| The sensorial theatre language is one of the most important tools for expanding the culture, we have been working for many years in researching of different methodologies, which can be applied to reach unitary performances,involving our senses. |
| The main tool or expression is self development and shaping darkness and silence. |
| Darkness releases memory, imagination, intuition, personal transformation. |
| The language gives expectators an opportunity to discover darkness with new eyes; untill now it was only an ancient element, full of methaphors enspired by fears. |
| The night living in a Labyrinth doesn't represent a danger to a traveler, quite opposite: becomes a space and opportunity for evocation, which would not be possible in a day light. |
| A labyrint leads us into a travelers deepen being. Words let a space to the silence, smells, touch; this experience interfears a travelers world of memory and connects the past with the future. So the traveler becomes one with his own personal history. |
| A game is a very important rule, actually the main goal. Is a refuge, taking care of secrets of travelers inner fortune, discovering them step by step on the way through the experience. |
| This project is a witness of finding and creating a different manier in the relation between public and actors.Travelers are not only loosing themselves in purpose finding themselves in a new way; they also become more relax and open for laugh. |
| Through the art of sensorial language, the labirint gives to a traveller the opportunity to develop his own mistic adventure, which is usually not a part of his everyday life. |
| A level of trust between the inhabitant (actor) and the Traveller (spectator),is vital within the sensorial journey. this trust produces a sense of confidence in the person visiting the space. |
| Creating this confidence is vital, since it enables the traveller to explore the space,and mostly enables him to open the doors within. |
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| We have been actively researching the role and responsibility of Art in the integration process currently taking place all around the world. Many of us believe this integration can best be encouraged through special cultural events, events specifically designed to allow actors and directors of different schools, centres and ways to exchange and build on each others' sensitivities and understandings. This is what happens in our the workshop laboratory – performances. We have invested many years in researching different methodologies that allow people of very different horizons to contribute thier knowledge and lay down new roots in a broader, shared consciousness. This is done by refining Sensorial Awareness – something we all share. We have developped innovative theatrical processes that allow participants to access a very basic relationship to their own and to each other's sensorial experience as they move towards the production of a unitary, integrative performance. These processes cut across all differences (real or imagined) between people. |
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