DAY Programme 10 June


11. June 2022



Odin Teatret
Særkærparken 144
7500 Holstebro

see map


12:00 - 13:00


Jana Korb, Germany

Performer and director: Jana Korb
Idea, artistic research, performance: Jana Korb - Acro- batic and dance research: Jana Korb, Stephanie N’Du- hirahe, Hoppe Hoppinsky, Carmen Küster, Flo* Strass, Benjamin Richter, Jennie Zimmermann - Critical Com- panion: Melmun Bajarchuu - Outside Eyes: Stephanie N’Duhirahe, Angie Hiesl - Rigging: Hoppe Hoppinsky

Duration: 40 min. - Performed in English


Aerial performance about circus and body

If I can’t dance to it, it’s not my revolution. With this quote by Emma Goldman, Jana Korb asks herself: How can I be part of your revolution, when I am too hurt to dance? How can I change the world, when I cannot be present? At the moment this “I” is hypothetic, a healthy feeling “I”. But this “I” - as an agent of the art of risk, an agent of circus - is always creating with the knowledge that the situation might change any time.

Jana Korb is interested in bodies, situated between discipline and alternative ability, between circus body and injured body, between adrenalin high and pain: she is looking for the discrepancy between the disciplined, functioning body of the aerial artist - overachieving norms of health and fitness - and the reality that there is no such thing as a “healthy” body. Hence, the mi- crocosm circus, is it just an aspect of our society that bases its norms on physical differences? How can we depict these physical norms by the art of circus? With #AbleBodiesAndStones Jan Korb is searching for a cir- cus of the future.

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Jana Korb is an artist, aerialist, and cultural scientist. She creates and produces aerial theatre and narrative circus, mainly produc- ing performances in public spaces. Jana Korb’s personal style is largely influenced by Czech experimental theatre and its strong tradition of object theatre. As a creator and researcher, she is searching for a circus of the future. Her artistic research leads her to special, forgotten women. She is artistic director of the Luftar- tistik Festspiele Berlin (Aerial Arts Festival Berlin), co-founder of RAW cultural space (Berlin), and now the first chair of the German Association for Theatre in Public Spaces. She lives and works as part of the collective Korb+Stiefel in Berlin Lichtenberg.


14:30 - 16:30

The Splendour of the Ages 


With Francesca Romana Rietti, Jessie Brookes, Dorthe Kærgaard, Alice Occhiali; Maria Porter book presentation “Re-Purposing Suzuki: A Hybrid Approach to Actor Training”


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Knots, Rules to be Unhappily Happy

Itínera Teatro, Italy/Mexico

Actor: Julia Filippo - Director: Else Marie Laukvik
Duration: 55 min.

Performed in English/Spanish/French


According to the Human Rights Commission of the United Nations there are about one hundred million people in the world who live in the streets. Unhappiness is painfully necessary. But what is unhappiness? Can we be sure of somebody else’s happiness or unhappiness? The performance Knots - Rules to Be Happily Unhappy compares our lives with that of Nina, an Italian woman who spent half of her life on the streets. Nina’s story meets the memories of a cheerful childhood. Her torments are connected to her past through that which in psychology are called “knots”. The performance is the space of a memory, of a moment that has changed the direction of a life, transported on a new bed every night. It’s being free, alive and present in every dark corner of the city as a transparent ghost. Through the deep knowledge of herself and an insane irony Nina will reach the mediation among these two opposite feelings. She will reach a happily unhappy life.

About the performance, Else Marie Laukvik writes: “The road, the direction, or the crossing always follow default currents. Sometimes ‘knots’ can create deviations. The crossing in the creation of this performance was beautiful. The waves were strong but not too violent and this sea in which we plunged, presented us with many delicate surprises. Sometimes we were confused and happily unhappy, other times proud and unhappily happy.”

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Julia Filippo, born in Italy, is an actress, musician and teacher. Passionate about languages and cultural exchange, Julia attended performance and directing workshops, studying the Lecoq method and different techniques of physical training, vocal training and dance. She has been actress in several productions of small and large formats in Italy and Europe, touring in Europe, Middle East, India, Central and South America, Malaysia, Japan and Singapore, with companies such as Hidden Theatre, Living Theater and Pontedera Teatro, among others. As a teacher, she develops her activities in communities, with children with disabilities, grandparents, prisoners, and professional artists in different regions of the world. In 2010 she founded her own company in association with artists from Colombia and Portugal. She is a lover of travel, languages and cultures.

Else Marie Laukvik was born in 1944 in Oslo, Norway. Together with Eugenio Barba, she was one of the founders of Odin Teatret. In 1966, Else Marie followed the group to Holstebro, Denmark. Her experiences as an actor are published in The Actor’s Way, edited by Erik Exe Christoffersen. At the same time as she was performing with Odin Teatret, Else Marie worked as director for Teatret Marquez (Denmark), Munin Teatret (Denmark), Teatro Actores Alidos (Italy), Rogo Teatro (Italy), Associazione Culturale Teatro dell’Albero (Italy), Kabaret Wagon (Denmark), Mia & Max (UK). As an actress Else Marie has also collaborated with Teatro Tascabile di Bergamo (Italy) in 1996.

ITÍNERA THEATRE COMPANY is an independent organisation based on diversity. It was created in 2009 in Denmark, and in 2010 established its headquarters in Bogotá, Colombia. In 2013 it opened an office in Barcelona, Spain. Its first performance, metaMORPHEOsis was created in 2010 and 2011, directed by Else Marie Laukvik. In 2012 the company toured in South America. Meanwhile, Itínera also organised theatre workshops. In 2014, Itìnera worked on Knots - Rules to Be Happily Unhappy, directed by Else Marie Laukvik, and presented at Festival of Women for Peace in 2015 and Teatro Casa de Artistas in Bogotá, Colombia. A recent project is the construction of a theatre in Mazunte, Mexico, a self-sustaining eco-construction based on the technique developed by the Earthship Biotecture Academy (USA). A self sustainable project that articulates artistic and environmental practises requires a physical space that doesn’t disturb the natural resources and that allows these goals to take shape in the life of our community.

19:30 - 20:30

I'll Just Say It and See What Happens


Actors: Dorota Glac, Marta Jalowska, Kamila Worobiej Director: Gosia Wdowik
Dramaturgy: Martyna Wawrzyniak - Concept: Dorota Glac, Marta Jalowska, Kamila Worobiej, Gosia Wdowik 

- Text and dramaturgy: Martyna Wawrzyniak - Set and costumes: Marta Szypulska - Music: Jasia Rabiej - Multimedia: ETERNAL Engine - Video: Gosia Wdowik, Martyna Wawrzyniak, Marta Jalowska - Substantive support: Alicja Długołęcka - Foto: Alina Gajdamowicz - Poster: Dorota Glac - Special thanks: Abortion Dream Team, Ciocia Czesia, Iga Dzieciuchowicz and all the people who decided to share with us their abortion experience
Duration: 60 min. - Performed in Polish


Maybe I’d like to do it on my own Maybe I’d like to get some real support

Or maybe some assurance only that I will get it Maybe I know how reality works and I want to face it Maybe I’m pissed off and I will think about

consequences later Maybe I’m prepared and Maybe it’s one of the stages

And maybe I have to tell my mother

Or maybe my daughter Or maybe a lady in a newsstand on Central Station

Or maybe the whole world Maybe I don’t need to tell anyone

But I want to know

That I can (from the script)


Inspiration to create the performance I’ll just say it and see what happens are collective abortion coming outs, such as the French Manifeste des 343 and Wir haben abgetrieben of 374 women in the pages of West German magazine Stern. The focusis mainly onthecollectiveness of the experience, on the solidarity and empowerment of co-feeling. Our aim is to look at the whole spectrum of different attitudes and not to standardise them.


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Marta Jalowska is a performer, curator, educator, activist, feminist, actress, co-founder and member of the feminist group TERAZ POLIŻ. Graduate of H. & J. Machulski Actors School and Institute of Polish Culture (Section for Theatre and Performance) at Warsaw University. Author of “Interwał Pokoju” (2019) (Peace Interval), collective performance made with citizens of Poznan coming from excluded groups such as LGBTQ+ community, migrants, youth from Centre for Education Development. Since 2021 she is a part of the Polish-German-Turkish educational and research project KASSIA. Her activist work is mostly devoted to LGBTQ+ adn BIPOC societies in Poland.

Dorota Glac is an actress, performer, graphic designer, activist, theatre instructor, Master of Arts in graphic design and painting at the Academy of Fine Arts in Łódź. She lives and works mainly in Warsaw, collaborated with other NGOs as Komuna Warszawa, public institutions as Nowy Teatr, Dramatic Theatre, Powszechny Theatre, Theatre Institute, Museum of Warsaw and festivals as Korczak Festival, among others. Since 2009 she is co-founder and member of TERAZ POLIŻ Artistic Group Association and TERAZ POLIŻ BAND.

Kamila Worobiej is an actress, performer, educator and sound artist. Her works are strongly rooted in feminism and the philosophy of deep ecology. Since the beginning of her career, she has been associated with the feminist group TERAZ POLIŻ, which she co-founded in 2009. She worked with Augusto Boal’s method in cooperation with DramaWay. In 2021 she graduated from the School for Social Playwriters organised by Strefa WolnoSłowa Association and Powszechny Theatre.

Małgorzata Wdowik is a theatre director based in Warsaw, working in Poland and Germany. She studied Choreography and Performance at the Theatre Institute in Giessen and theatre directing at the Theatre Academy in Warsaw. She works with amateurs and actors. In her recent performances Fear, Anger and Shame, she worked with the effect and representation of emotions on stage.

Martyna Wawrzyniak is a playwright, author of texts, graduate and lecturer at the Faculty of Drama Direction specialised in dramaturgy of the Stanisław Wyspiański Academy of Dramatic Arts in Kraków. Member and co-founder of the Dramaturgy Studio AST Krakow and co-author of the volume Dramaturgy Guide edited by Iga Gańczarczyk and Olga Katafiasz. She is a graduate of the Gender Studies postgraduate programme at the Institute of Literary Research of the Polish Academy of Sciences.


TERAZ POLIŻ (Lick it now) is the only professional all-female theatre group in Poland, established in Warsaw in 2008 by actresses Marta Jalowska, Dorota Glac, Adrianna Kornecka, Dominika Strojek, Kamila Worobiej and directors Ula Kijak and Marta Miłoszewska (formerly Marta Ogrodzińska). Since the very beginning, its artistic endeavors have been centered on women and femininity. It produces and stages theatre performances, happenings, concerts and performative readings open to the public; it runs theatre workshops and discussions. Since 2015, the group has been engaged in historical research projects aimed at restoring the memory of women who contributed greatly to Poland’s modern-day art and the world’s cultural heritage. The group has embraced non-hierarchical organisational principles as it continues to explore different collaborative structures, both onstage and within the association.

Members: Ilona Błaut, Alina Gajdamowicz, Dorota Glac, Kora

Gałązka, Marta Jalowska, Adrianna Kornecka, Emanuela Osowska, Marta Wesołowska, Kamila Worobiej, Anna Zakościelna

20:45 - 21:45


Keiin Yoshimura, Japan

Performer: Keiin Yoshimura
Duration: 60 min. - Performed in Japanese


Mai is the awakening to soul.
Mai is the prayer for the Supreme.
Mai is the love of the Absolute.
And Mai is the beautiful nature of Japan.
With the Mai we will pray to ‘The One’ that the world
will be a place to live in peace and love.


Kamigata-mai was born and developed in the Kamigata (Kyoto-Osaka) region of Japan in the 16th century. It was based on the dance tradition of Noh and Kyogen, taking some elements from the puppet movements of Bunra- ku. Typically, Noh, Kyogen and Bunraku are performed by men, while the dances of Kamigata-mai are mainly performed by women.


  1. Yashima (15 minutes) is the name of a place where an historical battle was fought in In the dance, a monk crossing the landscape of Yashima sees a ghost of a warrior who had participated in the battle and who tells him how he died.
  2. The musical interlude (15 minutes) is used here to express the quiet tolling of a distant temple bell on a snowy
  3. Yuki (20 minutes) is one of the most popular jiuta The text tells the story of a Buddhist nun who has lived in a nunnery ever since she was disappointed by her lover as a young courtesan. The tolling of a tem- ple bell in the snow reminds her of her past sorrows.


Keiin Yoshimura is a performer, choreographer and art director of Kamigata-mai dance, head of Yoshimura Keiin Kamigata-mai Studio and of Kamigatamaitomonokai, based in Tokyo, Japan. Keiin started to practice both Japanese traditional Kabuki dance and western classical piano playing at 5 years old. In 1974, she graduated from the Musashino University of Music. She has prac- ticed Kamigata-mai with Yukio Yoshimura (5th head of Yoshimu- ra School) and Kisho Yoshimura (6th head), Noh Theatre with the great master Hideo Kanze and Izumi Mikawa (one of the living national treasures of Japan), and the traditional martial arts Ken- do and Kyudo. In 2000, she started the “Japan-India traditional performances exchange program” and since 2011 she is a Yoga Sironami (a teacher of yoga) and a teacher of Motoyama Merdien Exercises for Ki Practice.


22:00 - 22:45


Work in progress Deborah Hunt, 
New Zealand/Puerto Rico

Performer, theatre maker, puppeteer and text: Deborah Hunt
Duration: 50 min. - Performed in English

An unsuccessful clairvoyant travels, carrying all her be- longings with her. She has a letter of recommendation but no one to give it to. A concern is extinction; another is the next meal. What do the cards hold for her?

This work is an experiment for Deborah Hunt exploring a new kind of mask and some uncooperative puppets.



Deborah Hunt is a specialist in the building and theatrical use of masks and puppets; puppeteer and performance artist since 1973 creating and presenting original theatre works and workshops in many parts of the world. She is the director of Maskhunt Motions, a nomadic laboratory of the performing object. Born and raised in New Zealand, she has resided in Puerto Rico since 1990 where she has created the 1st and 2nd Festivals of the Theatrical Mask, The Encounter of the Performing Object, Caminalumina: 1st and 2nd Festivals of Light and Shadow, and Sobre la mesa, a small format adult puppetry challenge now in its 13th edition. She de- scribes her work as theatre of the futile and useless and interest- ed in performing in unconventional places and to very intimate audiences. She has written and illustrated Puppets, Puppetry and Gogmagog (a manual of puppet building) and Masks, Masked Faces (a manual of mask making).

21:00 - 21:40

Song / Jeux



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