delle brevi frasi che sono da considerare come il cristallo del pensiero, i frutti della contemplazione. Riflettere e scambiare delle opinioni, discutere in gruppo; tutte queste attività sono il campo dove il pensiero può essere coltivato e trascinato per produrre un linguaggio teatrale comune.
18. Ascoltare delle storie che sono raccontate dai partecipanti o da me stesso e che daranno poi spunto a delle improvvisazioni. Trovare un linguaggio comune da esplorare e da costruire insieme. Dare vita ad una storia consiste nel trovare insieme l'impulso interiore della storia, dentro di noi, un lavoro dove si sperimenta la condivisione del cuore.
19. Lavoro sul “totem”. Un totem è una composizione materiale che si sviluppa aggiungendo qualche cosa ogni giorno alla composizione; è presentato ed è visitato l'ultimo giorno dello stage. Il totem può essere personale o collettivo. Un totem può trovare la sua origine e può avviarsi a partire da un luogo o di un'idea che ha bisogno di oggetti per diventare un realtà fisico/materiale.
20. Quando lo spirito del totem si concentra su un foglio di carta, diventa un'immagine, un disegno che si costruisce col passare dei giorni aggiungendo quotidianamente una forma o una linea di colore. È ciò che si chiama: l'Hard disk dell'identità personale o Dischetto.
21. Un'introduzione al senso del rituale e del sacro, onorando gli strumenti di lavoro, lo spazio di lavoro e l'ambiente naturale. Un luogo dove lavorate ( Do JO/MARGA PURA) è considerato come un luogo dove si coltiva un modo di vivere/un cammino di Vita. Ciascuno prende parte al colloquio ed alla preparazione del luogo; ciò conduce al lavoro di gruppo ed al senso della responsabilità.
22. Bayu Panah, è ispirato dal 'Kyu-Do' del cerimoniale giapponese del tiro con l'arco. Questo campo di lavoro necessita di un bastone flessibile ( il bastone di legno di bamboo sarebbe ideale ), di frecce, di bersaglio e di corda, anche se possiamo usare l'elastico per questa funzione. I partecipanti devono portare questi oggetti, che poi potranno essere assemblati sul posto.
Ci sono alcune sequenze di movimenti che vanno conosciuti, appresi e ripetuti ogni volta, prima di scoccare il tiro, come in un cerimoniale per un'intensa via di concentrazione. Una totale consapevolezza è da scoprire e trovare.
23. Questionario Tribuana: un lavoro sul linguaggio espressivo scritto su tre livelli nello spazio del tempo: il PASSATO ( quali sono le proprie eredità ancestrali, cioè cosa ha influito su di te dal tuo ambiente familiare; curriculm vitae, precedenti eventuali esperienze di altri laboratori seguiti, incidenti o malattie importanti, significative esperienze personali); il PRESENTE ( lavoro che si svolge attualmente, su che cosa intendi impegnarti nell'immediato della tua vita, quali delle 25 'lezioni' tribuana ti interessano di più) FUTURO (che cosa vorresti essere nel futuro, i tuoi sogni, ideali, la tua visione di felicità nella vita...scrivi con coraggio e sincerità, non lasciandosi frenare dall'imbarazzo, dalla paura, o dall'idea di non essere in grado di realizzare)
Conoscere bene il passato ti darà la sicurezza di essere davvero ancorato al presente e il futuro sarà attrato da questo presente attivo, pieno di speranza e di gioia creativa dentro e verso l'armonia.
24. C' è un momento di viaggiare in un cammino personale, voi prendete scelti il tempo durante la posa (dopo mezzogiorno o sera) per parlare del vostro interesse personale, ricerca, lavoro, la vita, " problème" in uno spirito d' scambio d' opinione orizzonte. O c' è possibile anche di lavoro più in profondità su uno dei campi tribuana. O discorso sul vostro questionario e Tripass/dischetto personale. Una piccola marcia riflettente insieme, dialoga, con riferimento: conoscere l'altro c' è una saggezza, conoscere sé c' è illuminazione coscienza allargare.
E' IMPOSSIBILE FARE TUTTE QUESTE 25 LEZIONI durante un laboratorio, ma noi possiamo avere una prima esperienza e un rapporto con ognuna di essa durante i primi 2-3 giorni di seminario e dopo tu sei libero nel lavoro di affrontare più in profondità una o alcune di queste.
Come? Lo decideremo insieme, noi, lo spazio, il tempo e gli strumenti.
Se il teatro è il “diamante della vita", il suo scopo dovrebbe essere di cristallizzare l'esperienza/storia/realtà in espressione, risvegliando e coltivando l'espressione dei tre mondi (corpo, emozioni, pensiero), seguendo la via dell'armonia con la natura ed adattandosi ai bisogni dello spazio, del tempo e dell'ambiente/situazione.
Un attore deve essere in buona salute, equilibrato e sensibile, per essere capace di animare la storia (che lo anima), e di offrirla al pubblico che è venuto per condividere il racconto autentico.
Brahman significa l' Essere supremo immortale. Il campo del Se è l'essenza libera e perfettamente chiara di ogni essere. "Agire" significa essere sulla via della manifestazione del processo creativo che conduce l'essere all'esistenza. ( tratto dalla hagavad Gita, canto VIII, 3,)
Tapa Sudana.
translation from english text by Enrico Pompeo. thank Enrico.
.
E' IMPOSSIBILE FARE TUTTE QUESTE 25 LEZIONI durante un laboratorio, ma noi possiamo avere una prima esperienza e un rapporto con ognuna di essa durante i primi 2-3 giorni di seminario e dopo tu sei libero nel lavoro di affrontare più in profondità una o alcune di queste.
Come? Lo decideremo insieme, noi, lo spazio, il tempo e gli strumenti.
Se il teatro è il “diamante della vita", il suo scopo dovrebbe essere di cristallizzare l'esperienza/storia/realtà in espressione, risvegliando e coltivando l'espressione dei tre mondi (corpo, emozioni, pensiero), seguendo la via dell'armonia con la natura ed adattandosi ai bisogni dello spazio, del tempo e dell'ambiente/situazione.
Un attore deve essere in buona salute, equilibrato e sensibile, per essere capace di animare la storia (che lo anima), e di offrirla al pubblico che è venuto per condividere il racconto autentico.
Brahman significa l' Essere supremo immortale. Il campo del Se è l'essenza libera e perfettamente chiara di ogni essere. "Agire" significa essere sulla via della manifestazione del processo creativo che conduce l'essere all'esistenza. ( tratto dalla hagavad Gita, canto VIII, 3,)
Tapa Sudana.
translation from english text by Enrico Pompeo. thank Enrico.
.
Spanish text by Maite Elissalt.
TriBuana:
Despertar y cultivar la expresión de los Tres Mundos :
Pensamiento, emoción/energía de la vida, cuerpo.
Mi opinión: en Bali, los actores se comportan como servidores. Sirven una historia (o “algo más grande” que ellos) que debe estar contada (honrada). La historia tiene que ser más importante, más interesante, superior a ellos. La historia ya tiene una vida. La historia engloba mejor el conocimiento, la sabiduría, así como un camino natural (visible o invisible, comprensible o incomprensible) a seguir. A fin de revelar esta vida (este misterio), los actores deben movilizar todos sus recursos.
Servidor de las ideas, de las frases, de las palabras, de las cosas invisibles… su cuerpo es como una marioneta que se anima, su consciencia es trascendida, el que sigue y controla sus acciones tribuana.
El trabajo consiste en despertar, cultivar y unificar la expresión de los tres mundo (cuerpo, emoción y pensamiento), la expresión tribuana (materia/ cuerpo, energía de la vida, pensamiento/ idea/ mente) en vista a llegar a una expresión total a través de un acercamiento profundo, intelectualmente científico y también intuitivo, analítico y global.
La historia debe conllevar tres ingredientes generadores:
Cultiva la inteligencia de manera creativa en el camino hacia la armonía; entonces, debe hacer el ser más inteligente.
Da una larga vida, su existencia permanecerá más allá de su presencia, más tiempo que su vida física, más allá de la emoción.
Debe tener la magia transformante, transforma el actor - la actriz, los espectadores – espectadoras y el entorno (ver: el mundo, “los tres mundos”).
El campo de exploración incluye 22 lecciones:
1. Campo 1: el Penchak Silat o Silat (arte marcial indonesio = el arte de supervivencia). Prever para esta lección, preferiblemente ropa blanca (pantalones y camiseta blancos si es posible). http://www.dropshots.com/tribuanalupo/silat http://picasaweb.google.com/tapasudana/silat
2. Campo 2: el Tai Chi Tribuana (movimientos llevando a la conciencia de la articulación física y de la energía = chi). Si queréis podéis ver el link: tai chi 4 point cardinaux
3. Campo 3: el Chi Kung Tribuana (ejercicios físicos y mentales llevando a la conciencia de la energía muy preciosa y sutil que nos anima).
4. Campo 4: el Koukoul Djagat: Trabajo de percusión inspirado en el KO DO (tambor japonés) para ejercer el ritmo, la resistencia física, la fuerza, las voces de los Tres Mundos y el ritual. Se deberá fabricar el instrumento KO DO. http://picasaweb.google.com/tapasudana/KoukoulJagat http://www.dropsshots.com/tribuanamontevaso/kodo
5. Campo 5: El Yoga Tribuana : con posiciones estáticas, despertar la sensibilidad que nos permite sentir el impulso interior y lleva el actor a la acción y a la realización.
6. Campo 6: El Pranayama. Ejercicios de respiración, inspiración y expiración de la energía (para percibir y experimentar diferentes tipos de energía).
7. Campo 7: La práctica cotidiana de algunos ejercicios de salud taoísta. Este ejercicio conlleva: la imagen, el movimiento, el sonido y las actividades mentales en relación con las emociones, los órganos de la digestión, los 5 elementos, los colores, etc.…
8. Campo 8: El trabajo de palo (Tongkat) : los actores manipulan el palo y juegan con él, repitiendo movimientos determinados precisamente. El ejercicio del palo se inspira en el arte marcial y tiene como objetivo calentar, mantener la salud, trabajar en grupo, meditar, y despertar la sensación de ser “dispuesto a seguir” (en el sentido de que el actor sigue y da vida a un personaje o a una historia). Los alumnos están invitados a traer con ellos: objetos, máscaras, instrumentos de música, un palo (de madera pesada) de 35mm de diámetro de una altura igual a la que separa los pies de las cejas (el tercer ojo). http://www.dropshots.com/tongkattribuana http://fr.youtube.com/watch?v=_ctVPZ0wyUM
9. Campo 9: Trabajo de máscaras; le rituel du masque (el ritual de la máscara, de madera). La máscara balinense es la base de mi trabajo, ya que nací en Bali con sus tradiciones animista – hinduista – balinense, es una mezcla con la “técnica Tribuana”. Con máscaras, historias que se contarán individualmente o en grupo. http://picasaweb/google.web/tapasudana/MaskTribuana
10. Campo 10: Trabajo con el instrumento musical / percusión, canto étnico.
11. Campo 11: Trabajo con objeto (accesorio), como herramienta de expresión o accesorio para contar una historia. (Marioneta por ejemplo)
12. Campo 12: Improvisación, creación común, en relación con el Campo nº13. Este trabajo requiere respetar 3 etapas: entender bien a los participantes, creación de un lenguaje común y tener un interés común / servir la historia, que alimentaremos y honraremos juntos. Algunas imágenes: Quelques images...
13. Campo 13: Un trabajo en el grupo y sobre el grupo: girándose hacia el centro (la esencia) del interés común del grupo, hay que conocer “la cosa mágica y misteriosa que nos une juntos” y que va a dar origen a la historia que luego, será compartida públicamente. La apertura del trabajo en grupo empezará por el saludo al centro en círculo, y el cierre del trabajo también con el mismo saludo, saludo tribuana: salutation tribuana, en círculo. El “relato de la historia” incumbe a cada uno; a la vez, los actores permanecen abiertos, despiertos, sinceros, esenciales, entonces, simples y directos. Entender “teatralmente” es una acción (con o sin accesorios) alimentada de emoción y de comprensión. Un actor que dice “he entendido”, tiene que ser capaz de hacer y de realizar su comprensión.
14. Campo 14: Kéchak : al principio, era un coro vocal de todos los aldeanos que participaban en este ritual/danza/trance de Bali, sagrado, y con objetivo de alejar las enfermedades contagiosas mortales, las energías negativas/destructivas, las catástrofes naturales que amenazaban con destruir la vida del hombre, la vida animal o vegetal. Actualmente, en Bali, este "Kechak Danza" se vende bajo el nombre de "Monkey dance" con Ramayana (parte Rama & Sita & Hanoman/the monkey), como historia, servida a los turistas que tienen prisa en ver las manifestaciones culturales/espectaculares balinenses. Este “coro/danza” permite a los actores trabajar sobre la voz, los ritmos colectivos, la conciencia y la energía del grupo. Es un trabajo sobre la armonización, el despertar de la energía cósmica del grupo, utilizado para la curación, para la felicidad de la vida, ejemplo, ver: Sanghyang Jaran dans you Tube.
15. Campo 15: Los actores se mueven, cantan, cuentan, improvisan sobre Músicas Étnicas, músicas de diferentes países que hay que honrar.
16. Campo 16: Bayu swara: es un trabajo sobre las sílabas sagradas – el sonido – la voz personal : Encontrar, dar origen a una sílaba cada día. Una sílaba corresponde a un sonido y esta compuesta de una vocal y de una hasta cuatro consonantes. Igual que para el tótem, la progresión del trabajo, de la composición, del sonido se desarrolla de tal manera que el trabajo/composición/sonido del primer día dará origen a la sílaba del segundo día; la realidad del segundo día dará origen al tercer día, etc…
17. Campo 17: Méditer de courtes phrases cristallines : Meditar frases cortas cristalinas que se deben considerar como el cristal del pensamiento, fruto de la contemplación. Reflexionar e intercambiar opiniones, hablar en grupo, todas las actividades son el campo donde se puede cultivar y entrenar el pensamiento a fin de producir un lenguaje teatral común. . http://picasaweb.google.com/tapasudana/l'ArbreParolesTreeofWisdomTribuana
18. Campo 18: Escuchar historias que están contadas por los participantes o por yo mismo, que darán lugar luego a improvisaciones. Un lenguaje común por explorar y construir juntos. Dar vida a una historia consiste en encontrar juntos, el impulso interior de la historia dentro de nosotros mismos , un trabajo en el que experimentamos el compartir el corazón.
19. Campo 19: Trabajo sobre el « TÓTEM TRIBUANA ». Un tótem es una composición material que desarrollamos añadiendo cada día algo a la composición; se presenta y visita el último día del seminario. El tótem puede ser personal o colectivo. Un tótem puede encontrar su origen y empezar desde un lugar o una idea que requiere objetos para convertirse en una realidad física / material. http://picasaweb.google.com/tapasudana/TOTEMTRIBUANA
20. Campo 20: Cuando el alma del tótem tribuana se concentra en un folio, se convierte en una imagen, un dibujo que se construye a lo largo de los días, añadiendo diariamente una forma o una línea de color. Es lo que llamamos el Disco Duro de la identidad personal o Disquete. El Tripass: Disquette. Le TriPass. (tribuana passport).
21. Campo 21: Una introducción al sentido del ritual y del sagrado, honrando los instrumentos de trabajo y el entorno. El lugar donde trabajamos (DO JO / MARGA PURA) se considera como un lugar donde cultivamos una forma de vivir/ un camino de vida/ una forma de ser. Cada uno participa en el mantenimiento y la preparación del lugar; así, desarrollamos el trabajo de grupo y el sentido de la responsabilidad. El saludo tribuana, al comienzo y al final de la sesión de trabajo, es uno de los caminos del ritual.
22. Campo 21: Bayu Panah, se inspira en el Kyu Do, el arte del tiro con arco de ceremonia japonesa. http://picasaweb.google.com/tapasudana/Kyudo
Es imposible practicar los 22 campos de exploración en profundidad en un espacio reducido de tiempo, podemos visitar para “probar”, pero también podemos elegir juntos vuestras preferencias durante el seminario.
Si el teatro es el « diamante de la vida », su objetivo debería de ser de cristalizar la experiencia/ la historia/ la realidad en expresión, despertando y cultivando la expresión de los “tres mundos” (cuerpo, energía, pensamiento), siguiendo el camino de la armonía con la naturaleza y adaptándose a las necesidades del espacio, del tiempo y del entorno/ contexto/ situación.
Un actor (Tri Buana) debe tener una buena salud, en estos tres mundos, estar abierto y dispuesto a seguir (en servicio, ser servidor), ser equilibrado y sensible, a fin de ser capaz de animar (con devoción) la historia (máscara, accesorio que le anima) y ofrecérsela al público que ha venido para compartir el relato auténtico de la historia, del ser (o de su ser).
El objetivo está lejos (o cerca), el camino es largo pero ve, ve vaca (dice el granjero a su vaca), paciencia, con perseverancia la hierba se convertirá en leche. Hummmm. ¿Cómo? Labrar, rumiar, trabajar, contemplar… Buen viaje, la felicidad del comienzo está en la mitad de la obra.
Brahman significa el Ser supremo imperecedero. El dominio de si mismo es la esencia libre y perfectamente clara de todo ser. “Actuar” significa estar en el camino de la manifestación del proceso creativo que conduce el ser a la existencia. ( Inspirado de la Bhagavad Gita, canto VIII, 3).
Tapa Sudana, Montreuil, actualizado el 23 de febrero de 2009, Lunes 14H40. tribuana@wanadoo.fr 00 33 6 1719 6888
Maite Elissalt, Madrid, traducido al castellano en febrero del 2010. maydamay@hotmail.com 00 34 625 21 33 59
Photo workshop Tribuana Theater,klick here.
Workshop 2009, 3-13 march 2009 in Paris
organiser par theatre Organic,
Workshop Tribuana in 2008:
next workshop in italia: organized by Antonio Cargnello, antoniocargnello@yahoo.it and Sara Celeghin
tel: 0039 329 5667184 and 0039 328 4185 372, info@teatroinvicibile.it
from 7-12 october 2008; see this link: http://www.teatroinvisibile.it
link to photo Tribuana Rovolon
Roma org. by Marco Adda: 15 - 19 january, contact 0039 + 328 9410442 , marcoadda@libero.it
Paris org. by Olivier Richard, Cie Art Metamorphoses,
28 january to 1st. February,
10-14 march,
12-16 may,
contact 33 (0)1 46 07 08 10, 33(0)6 24 83 52 35 , oprichard@cegetel.net
Ostuni, Bari, Italia, org. by La Luna nel Pozzo, Robert McNeer and Pia Wachter, 19-23 march, contact: 0039 0831 33 03 53, 00 39 335 8037241, lupo.teatro@libero.it
Athens, org. by Manolis Karyotakis 30 210 34 54 491, 2-6 may 2008;
Aegina, Greece, will be in april 21-25th, 2008 by Christina Chorafas contact 0030 2 29 70 26 885, oikiak@yahoo.gr
Roma, still in process to be held in April from 3-7, org. by teatro Ygramul, contact 39 06 41229951, 39 3314703950, amaralina@libero.it and info@ygramul.net
In Paris, Workshop Tribuana organized by Olivier Richard from Cie Art Métamorphoses, artmeta@neuf.fr tel.01 46 0708 10 : 28 january-1 february 2008, 10-14 march 2008, 12-16 may 2008
a Tribuana teatre manifestation will be organized by Compagnie pour l'Artisanat des Menteurs , in may from 24-25, contact: Sébastien Rabbé, 06 87 77 65 66, 08 70 37 93 93, sebrb@hotmail.com
Teatro del Montevaso: http://www.teatrodelmontevaso.it/ Workshop Tribuana from 8-13 august 2008, contact:Francesca Pompeo
Teatro del Montevaso
s.p. Del Montevaso km 18
56034 Chianni (Pisa)
tel e fax 0587 647617
tel 333 - 8592986
teatrodelmontevaso@montevaso.it
