- The Troupe is heading to produce theatre shows depend on the human power, it believes that the actor is the first thing which matters. Starting from the belief that the human power is the deepest and the most competent in showing and raising the ideas which the Troupe is trying to show and analyze throw its productions.
- The Troupe took for itself a social path which holds a criticized style and a political dimension, it ask questions and try to go through the human inside which is the first step in forming the society.
- The Troupe tries to follow the simplicity in it's play's ideas, but in an artistic context which has to be build on a modern dramatic methods which analyses and combines the facts we live and it's causes, results and details.
- The Troupe is trying to achieve High quality not just of the shape or the kind of the ideas, but of being forerunner in the field of artistic research in the tow levels of Acting, Directing and the other artistic elements, which lead through the perfection of the theatre performance…it holds the experimental obsession in acting methods, and breaking the stereotypes and the clichés, and go through modern acting methods which go with the coming text.
- The Troupe is always experiencing, it's not a place to make success as necessary, but it exists to experience and search for whatever it is creative, innovative and original, away of any other calculations.
2006年に演出家Ramez
Alaswad Nawar Bulbul（ラーミズ･アルアスワド･ナワル・ブルブル）が、シリアのダマスカスで設立したインディペンデント劇団。
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彼らは、人間の力に依拠した演劇作品を創り出すことを目指している。彼らが作品を通して表現し分析しようとする理念を、最も深く最も適格に現し高めるのは人間の力であるという信念に基づき、俳優が最も重要であると考えている。
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彼らは、批判されるスタイルと政治的側面を持って社会と関わる道を選んだ。疑問を投げかけ、社会を形成する最初のステップたる人間の内部に入り込もうと試みる。
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戯曲の理念に関してはその明解さを追求しようとしているが、芸術的コンテクストについては、現代演劇の方法論に基づいて、私たちの生の事実と、その大儀や結果や詳細を分析し組み合わせ、構築しようとしている。
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彼らは、思想の形や種類として質が高いというだけでなく、演技と演出という二つのレベル、およびその他の芸術的要素の研究分野の先駆者としても質の高いものを目指し、完成された演劇パフォーマンスに到達しようとしている。演技メソッドにおける実験的精神を持ち続け、ステレオタイプや決まり文句を打破し、新しいテキストにふさわしい現代の演技メソッドを実践している。
- アル・ハリーフ
シアター・トゥループは、常に経験し続けている。それは必ずしも成功の場ではなく、予測を超えた創造的、革新的、独創的な何かを経験し探し求めるために存在している。
Unbearable Dreams5〜Return
1989-1993 during her studying in the Academy she had many participations in the theater as an actress (Iraq). 2001 The Unstable Balanced" with Dutch group (theater op location,Drang) as second role actress, (Netherlands). 2003 "Figures from Iraq) with Iraqi NAAS group as main role actress, (Netherlands,Japan), also in Asia meet Asia she offered a workshop about the return to Home country.
1989 – 1993年 （イラク）アカデミー在学中に女優として数多くの舞台に参加
2001年（オランダ）オランダのグループ（theater of location, Drang）と共に “The Unstable Balanced”に準主役女優として参加
2003年(オランダ、日本) イラクNAASグループの"Figures from Iraq”に主演女優として参加。また、アジア・ミーツ・アジアで母国への帰還についてワークショップを開催。
a member of Exile theater
a member of Exile theater
After the interim government was established in Afghanistan, Exile Theatre returned to Kabul and set up its first productions – In the Mirror and Garden Party – in Kabul, in collaboration with the American company, Bond Street Theatre in June-July 2003, using a non-verbal, physical, abstract style. Their second production, The Search, was held on October 7, 2003 – Arts Day in Afghanistan. The content of this production talked about the search of mankind for historical formations, the triangle of religion, politics and money, and was also accomplished with a non-verbal style.
Exile Theatre uses different art genres to convey its message and ideas from the artistic schools of realism, expressionism and symbolism. Exile Theatre is primarily a dynamic theater rather than a narrative and static theatre and uses the genres of photography, cinema, dance, acrobatics and sport in its works and training programs. Due to its style and focus, Exile Theatre is alternative and experimental in relation to traditional theater in Afghanistan
Mo-lin WANG, veteran theatre/culture critic, theater director, and performance artist, set up the Body Phase Studio in 1991 to organize the annual international performance art festival in Taiwan. In 1997-1998, in both Beijing and Taipei, he produced a version of Greek Tragedy of Oedipus in Tsou language of Taiwan aboriginal tribe. Before he founded the Body Phase Studio, he summoned three theater groups and organized the production of October (1987), a huge outdoor show in a worn-down warehouse on the beach, realizing the idea of ‘environmental theater’. In 1988, he organized Taiwan’s first “action theater”: Dispel Orchid Island’s Evil Spirit. The years 2000-2006 saw Mr. Wang presenting his performance art in Asia and Europe and working as a writer and director of the Black Hole series presented in Tokyo, Hong Kong, Beijing, Shanghai and Taipei. Other directing credits include A Soldier’s Pay (2004) and Next Hour (2007). From 2005 to 2008 he served as the artistic director of Guling Street Avant-garde Theatre. He has published “The Directors and their Works”, “Chinese Film and Theatre”, “Body and Urban Theatre”
Body Phase Studio is a non-profit organization dedicated to cross-cultural exchange, founded by the artist Wang, Mo-lin in 1991. As its name suggests, Body Phase Studio concerns itself with the body performances expressed in different cultures. It is our wish that body languages as ways in thinking aesthetics be constructed, through dialogues and confrontation of different cultures in their experience of beauty. For over ten years, Body Phase Studio has persisted in offering Taiwanese art communities the best presented art festivals, and has received wide recognition in the performing arts field. Besides, we also endeavor to engage Taiwanese fringe theatre movement in the dialogues with the wider world outside Taiwan.
Born on April 18, 1958, UMA is a member of the Atayal tribe from Jianshih Township, Hsinchu County. He graduated from the Department of Political Science, Political Warfare College. He started to participate in the organisation of performance art festivals in 2000. Releasing No Photography in 2004, he was then invited by the NIPAF (2004, 2006), TIPAF (2004 & 2005), Macau International Performance Art Festival (MIPAF), Making Relationship??!!, Performance: Asia: Program for Chile, Argentina and Uruguay, Open International Performance Art Festival, DaDao Live Art Festival in Beijing and so on. He performed in several theatre works including “Lu Xun 2008”.
Tom is theatre facilitator, director and founder of Clash Theatre Group. He has involved theatre art activities since 1981. His studies and practice have included a wide variety of the people theatre, improvisation and movement art forms. This includes street theatre, forum theatre, puppet show, wheelchair dance, Action Theater, and sound theatre.
He involved in the performance, Unbearable Dreams the series 1-3 which was performed at the Asia Meets Asia International Theatre Festival in Tokyo, Taipei and Hong Kong as actor and co-director (2000 to 2005). His recent directing theatre works are Meet with Godot (2005), Dreaming Landscape (2004) and A Dream Related to New China (2004). He was a guest performer of Hap Py Birthday , works of DA-M (2005). He was a producer of Black Hole 3, and the first Hong Kong Improvised Performance Festival (2005).
Clash is founded in 1998 as an infinitive collective group, includes members of freelance artists, theatrical artists, social worker and members from People Theatre (HK) and The Outcry of Streetwise. Involving in wide range of theatrical activities, such as contact improvisation dance, street theatre, forum theatre, playback theater, shadow puppet dream, sound painting, theatre-in-education and improvisational theatre, Clash explores contemporary theatre art. Societal collective notions and personal ideas are compatible; clashes between formalism and ideology are welcome.