- What can theater do in such a landscape of ideals and hazards? The instinct of the actor has a lot to do with the poetics of LUCK, with a sense of place and of the occasion.

The Festival has become a convivial and high level international gathering of artists, thinkers and friends (between 12 and 82 at the last festival !)

Direction : Enrique Pardo and Linda Wise

In collaboration with
Centre Artistique International Roy Hart

Univ. of Central Lancashire UK.
School of Film, Media & Performance. Dr. Amy Rome

Les membres du Laboratoire de Théâtre Chorégraphique de Paris

Remerciements à la Mairie de Lasalle et à la Mairie de Thoiras

EDITORIAL Enrique Pardo

Luck is a talisman that can open the gateways to two crucial notions in the performing arts: magic and shamanism. Roberte Hamayon, the emeritus great lady of Sorbonne shamanism, brought luck back into the fore when she quipped at a doctoral student nit-picking on definitions of shamanism; she sentenced: “You are a shaman as long as your luck lasts.”

I was sitting next to her and practically fell off my chair! As far as I am concerned, her ‘verdict’ went straight to the core of performance – certainly the way I wish to practice it in a choreographic theatre. She said it in French: ‘as long as your chance lasts’. Chance makes matters even richer because it involves action and acting: you take a chance (risk), you take your chance (opportunity). But then, what to do when luck 'falls' on you (the etymological root of chance)? You come to this festival, obviously!

Luck becomes a skill of the highest and most acute sensitive order. It joins up with other god-terms like karma, spirit, fate, consciousness, kairos - and especially sagacity (more on that soon). Hamayon sums these dimensions of luck in the title of her main book: La Chasse à l’Âme – Hunting for Soul. What else are we doing in our performance laboratories other than “hunting for soul”? No soul: no luck, no quality, no art. Hamayon places the Siberian origins of shamanism in the luck factor when hunting animals. Notice the proximity between anima (the Latin for soul) and animal. Luck entails a soul ‘commerce’ with animal spirits: intuitive give and take moves with the keenest sense of ethical (and ecological) values regarding the very necessity to kill.

Death tempers, for sure, and weighs down the ‘happy go lucky’ connotations of luck. Puzzled friends, at first, saw luck as superficial, light and haphazard. In its magic (i.e. sympatheia) dimensions, luck simply ‘knows better’ than us - certainly in complex performance work. Animals, like weathered performers, are lucky because they “nose” it. But, on the other hand, we also know/nose the terrible shadows bad luck can bring: human misfortune, random injustice, despair. All our ‘work in progress’ projects (to be presented at the festival), address the sobering undertones of luck, from schizophrenia to, especially, cancer.

The aim is to ‘cultivate luck’, to refine both the knowledge and ‘nose-ledge’ of our chances, in order (and in disorder) to make the right (and wrong) moves. To ‘shamanize’ i.e. to move luck and performance into poetic justice.

Check the BLOG for more articles related to the Festival and to LUCK

A Workshop-Festival

13 days with 4 half-days rest. 7 hours workshops per day, plus evening lectures and performances.
Possibility of partial participation

PLANNING

arrivals Monday June 17, departures Monday July 1st morning

first appointment for work Tuesday June 18 at 9:30 am

Closing time Sunday June 30 at 5:30 pm

9:30 - 10:15	Mouvement
10:30 - 13:00	Enrique Pardo - laboratory sessions
14h30 - 17:30	Linda Wise - master classes and small group coaching
evenings	lectures, debates, performances

Enrique Pardo : Choreographic Theatre

Mornings : laboratory sessions with the contribution of different teachers and invited musicians.

Linda Wise : Voice Performance

Afteroons : Voice work in two periods : work all together, division in two or three groups with different teachers for individual work.

Working TEXTS

Participants are asked to chose and bring a text of minimum 200 words learnt by heart.
The work starts with the fantasies and realities of this choice - the text you chose is in many ways your working artistic contract, the challenge you give yourself and bring to the work.
The choice of text is free: it does not have to be a theatre text. Best in English or French for general comprehension (but also Spanish and Italian.) Avoid texts that are too poetically condensed or linguistically complex. We encourage contemporary texts.
Finally: The better one knows one's text 'by heart', the freer one is... to free the text, to let it play.

Check www.pantheatre.com/pdf/2-texts.pdf for advice.

Advice on using the workshop sessions towards performance devising:

most important: make a carefull choice of a working text. See opposite column.
consider making VIDEO recordings of your working (and feedback) moments. Think of it as archive homework. Even do some study during the festival (time will be short.) Technically: film with iPhones, iPads, mobiles, or bring your camera. Pantheatre's camera will be available: SonyHiD handycam, with tripod. Advice: bring your own memory card. Best if you can download it on your computer to see it on proper screen.
bring any elements you might want to try: costume especially, musical instruments, scenographic objects, make-up, etc. Animals welcome (consult us).

INFORMATION & REGISTRATION

Registration to this festival event is done directly with PANTHEATRE (and not through the Roy Hart Centre's registration form.)

Price
     950€
     800€ professional workshops participants 2018 2019
     650€ active members and under-26

Partial participation. Consult us.

Registration : Email to PANTHEATRE. Include a brief CV and a letter of motivation if you have not worked with Pantheatre.

Confirmation - Deposit : if your request is accepted, your place will be reserved. It will be confirmed on reception of a deposit of 200€ to “Pantheatre".

Deposits can be returned up to one month before starting day, with a 50€ administration costs deduction.

Short visits : 90€ per day.

Payment - see: http://www.pantheatre.com/pdf/payments.pdf

Lodging - Important to book soonest. The Roy Hart Centre has lodging for 20 persons which fill very quickly. Check the Roy Hart Centre information page

Contact-us for other possibilities, including shared rentals. Or shared travel.

Check the Camping Filament (20 minutes walk). Note: the camping used to be called La Pommeraie and was bought (with local opposition) by a franchise chain. The website image is dreadfull. We checked and it is fine, especially bungalows in calm green areas, and very convenient, with a swimming pool - and it is not at all full before July 15 full season.

If you check AirBnB or similar, check for : Thoiras area, or nearby Lasalle - post codes 30140 30460. (You might need to have a car for this.)

Travel - Via Nîmes, Montpellier or Marseille OR Barcelona (less than 4 hours). Paris Nîmes super train is now below 3 hours!

Best access is from Nimes station : bus to Thoiras Gare (where we will come fetch you, 10 minutes by car).

check http://www.pantheatre.com/pdf/buses-trains.pdf

and information on the Roy Hart Centre site


Teachers / Lecturers / Guest Artist 2018 ARCHIVES Références
Enrique Pardo	Director, focusing this year on theatre and divination, a take that ranges from pre-socratic shamanism to neoplatonism to contemporary re-assesments of ecology and of magic (including Cubism - as in Cuba).
Linda Wise	Artistic co-director, actress, voice and singing teacher, very drawn to Brasil for its music and singers... "mainly because of Africa" (she was born in Kenya).
Paris Laboratory	Enrique's 2016/2017 Paris Laboratory included two strong references: the role of the *Background Vocalists* (voices that know better), and texts by Giulia Sissa from her book on *Jealousy*.
Anna Griève	Writer, has lectured with Pantheatre on fairy tales, and performed in The Twelve Brothers by the Bothers Grimm. This year she will present and analyse the story of *Melusine*.
Amy Rome	Professor at Central Lancashire University, singer, PhD and Pantheatre collaborator, with a background spanning from rock and Atlantic City to Heidegger and phenomenology.
Pierre-François Blanchard	Pianist, composer, performer. Travelling musician with Raphaël Humbert, and fortunate to have been the accompanist of the great, and recently departed, Pierre Barouh.
Daniela Molina	Actress, movement and voice teacher, Parisian from Chile. She will present a sybillic solo recomposition of her two performances with Pantheatre - and an awesome oracle : The Black Box. Friday June 22 at 19:00
Michaëlla Gallozzi	Actress and clown teacher - working on a performance including Count Dracula and his pagan library. Member of the Paris Laboratory.
Didier Monge	Musician, composer, sound-engineer and producer - and webmaster. Assistant musical director of the Paris Laboratory.
Véronique Taconet	Performer, vocalist, was part of Pantheatre's Alchemical Theatre project (early 1990s) making a comeback now that her son is a star student at the Geneva dance school.
Klaus Fiescher	Long time member of Pantheatre's summer Oracular Orchestra (Music that knows better) - including awesome Bremen-Burma-Vodou base clarinette!

LUCK

Chance (français) - Suerte (español) - Fortuna (italiano).

Further Landmarks :

- "You are a shaman as long as your luck lasts", Roberte Hamayon; chapter on Hunting the Soul (!)

- The Greek simpateia, the figure of daimon and the rehabilitation of magic: Xavier Papaïs.

- C.G. Jung and W. Pauli : Dialogues on Acausal Synchronicity. Michel Cazenave (recently deceased) led the debates (the first to invite James Hillman to France): Psychology and Quantum Theory.

- Serendipity : a happy synchronicity

The unfortunate one : cancer. The crab waits to hear how we speak of luck and psychosomatics...
(See the articles under the heading Shamanism and Algorithms, on the Blog.)

What can performance do in this landscape of hazards and ideals ? Return to the laboratory to ... cultivate luck.

Liza Mayer never came back from a walk without at least one four-leaf clover. Note, we can also be alarmed by that fourth leaf ...

When ‘lucky’ (i.e. with panic spontaneity), repetitions can be magical. See The Theatre of Sexuality

June 18 to 30 2019

A Workshop-Festival

PLANNING

INFORMATION & REGISTRATION

Teachers / Lecturers / Guest Artist