Theatre Practices

Vision

Vision

A course for dance and theatre practitioners who see their research as positive problem-making in the performing arts and in the world, looking for expanded ways of acting, of moving and being moved.

Sabrina Zeleznik - Sabrina 05
Sabrina Zeleznik

In the Master of Theatre Practices, participants research and (re)position their heterogeneous practices in the expanded fields of Theatre, Dance, Choreography and Dramaturgy. In this expanded field, Theatre is a space, both real and imaginary, in which the audience encounters the human and non-human in various forms of interaction. We engage with forms of expanded choreography and expanded acting attracted by new ecologies of play and co-presence, working with contemporary views that rethink modes of acting in the world. We encourage the ability of formulating innovative problem-making questions, together with problem-solving solutions and are invested in the empowerment, resilience and continuity of the artistic practices of participants.

The Master of Theatre Practices works with choreographers, theatre directors, dancers, actors, scenographers, playwrights and dramaturgs seeking to deepen artistic practice through research, experimentation and feedback, engaging with audiences, peers and the professional field.

Development and empowerment

The Master of Theatre Practices challenges, supports and empowers artists to be self-critical, proactive, and able to sustain their artistic and professional singularity within the broad context of their practice. We engage with contemporary discourses and performative practices that rethink ecologies of acting in the world. We work with forms of expanded choreography and expanded acting attracted by new environments of play and co-presence. We value the ability of formulating innovative problem-making questions, together with problem-solving solutions.

Artistic Research

Seeking to move beyond the binary model of theory versus practice, we acknowledge and encourage plurality in artistic research and see research as a process involving practices that are dynamically related. Artistic processes, discursive development, documentation of practices and critical positioning in educational and artistic institutions are the sources for embodied and intellectual enquiry that can perhaps challenge, regenerate and go beyond traditional or hegemonic methods of artistic production and education.

Organising concept

The course applies a practice-as-research approach, balancing collective working periods with autonomous study. During this two year full time course (120 ects) participants design the trajectory of their research in close dialogue with a team of experienced teachers and mentors, and in contact with guests from an international network in the performing arts. Recent guests include Jonathan Burrows, Lotte van den Berg, Janez Janša, Myriam van Imschoot, Bruno Listopad, Meg Stuart, Dood Paard, Ant Hampton, Sarah van Lamsweerde, Halory Goerger, Andrea Bozic among others.
Participants are a carefully selected group of international artists holding Bachelor’s degrees who can articulate their (developing) interest in artistic research. The course is organised around three educational strands:

  • Artistic Research: where notions and practices of composition, acting, moving, dramaturgy, and performativity are explored by means of artistic making;
  • Writing Practices: Where writing becomes a practice embedded in the artistic research, taking different forms including — but not limited to — argumentative,  performative and critical writing;
  • Documenting – Archiving – Publishing: where the artists map the context of their practice and position their working relation to the field.