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, 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
up dated will be come as soon as possible.
here is the new text of tribuana:
"To awaken and to cultivate the expression
of the Three Worlds of human:
Thought, Energy of life, Body "
My opinion: in Bali, the actors behave like servants. They serve "something", they bring into life a story, or a character, or an object, which must be honoured. In Tribuana way, an actor also gives life a song, a movement. This means that the story (or other “served thing”) is more important, more interesting, contain higher value than themselves. The story/the “thing” has already a “life”. The “hi-story” includes a better knowledge, wisdom, as well as a natural path (visible or invisible, comprehensible or incomprehensible) to follow, to celebrate, to honour.
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 21 lessons:
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). Silat video in Tapa's facebook.
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)
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 Kodo-Tribuana must be built.
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 interior impulse, which carries out an actor to the action and the realization.
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).
8. Tongkat: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).
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.
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.
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.
15. Autumn leaves or crystal thought. 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.
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.
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)
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.
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 23 "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).
The past will make you sure to be present, and the future will attrack the present, hopefully with joy.
It is impossible to do all these 22 lessons 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.
If the theatre is the "diamond of the life", its goal should be to crystallize the experience of life into luminous 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.
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.
Tapa Sudana,
Montreuil, thursday 03 jan. 2008.
tribuana@wanadoo.fr
33 1 42 87 94 01
33 6 17 19 68 88
