! DIVANO OCCIDENTALE ORIENTALE

performing arts group

The performing arts group DOO – Divano Occidentale Orientale was born in January 2010 by Giuseppe L. Bonifati. DOO artistic project started from the South (Italy) and the South of the World (Costa Rica), and especially from a will to create and produce contem-

porary art through a deep research, offering it to youth and adults. DOO- it’s a wide-ranging project, a continuous journey of contamination across

geographical borders.  Since the beginning our main concern is one: how to translate on the stage the unconscious and the unknown. In just 5 years of existence the group has produced a line of diverse works: Ammaliata (2009), Cala ‘a Saudage (2010), Pepè El Bastardo Impaziente e

Innamorato (2011) Maiden in Costa Rica (2012), ivetotellusomething, (2012) Qui-es-tu? Tu me tues; Maren og Jeg; The Judgement (2014); Shame;

Above the Skin (2015); The Last Blow; Desideria (2016). They have been hosted in theaters & art festivals of national and international significance in

Italy, Denmark, Costa Rica, Poland, Bosnia Herzegovina, Hungary, Venezuela, Bulgaria, Serbia, Slovenia, Croatia, Iran, France etc…

AWARDSNational Award “I Teatri del Sacro” by ETI (Italian Theatre Institute)

Finalist “Kantor National Award” for new theatre groups by Teatro CRT National Dramaturgy Award “Alessandro Fersen”

***** Students Jury Award in Warsaw*****Special Mention International Theatre Award “TeresaPomodoro

(Jury: Eugenio Barba, Lev Dodin, Frédéric Flamand, Jonathan Mills, Lluís Pasqual and Luca Ronconi) “Spazi in Festa” by Culture Department – Municipality of Rome

MOVIN UP – Support to International Mobility for Italian Artists by MIBACT / GAI

Since 2011 the group has its Residence at Nordisk Teaterlaboratorium (Holstebro, Denmark) and participated also in other program of residency in Europe & Central America, among them: Art Quarter Budapest (Hungary), Godsbanen (Denmark),

Venice Biennale - Theatre (Venice, Italy), Guestroom Maribor (Slovenia), Citè Internationale des Arts, Les Pepinieres Europeennes (Paris – France)

Artistic Director Giuseppe L. Bonifati (IT)

Producers

Marcella Santomassimo (IT), Linda Sugataghy (HU)

who

Giuseppe L. Bonifati (Artistic Director) Born 1985. He’s an actor, playwright, poet and theatre director. He works between Italy, Denmark and Hungary.He attended the acting courses of the Civic School of Dramatic Art "Paolo Gras-si". He furthered his studies at the National Academy of Dramatic Arts "Silvio D'Amico" and at the International Theatre Workshops of Venice Biennale. He is Artist/Director in Residence at Odin Teatret Nordisk Teater Laboratorium (Denmark). He partecipated in other program of residencies in Europe and America. He met in his artistic formation Rodrigo Garcia (as Director Assistant), Antonin Milenin, Abani Biswas, Maurizio Scaparro, Enzo Moscato, Marcello Magni, Vin-cenzo Pirrotta, Giuliano Scabia, among others. He also completed studies on the Method "Stanislavkj-Strasberg" with acting coaches and members of the Ac-tors Studio as Beatrice Bracco, Michael Margotta, Francesca De Sapio. As per-former, he took part in plays directed by Eugenio Barba, Julia Varley, Motus, Renato Carpentieri, Remondi &Caporossi, Ruggero Cappuccio, Andrée Ruth Shammah, Roberto Cavosi, Emanuela Giordano, Giuseppe Maradei.He was awarded with the Crystal Microphone "Umberto Benedetto, 2006, RAI, New voices for radio (Jury: Giovanni Antonucci, Claudia Cannella, Gabriele Parenti, Nicola Cariglia); he won the“Alessandro Fersen” Dramaturgy Award 2012 and has been chosen in 2010 among the Young National Talents by the Ministry of Youth in Italy. For the poetry he published Ritratto all’Ombra (2004) and 21:31 (mi sento morire), 2014 by Lietocolle Publisher. The text “Pepe El Bastardo Impaziente e Innamorato” appeared in the theatrical series Percorsi by Editoria&Spettacolo publishing house.

why

In an era when every research is forcibly lonely, is it possible to build over our beloved and hated individualisms?

Individual creation is discovering, it is immersion; that in group is expanding, opening - so the two dimensions can coexist? And the coexistence of these two fundamental dimensions of man (the vertical and the horizontal) can be communicated through the Arts? These are the main questions I ask myself and I want to investigate in my Research. Personally, as Director, I don't make difference between theatre, dance and visual arts, but instead I try to understand how the creative influence of one can touch and change the other, how much and how the respective languages are bonded together. In the process of creation I've always been interested in the dramaturgy as a starting point, but since a couple of years, my creations are following a route where strong images predominate over words. All my works involve strongly the body of the Artist or the Spectator, or both together. Equally I do in the work on myself as a Performer, in which I try to reveal through the senses my personal imagination more hidden. I do not care about virtuosity, what I would like is to meet people that are able to create and express their personal concerns ... Starting from the consideration that 97% of the plays are anachronistic and embarrassing events, to build a ”contemporary” work is somewhat difficult, so that almost no one can get it - myself included…

glb

where

ITALY Teatro CRT, Milan Teatro Quirino, Rome Teatro Studio, ScandicciTeatro Palladium, Rome Teatro Belli, Rome Teatro Potlach, Fara Sabina Teatro Sybaris, CastrovillariTeatro Libero, Milano Nuovo Teatro Nuovo, Naples Nuovesensibilità Festival, Naples Asti TeatroFestival Int.le del Teatro, AmandolaLa Manica Tagliata Festival, Modena Festival Liberi Amori Possibili, Milan Festival Teatri del Sacro, Lucca & Milan Primavera dei Teatri, CastrovillariDeSidera Festival, BergamoFestival di Voci e Di SuoniFestival Teatrale del Pigneto, Rome Kantoriana Festival, MilanGarofano Verde Festival. Rome Festival Internazionale d’Africa, RomeFLIPT (in collaboration with ISTA International School of Theatre Anthropology by Eugenio Barba)Sala del Carroccio – Campidoglio, Rome Palcoscenico Vita Fest – AMAT Teatro dell’Arancio, Grottammare (AP) 28 Piazza di Pietra Gallery, Rome Sala Santa Rita, Rome Teatro India, Rome

ABROADFIA – Festival Internacional de las Artes (San Josè, Costa Rica)Teatro 1887 (Costa Rica) Biennale di VeneziaEx-Pop Teatro Festival 2.0 Puppet is a Human Festival Too (Warsaw, Poland)Centre for Contemporary Art Zamek Ujazdowski (Warsaw) IIC Italian Cultural Institute (Poland) Odin Teatret – Nordisk Teater Laboratorium (Denmark)Huset (Copenaghen, Denmark)Sarajevo Winter Festival (Bosnia E.)Centar Za Kulturu Sarajevo (Bosnia E.)Nikolaj Kunsthallen (Copenaghen, Denmark)Quonga Festival (Aarhus, Denmark)Art Quarter Budapest (Hungary)MÜSZI [COMMUNITY & ART LEVEL] (Budapest, Hungary) ART PLACC (Tihany, Hungary) FITO – Festival Internacional Teatro de Oriente (Anzoategui, Venezuela)Fundaciòn Casa del Artista – Ministerio de Cultura  (Caracas, Venezuela)Art Market Budapest – International Art Fair (Hungary)Husets Teater (Copenaghen, Denmark)Italian Cultural Institute in Copenaghen (Denmark)Italian Cultural Institute in Budapest (Hungary)Godsbanen Open Stage (Aarhus, Denmark)Holstebro Festuge (Denmark)NEFest (Sofia, Bulgaria)Bornshorts Film Festival (Bornholm Island, Denmark)Faculty of Arts – University of Kaposvar (Hungary)Narodni Dom Theatre (Maribor, Slovenia)Fortaelle Galleriet (Holstebro, Denmark)ITF Faces Without Masks Festival (Skopje, Macedonia)Teatersalen Kommune Library (Holstebro, Denmark) IIFUT Festival (Teheran, Iran) FAKI Festival (Zagreb, Croatia) Aarhus Festuge (Denmark)

RESIDENCIESNordisk Teaterlaboratorium (Denmark) Venice Biennale (Italy)Godsbanen (Denmark) Art Quarter Budapest (Hungary)Guestroom Maribor (Slovenia)Citè Internationale des Arts, Les Pepinieres (Paris – Montreuil, France)

what

THE TRILOGY OF FIREFLIES AMMALIATA

CALA ‘A SAUDAGEPEPE’ EL BASTARDO IMPAZIENTE E INNAMORATO

In the early 60’s, because of air and water pollution, fireflies began to disappear in the countryside. This phenomenon was terrible. After few years the fireflies were no longer there. Pier Paolo Pasolini, one of the best voices of poetry we had, called it “the disappearance of the fireflies.”The dramaturgical research of this trilogy started as a large spiral of languages

from southern Italy regions. The staging was not the main purpose, cannot be just it.

The shows are born overall from the strong will to write about a popular world. In order to recuperate through the theatre ancient wisdoms and magic beliefs…

AMMALIATA theatre | 2010

http://divanoccidentaleorientale.com/trilogyfireflies

National Award “I Teatri del Sacro” by ETI (Italian Theatre Institute)

CALA ‘A SAUDAGE

theatre | 2011http://divanoccidentaleorientale.com/trilogyfireflies

by

Finalist “Kantor National Award” for new theatre groups - Teatro CRT (Milan) DOO / Garofano Verde Theatre Festival

PEPE’ EL BASTARDO IMPAZIENTE E INNAMORATO theatre | 2012

http://divanoccidentaleorientale.com/trilogyfireflies

National Dramaturgy Award “Alessandro Fersen” 2012

THE DIPTYCH OF LIGHT MAIDEN

QUI-ES-TU? TU ME TUES

At the age of 2, according to the memories of those who were older than me, I wanted to fix the moon. My premature attraction towards the light was beginning to peep, seeing the moon so deformed, even broken some nights.

Alas, I didn’t know at that time about theatre; or better, I didn’t have yet the tools for it…

MAIDEN

theatre | 2012 http://divanoccidentaleorientale.com/maiden

a co-production Italy-Costa Rica-Denmark

***** Students Jury Award in Warsaw*****Special Mention International Theatre Award “Teresa Pomodoro”

(Jury: Eugenio Barba, Lev Dodin, Frédéric Flamand, Jonathan Mills, Lluís Pasqual and Luca Ronconi)

QUI-ES-TU? TU ME TUES performance & installation | 2014

http://divanoccidentaleorientale.com/quiestu

by DOO/Aesop Studio / Biennale di Venezia, International Theatre Workshop (Italy)

AQB (HU) / Nordisk Teaterlaboratorium (Denmark) Sarajevo Winter Festival (Bosnia Erzegovina)

PART 1: CLEO | performance

PART 2: HELIO | alive installation

(guess-what-is-it-between-the-lines)

IVETOTELLUSOMETHING

performance | 2012 http://divanoccidentaleorientale.com/ivetotellusomething

An intimate 5’ toilet performance for 1-2 spectators at time – in loop for 4/6 hours by

DOO / Expop Teatro (IT)AQB (HU)

THE JUDGEMENT a multidisciplinary art project | 2014

http://divanoccidentaleorientale.com/thejudgement

by AQB (Hungary) / Casa del Artista – Ministry of Culture (Venezuela) Nordisk Teaterlaboratorium/Holstebro Kunstmuseum (Denmark)

Guestroom Maribor (Slovenia) / Culture Department - Municipality of Rome (Italy)

Winner project of “Spazi in Festa” by Rome Municipality

THE JUDGEMENT | PERFORMANCE | CHAPTER 1: Never judge a book by its cover

THE JUDGEMENT | PERFORMANCE | CHAPTER 2: Are you sure if we share the same bicycle we are happy?

THE JUDGEMENT | LINDA & TIMEA | photos | 2013

THE JUDGEMENT | MODEL HOSTAGE / FUCKATACOMB | alive installations | 2013 http://divanoccidentaleorientale.com/the-judgement-alive-installations/

! THE JUDGEMENT | OUTDOOR SIN | performance | 2015

http://divanoccidentaleorientale.com/the-judgementil-giudizio/

! THE JUDGEMENT | Is the grass of the neighbor always greener? | photos | 2014

MAREN & I

multimedia project |2014 http://divanoccidentaleorientale.com/maren

by Divano Occidentale Orientale / Aesop Studio (IT)

Nordisk Teaterlaboratorium / Godsbanen (DK)

“There are people who were born to stand and people who were born to swim… Do you want to swim?

21:31 (mi sento morire)

book presentation & reading | 2014 http://divanoccidentaleorientale.com/21-31/

by Lietocolle Publishing House (Italy)

ABOVE THE SKIN performance | 2015

http://divanoccidentaleorientale.com/abovetheskin

by DOO performing arts group (IT) / Nordisk Teaterlaboratorium , Abne Scene – Godsbanen (DK)

City of Paris / Cité internationale des Arts /La Fabrique des Pépinières (FR)

with the support of MOVIN’UP I session 2015 promoted by:

Ministry of Cultural Heritage and Activities and Tourism General Directorate for Contemporary Art and Architecture and Urban Suburbs

General Directorate for Performing Arts and GAI – Association for the Circuit of the Young Italian Artists

“Aesthetic, ethics and free will”

More and more often we see urban performances or artistic acts that alter the daily life of everyday citizens; in which the Artist meets the mass and at the same time is in conflict with it. In these actions, the Artist places himself on the opposite side as an orchestral conductor, necessary, but

invisible. Instead in this performance, the Artist will reveal himself just in the exact time, as the sound of a gong, giving the start to a multi-coloured marathon. In an “exact time” that the ancient Greeks call “Kairos”. Above the Skin is an artistic and urban action that move from this

need: to meet up, naked and covered (to say it with an oxymoron) by a second skin.

THE TRILOGY OF THE UNKNOWN

SHAME DESIDERIA

THE LAST BLOW

2015-2016

SHAME theatre | 2015

http://divanoccidentaleorientale.com/trilogyunknown

by DOO (IT)

Nordisk Teaterlaboratorium / Balletskolen Holstebro / Godsbanen (Denmark)

DESIDERIA theatre | 2016

http://divanoccidentaleorientale.com/trilogyunknown

by DOO / Formazione Bartolomei / Rialto S. Ambrogio

THE LAST BLOW theatre | 2016

http://divanoccidentaleorientale.com/thelastblow

a co-production by

DOO / Aesop Studio (Italy) Nordisk Teaterlaboratorium (DK) / Spindrift Theatre (Iceland) / Vanha Juko Theatre (FIN)

M.I.R. – MAYOR IN RESIDENCE Multidisciplinary project| 2016-2017

http://divanoccidentaleorientale.com/mir

by DOO / Nordisk Teaterlaboratorium

GIUSEPPE L. BONIFATI and LINDA SUGATAGHY  intend to live as candidates for Mayor under the names of JEPPE AND FIRST LADY between January 2016 and June 2017 in a decorated “house on wheels” placed by the Town Hall. The purpose is an artistic and esthetic interaction with spectators visiting the Mayor Jeppe and First Lady in their house. But they want also to visit families and institutions in different parts of the town. Each month the two artists will concentrate on a specific theme, for example economy, education, health, environment, public works or housing. The project willculminate and end during the Holstebro Festuge in June 2017 whose title is THE WILD WEST. ROOTS AND SHOOTS: RE/THINK.monthly events. After dedicating 2015 to learning Danish language and culture, the project will start by Jeppe performing an official speech to the town.

how

presshttp://divanoccidentaleorientale.com/press/

AMMALIATA

(La Repubblica – CULT – Rodolfo Di Giammarco) And in terms of mystery and trance had in our archaic south, “Ammaliata” by Giuseppe Bonifati.

He arranges with the theater group Divano Occidentale Orientale a ritual of benign parche (men) who grub up the evil eye from a girl, in a mini-masterpiece made by sense of sound.

(La Repubblica, Rome – Rodolfo Di Giammarco) Ammaliata “Bewitched” is (…) a show of deep anthropological research composed and directed by Giuseppe Bonifati, for the theater group Divano

Occidentale Orientale. It’s a research, a complaint, a write poetry, a nostalgia, a vitality!

(La Repubblica, Milan – Sara Chiappori) The mystery of the mystical charm, the folk traditions most archaic suspended between sacred and profane, the songs, the superstitious imagery

and symbolism of a religion that has its roots in an almost pagan spirituality. There’s all this in Ammaliata.

(Delteatro.it – Andrea Porcheddu) Powerful and mighty “magare”, they put together popular beliefs and ancient mysteries, religion and desecration. The evil eye, then, is the symbol

of the symptom of a Catholic and backward society. Its to the  magic that Ammaliata looks for.

(Krapp’s Last Post – Simone Pacini) (…) Traditional chants and litanies become hip hop, through the rhythm of drums and congas. But if the sounds are mixed, the songs remain popular,

and it is in these songs that the show finds its originality and its cruel delicacy, of a poetic insight into the South.

CALA ‘A SAUDAGE (Teatro.org – Alessandro Paesano)

Luigi Tabita and Giuseppe L. Bonifati are very good and generous in giving body and voice to two homosexuals transfigured by the neapolitan tradi-tion of femminiello , expression of a world that is the grotesque lives of two outcasts and marginalized, as the pièce leads one to believe at the be-

ginning. But then we discover two murderous and abnormal reversed (half men and half women) .

(Persinsala.it – Claudio Vettraino)

A black and void stage filled by the inexhaustible richness of expression of the dialectic body-gesture as part-whole – typical of the dramaturgy of Bonifati- and acquired in the interpretation of Tabita. An interior and flashing light is there and it indicates  the precarious presence and the slow, inevitable consumption of Costanzo. The narration, almost a fairytale, is made by the accordion of Francesca Palombo (which evokes so well the

melancholy and impossible happiness, like in a “late summer” of Fellini’s memoria)

(Saltinaria.it – Andrea Cova) The two actors face this test of acting, that never fall in the caricature, with great generosity and capacity of internalization of the experience of

these two simple souls, outcasts and passionate, that is really touching for the acting technical mastery and for depth of feelings.

PEPE’ EL BASTARDO IMPAZIENTE E INNAMORATO

(Teatro e Critica – Simone Nebbia) The text chooses the language of the heart to tell a story that is away; and to do so, it chooses the language closest to him. And is for this reason

that the music and the drama are in continuous dialogue and are inseparable: in some intimate languages, when used well, words and music are the same thing. Bonifati builds his story with sincerity of expression and quality of energy (…) the show is yet alive and intense, with some retro taste

which is not bad for this passionate story of love and – as like often – of knife.

MAIDEN IN COSTA RICA

(Andres Saenz Lara - La Nacion, Costa Rica) The empty stage, illuminated just by the light source of a bulb hanging from a rope, turned out to be an impressive setting. The light has taken dif-ferent forms and was manipulated by the actors in a surprising way. (…) The movements in space and the body expression supported the kinesthetic

and visual interest for the all duration of the show. (…) However, the essential meaning of Maiden in Costa Rica has remained opaque to me, though, judging by the warm applause at the end, maybe the public has perceived that the most critical.

(Emilio Nigro - Quotidiano di Calabria, Italy)

Maiden in Costa Rica was awarded in Warsaw at Puppet is a Human too Festival for the “brave attempt to experiment in the context of visual the-ater (…) In January, the performance will be set up at Odin Teatret in Denmark. With Alberto M. Guinaldo and Paula Sancho Fernandez, itsthe result of an international co-production. It stages the disappointments of Greta in a country without army for more than 50 years, who dreams of becom-

ing a woman-soldier. A dream (…) that jealously guards as her virginity.

IVETOTELLUSOMETHING

(Manuela Vacca - L’Unione Sarda) A little further back in the dressing room of a luxury clothing store, Giuseppe L. Bonifati kidnaps one up to four viewers at a time, for the perfor-

mance “Devodirtiunacosa.” In essence, a fascinating and ever-changing trip.

(Enrico Pau - Nuova Sardegna) Giuseppe L. Bonifati brings his spectators inside a bathroom, a small temple of a sensual Hello Kitty that forces to the dance, in his pink panties. He brings the spectator into a sensual kitsch that is reflected in the music and through the actor’s voice conveys a visionary and imaginative south from

town fair, fairground of other times, the fat lady cave, a place of damnation and salvation. In what it remains of the aesthetic,  as Pasolini said, “shadow of the past” , the place of memory.

(Kristian Husten – Politiken. Ibyen, Denmark)

Crisis Is Good. The chosen performance groups this year at QuongaFest are apparently preoccupied, in different ways, about the present time crisis (…) Only one artist, the italian Giuseppe L. Bonifati, thematises the crisis directly. His toiletperformance „ivesomethingtotellyou“ deals fairy simply

about the importance of failing and being in crisis.  Bonifati also comes from Italy- that seems to have reached the ground well and deeply.

(Af Louis Bull Nivang – Jyllands Posten, Denmark) This year Quonga Fest, which ended yesterday, gave a particular theater program bringing people into a

toilet. The man with this idea of an unconventional stage space is the Italian Giuseppe Bonifati. The performer is currently associated with Odin Teatret in Holstebro. (…) In performances of 5 minutes he invited the audience into the toilet for a

short and intimate performance that has break down the traditional boundaries between audience and actor.

(Sara Porskrog – Over Spring.dk ) The queue for the toilet was long and the show popular (…) But in a split second I saw one of audiences were torn into the toilet of a funny guy in a

pink tricot. And later I met different audiences, who said that “the performance changed their lives”.

(Richard Petiffer – Theaterstuck) There will be those who find IVETOTELLUSOMETHING a cruel trick. But if it’s cruel, it’s cruel like life – offering and taking away at the same time, filled with brevity, with transience, and with illusion. At best, though, there is an opportunity here for personal transformation, even a broader

change, and a window to a different reality.

THE LAST BLOW (Francesca De Sanctis-L’Unità)

It ‘s interesting the writing of this young playwright, who likes to take his time, his right breaks, for then give to the character a concise  sentence, everything that he has to say (…) I mean, maybe we should write down the name of Giuseppe L. Bonifati in agenda and to see what he does in the

theaters.

QUI-ES-TU? TU ME TUES

(Sergio Lo Gatto – Teatro e Critica) About the adventures of the 'performing arts group "DOO” often comes news here in the redaction. Co-founded in 2010 by Giuseppe L. Bonifati, the award-winning company is now run with Fabio Pappacena and Alberto M. Guinaldo. Cleo is the name given to this first step and also to the goldfish

in the bowl, which "acts" on the stage, brought to life by a voice off (by the same director). The body on stage is the one of Alberto Guinaldo, friendly, casual and stronger of a solid presence; half of the performance he lights the scene by a LED lamp pocket, involving the audience in a com-pelling scene of hysteria, tormented by a unseen voice that forces him to an irritant treasure hunt. The fish that occurs is his lost brother; the voice

stops and the dialogue continues, mute, through the electronic page projected on the backdrop. The visual ideas are interesting, the rhytm of bodies and scenic resources in perfect balance.

Eugenio Barba interviewed by Festival TAC Valladolid "'Tell me a company which is to track, and a director to follow nowadays ...

-In Spain, Seville Theatre Atalaya, and Peru, the Yuyachkani Theatre. A young director is the italian Giuseppe Bonifati, only 26, who lead the DOO performing arts group Divano Occidentale Orientale in Rome.

with

I met Giuseppe L. Bonifati seven years ago. Between May and June 2008 a large group of actors and musicians from 23 different countries came to Hol-stebro, Denmark, to take part in Odin Teatret’s intercultural production: The Marriage of Medea, directed by Eugenio Barba, with Julia Varley, Tage Lar-sen and Augusto Omolú from Odin Teatret. The performance, woven around the nuptial celebration involved Jason’s family (interpreted by 40 actors from 22 countries) and Medea’s family (33 Balinese musicians and dancers, and the Brazilian percussionist Cleber da Paixâo) was both an open air event and a performance in traditional and site specific spaces. It took the shape of a procession in different cultural and social contexts of Holstebro and the surroun-ding villages, framing a web of relationships and exchanges with different communities, citizens, institutions and environments.

In July 2008 Giuseppe Bonifati took the initiative to gather some of the actors from The Marriage of Medea. The purpose was to develop and continue this activity of “theatre as interference”, both in Holstebro and abroad. Since then, he has been coordinating several projects in collaboration with Odin Tea-tret where he has had the opportunity to hone his skill as actor, director and playwright.

Giuseppe Bonifati is a sensitive artist, eager to learn and proficient in shaping and realising his projects. His affable and social personality and his creative disposition are implemented by a practical capacity to collaborate with artists and people from various milieus in order to shape a collective process. His knowledge of theatre and dramaturgy is astonishing taking in consideration his young age.

I would recommend Giuseppe for the theatre experiences he chooses to pursue in his career field. His knowledge would be a valuable asset.

Yours sincerely,

!

Eugenio Barba

Odin Teatret – Nordisk Teaterlaboratorium | Særkærparken 144 · P.O.Box 1283 · DK-7500 Holstebro · Denmark Tlf. +45 97424777 · Fax +45 97410482 · odin@odinteatret.dk