DAY Programme 7 June


07. June 2022



Odin Teatret
Særkærparken 144
7500 Holstebro

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Performing Presence


Jill Greenhalgh, UK

Presence is what all artists, all directors, strive to un- derstand and manifest; it is a lifetimes quest; it is what makes what we do, work. But what is it… and how do we achieve it? It’s not what we do, it’s the way that we do it. How do we know when we are truly ‘present’? How do we sustain the engagement of our audience?

In the three-hour class at Transit 10, Jill Greenhalgh will try to share some of the exercises, reflections and processes that she has developed over the years when working with actors and students in the making of per- formance. The class will touch on basic embodied prin- ciples that might invoke the mysterious ‘thing’ we call presence.

Jill Greenhalgh has been a professional theatre maker since 1978. Her career as a performer, director and producer has primarily fo- cused on experimental physical practice. The specific interest in the performance work being developed by women resulted in the foundation, in 1986, of The Magdalena Project. She has toured her own performances, and led workshops, extensively within Europe, Australasia and the Americas, throughout these years. As direc- tor and producer her most recent performance projects include: The Acts—Vigia, a performance project created as a response to the murders of hundreds of young women in and around the US Mexico border town of Juarez, The Threat of Silence and The Book of Space which investigated quietude and landscape in perfor- mance and Daughter, a project made with local communities of performers and non-performers focusing on personal stories of mother and daughter relationships. Jill was full-time Lecturer in Performance Studies at the University of Wales, Aberystwyth (2002–16), specialising in devised physical performance, women’s theatre and actor training. She and her dog live on the west coast of rural Wales.


Splendour of the Ages


with Teatro Nucleo (Cora Herrendorf, Natasha Czertok, Veronica Ragusa), and with Protagon E.v. (Bárbara Luci Carvalho) and TERAZ POLIZ on the “Women Performing Europe - The Magdalena Pro- ject Across Borders”, an Erasmus+ project


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Walk the Clothesline - a Cabaret

Teatret OM, Denmark

Actors: Tippe Molsted, Sandra Pasini, Annemarie Waagepetersen
Director: Sandra Pasini
Set design and costumes: Antonella Diana - Assistant director: Jori Snell - Musical consultant: Håkon Berre - Technician: Maximilliano Bini - Production: Teatret OM

Duration: 40 min.
Performed in Danish, Italian and English


Three women fantasise themselves away from their everyday chores and turn laundry into a fairy-tale-like cabaret. A clothesline is stretched out to hang laundry in many colours and sizes. The clothes come alive: a tablecloth becomes a table, a shirt is pulled over an arm and suddenly becomes a man, a scarf is wrapped around a hand and becomes a child. Music and dance from the women’s youth leads the audience down memory-lane with screaming Elvis fans, synchronised swimming, and rock ‘n roll. The music has its roots in the 50s, 60s and 70s; and is partly recorded songs, partly live music played and sung by the actresses.

The performance was created during the COVID-19 pandemic, and since August 2020 it has been played in old people’s homes and activity centres, in community centres, theatres and urban spaces.


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Sandra Pasini is a director, actor, musician, artistic leader and co-founder of Teatret OM in 1989. For more than 30 years, Sandra Pasini has developed concepts and ideas for theatre, covering site-specific performance, clown and physical theatre, theatre concerts, parades and more. Since 1993, she is a member of the theatre network group Bridge of the Winds, led by Iben Nagel Ras- mussen. Sandra began playing theatre in 1979 when, at 15 years old, she was accepted as a member of Teatro dell’Arco. Born and raised in Italy, Sandra has been living in Denmark since 1996.

Antonella Diana is a visual artist, set and costume designer and co-founder of Teatret OM in 1989. Antonella graduated at Rome’s Art Academy. She is a Tai-chi master, a member of the Bridge of Winds directed by Iben Nagel Rasmussen. Born and raised in Italy, Antonella has been living in Denmark since 1996.

Annemarie Waagepetersen is originally a trained classical musi- cian, and now is an actor, musician and coordinator at Teatret OM. She joined the group in 2001. Annemarie is also a committed pro- ject maker in relation to cultural barter and theatre as a platform for social interaction. As a performer, she likes to move in the borderland between theatre, music and installation in a search for new expressions and new forms of contact with the audience. Since 1999, she is a member of the Bridge of Winds, led by Iben Nagel Rasmussen, Odin Teatret.

Tippe Molsted is a storyteller, singer, actor and teacher. Since childhood, she has narrated oral stories, sung ballads and danced and played music. Since 2013, she has worked with Teatret OM in Ringkøbing and since 2019, she is a teacher of traditional singing at SDMK - Syddansk Musik Konservatorie in Esbjerg. She is one of the founders in 1989 of the Bridge of Winds, led by Iben Nagel Ras- mussen. Since 1995, she has worked with Miguel Utreras from the Ethnic Performing Arts Laboratory in Norway.

TEATRET OM is an international theatre group founded in Rome in 1989. In 1996 the group moved to Denmark and since 2006 it is a regional theatre based in Ringkøbing. Teatret OM produces per- formances for adults and children, street parades, installations and workshops, touring in Denmark and abroad. Every three years Teatret OM organises an international theatre festival in Ring- købing-Skjern.



Laboratorio Internacional Teatro Residui, Spain

Actor: Viviana Bovino Director: Gregorio Amicuzi
Text and choreography: Viviana Bovino - Choreographic creation: Viviana Bovino, Denis Lavie

Duration: 55 min. - Performed in English


Four levels of language are woven by Penelope in the performance: dance-theatre, storytelling, aerial dance and singing. The research process stems from Viviana Bovino’s proposals directed by Gregorio Amicuzi. This project is inspired by the work method Cuerpo en vuelo created by the Colombian choreographer, Marta Ruiz. This performance is also an homage to her. It is the sto- ry of a woman suspended in waiting. Penelope begins a journey similar to her partner’s Ulysses quest. Since Ulysses left, Penelope waits, dreams, remembers and weaves. Penelope represents a battlefield of love and war. Penelope’s journey is that of the unbridled flight of the imagination that speaks about the circumstances and consequences that war and conflict bring. When Ulysses returns, he says: “Dear Penelope, my beloved woman, tonight in Itaca with you at my side, I face the hardest of tests. You don’t recognise me. … Nothing is real if you don’t believe me. My life is in your patient hands, in your face hardened by a static waiting, my dream is in your broken heart.”



Viviana Bovino (Italy/Spain) is an actress, dancer, teacher, and one of the founders of Teatro Residui. Her work transits between dance, theatre, and singing. She is also the author of various ar- ticles, poems, and texts for Teatro Residui’s performances. Since 2013, she became a disciple of Keiin Yoshimura (Kamigata Mai To- monokai), studying Kamigata-mai dance, Noh theatre principles, Kyogen theatre, and practising the Tea Ceremony. Since 2013, she is part of The Magdalena Project network and in 2021 she organ- ised the first Magdalena Festival in Ayllón, Spain.

Gregorio Amicuzi (Italy/Spain) is the director of Residui Teatro, of Territorios Teatrales Transitables, and of BRIDGES Internation- al Theatre Residence. In 2014, he was Eugenio Barba’s assistant director for Clear Enigma, presented at Odin Teatret’s 50th an- niversary. He has trained with different Italian and international teachers, focusing especially on the work of stage presence.


in 2000 with Gregorio Amicuzi as its artistic director. The group travels to Spain in 2007, where in 2009 they create CAAE, Centro de Artesanía de las Artes Escénicas, establishing themselves in Ma- drid. Teatro Residui devises, creates and cooperates with different artistic, cultural and social communities. The three main focuses are production of performances, teaching and socio-cultural pro- jects. In the last 20 years they have produced more than twenty performances, creating their own teaching method giving work- shops and master classes. From 2020 and in 2021, Teatro Residui helped realise the Master’s Degree Actor’s Atelier organised by the Grotowski Institute (Poland) and directed by J. Fret (director of the Grotowski Institute). Gregorio Amicuzi and Viviana Bovino are part of the teaching team in this master’s degree.


Gallop: In Dialogue with Leonora Carrington

Teater Viva, Denmark

Idea, dramaturgy, staging and performance: Katrine Faber
Duration: 70 min. - Performed in English


The performance is a musical theatre montage inspired by works by the surrealist author, painter and ecofem- inist Leonora Carrington, UK/Mexico. The performance dialogues with the dead Leonora and lets her talk about her life in a magical universe, where the boundaries between humans and nature, animals and humans, be- tween the sexes and ages, between the dead and the living, are more open and fluid than we often allow. With the help of Leonora’s visions, Katrine Faber explores other ways of seeing and experiencing the world. The texts are woven together with electronic voice images, forming a trembling flowing sensuous web of words and sound.

Leonora Carrington is extremely actual in a contem- porary context of climate crisis, global epidemic, land sliding societal systems, gender debates, dystopias and utopias. Together with her, we hear the animals talking and gallop into a surprising landscape that opens our senses and sensations to the unimaginable.


Katrine Faber was born in 1963. She is an actress, storyteller, singer, composer and director, and has performed in as different places of the world as Mexico, Nepal, Spain, Tuva in Central Asia, Uzbekistan and isolated places in the North of Scandinavia. She studied with the Istituto di Arte Scenica in Italy and with Roy Hart Theatre in France and with Nadine George in London. In the last twenty-five years she has worked with different forms of theatre with a special focus on voice work.

TEATER VIVA was founded by Katrine Faber in 2006 in Denmark. Teater Viva performs for children, young people and adults in Denmark and abroad, and explores the interaction between per- former and public, space and body, silence and sound. The per- formances of Teater Viva are characterised by the meeting of ex- pressive physicality and the use of the human voice in all possible and impossible ways.


No estoy sola (I am not alone)

Teatro La Candelaria, Colombia

Performer and director: Patricia Ariza

Audio-visual production: Francesco Corbelletta - Assistant: Carlos Satizábal - Set design: Jorge Ardila - Lighting design and technical support: Carlos Robledo Puppet: Johnathan Rodríguez, Tropa Teatro Pereira - Clothes animation: Cecilia Traslaviña, Simón Uribe Special thanks: Grupo de Teatro La Candelaria, Corpo- ración Colombiana de Teatro, Escuela de Mujeres de la Corporación Colombiana de Teatro, Nohra González, Ximena Cuervo, Movimiento Social de Mujeres.
Duration: 30 min. - Performed in Spanish


A one-woman show by Patricia Ariza, presenting the leaders and women who have died for thinking and giving their opinion differently, for defending the land where they live, or for looking for a place to live in this large and foreign country that ignores them because they are poor and brave.

This work is enormously influenced by the hundreds of event-performances directed by Patricia Ariza with the use of non-verbal languages and video as an undenia- ble witness of time and space. The video shows actions in the street and the endless lists of names of men and women who are murdered every day. And never ending list, which never stops.

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Patricia Ariza is a founding member of Teatro la Candelaria, based in the Candelaria neighbourhood of Bogotá. She is an actress, director, poet, playwright and an activist for peace and for the women’s move- ment. Patricia is currently the director of Teatro La Candelaria. She is president of CCT (Corporación Colombiana de Teatro) which was founded forty-five years ago in Bogotá for the development of the movement of innovative Colombian theatre. It organises the Alter- native Theatre Festival and the Festival Mujeres en Escena por la Paz (Women on Stage for Peace). She organises the Alternative Theatre Festival and the Festival Mujeres en Escena por la Paz (Women on Stage for Peace) and supports the movement of Artists for Peace, the creation of poetic memories concerning the social armed conflict af- flicting Colombia, and the common creative work of victims and art- ists. Besides her work with La Candelaria, Patricia has directed other theatre groups like Rapsoda, Gotas de Rap, Travesía, Flores de Otoño and Tramaluna. Patricia Ariza has written various books, amongst which Habitar el cuerpo, Habitar la calle, Hojas de papel volando, Te- atro Patricia Ariza. Patricia has been part of the Magdalena network for many years and in 2006 she organised the Magdalena Antigona Festival in Bogotá.

Carlos Satizábal is a poet, writer, playwright, actor and theatre direc- tor. He is associate professor at the National University of Colombia, where he directs the Master programme in Creative Writing and is a researcher at the Centre for Thought and Action for the Arts and pro- fessor at the School of Film and Television. He is an activist for peace in Colombia. He works with the Corporación Colombiana de Teatro as curator of the Alternative and Women on Stage Festivals and as an actor and director of Tramaluna Teatro. He has published theatre, po- etry, chronicles, essays; and writes articles and columns on art, peace and politics in the press and on social media.

Francesco Corbelletta Patiño is a video and filmmaker with empha- sis on new technologies working for Universidad Nacional de Colom- bia, Bogotá́. He has coordinated the audio-visual documentation of various theatre festivals and meetings. He has designed, produced and edited more than 300 theatre performances in venues of differ- ent cities in the world.


TEATRO LA CANDELARIA, founded in 1966, is a group that creates per- formances and is engaged in systematic theatre and social context re- search. Since 1967, themes, situations and characters from the national reality adopted by Teatro La Candelaria produced a phenomenon of public mobilisation and a massive interest in its work, making it a milestone in Colombian and Latin American theatre. Teatro La Candelaria has received numerous international awards and recognitions throughout its history. A constant concern of this group, thanks to the tenacity of the founder San- tiago García and the permanence of its members among whom Patricia Ariza, is the research work and the creation of works of national drama- turgy, as well as the methodology of Collective Creation. La Candelaria today, after more than half a century of life and work, remains a group with a systematic dedication to theatre, creation and research.


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