workshops
Workshops
BRANDON LAGAERT
current dancer Peeping Tom Company
MARIGIA MAGGIPINTO
from TANZTHEATER WUPPERTAL Pina Bausch
TOMER NAVOT
Sharon Fridman practice INA
LAURA FRIGATO
from PARC Company
EDUARDO TORROJA
from ULTIMA VEZ Company
BRANDON LAGEART
current dancer Peeping Tom Company
Brandon Lagaert joined Peeping Tom for the creation of Vader, and has also created Moeder, Kind, Dido & Aeneas and La Visita. It is at the company that he has crafted his signature style as a multidisciplinary performer in which he combines elements from different disciplines, such as urban and contemporary dance, theatre, and film.
As the director of his dance-theatre company KAIHO, Brandon has directed and created various productions for professional companies as well as conservatories such as the award-winning performance Doggy Rugburn for Lithuanian dance company Aura, Welcome To My Funeral for Italian dance company Equilibro Dinamico, Next Stop with the students of the Amsterdam University of the Arts and Oni Wa Soto with the students of Civica Scuola di Teatro Paolo Grassi in Milan.
Brandon is also a recurring teacher at the PERA School of Arts in Cyprus where in 2024 he made the award-winning short film The Currency Of Time in collaboration with the students. He is often invited as a teacher of choreography, dramaturgy and movement classes at institutions such as P.A.R.T.S., The Royal Conservatoire of Antwerp, Institute of the Arts Barcelona, Fontys Academy of the Arts in Tilburg, École du Nord in Lille, Performact in Portugal, Architanz in Tokyo and many others.
With KAIHO, he is currently focused on touring the newly created duet Facing Familiar Faces and fostering long-term artistic relationships with the Portuguese circus artist Rui Paixão whom he collaborated with in 2023 for the site-specific production Abandoned Minds and Korean dancer Seungkwan Yang who he collaborated with on the solo Mille Moules in 2024.
MARIGIA MAGGIPINTO
from TANZTHEATER WUPPERTAL Pina Bausch
She began her professional career with the ballet company in the Foundation Niccolo’ Piccinni (J. De Min / Roberto Fascilla). In 1985, she participated in the international tour with the dance company of “Danzatori Scalzi” of Rome, and took part in the movie ” Il Giovane Toscanini ” of F. Zeffirelli.
She had studied in Rome with Viola Faber, Libby Ney (tecn. Limon) Andre’Peck, Roberta Garrison (tecn. Cunningham), Richard Haisma (Nikolais) Mudra ( Bejart), Matt Mattox (Jazz) e Martha Graham. She had participated in the creation of the performance by Giorgio Rossi (Stop Palmizi / Carolin Carlson) at the
Festival of Polverigi. She had studied the techniques of Jean Cebron (composi- tion/ improvisation), Hans Zullig (tecn. Joss) at the Folkwang Hochschule in Essen (directed by Pina Bausch).
She had danced with Pina Bausch in 14 different choreographies and had parti- cipatedin the new creations of the German choreographer: Tanzabend II (’92),
Schiff (’93), Trauerspiel(’94), Danzon(’95) and Fensterputzer(’97). She left the company in 1999 but later returned as a guest participating in the festival Tanzteather (2000, 2001, 2002). In the United States, she participated in the creation of a theatral work with the company Mutation Theater Project, and teached in the faculty of “American Dance Festival” at Duke University (2003, 2004, 2005). She also worked with Emilia Romagna Teatro (ERT) in the performance directed by Pippo Delbono, “Dopo la Battaglia”, winner of the UBU Prize as the best 2011 Italian theater performance.
She worked in collaboration with Pina Bausch Foundation giving workshops in occasion of two big expositions dedicated to Pina at the Bundeskunsthalle in Bonn and at the Gropius Bau in Berlin (2015-2016). She created a solo in a project/ residence , sponsored by circo Vertigo in Turin by the title “ two but not two “ (2019) and her last work directed by Chiara Frigo “Miss Lala al circo Fernando Production of Opera Estate festival Bassano del grappa and Zebra culture zoo (2021). She now works as a freelance giving workshops and master classes in Italy and Europe.
TOMER NAVOT
SHARON FRIDMAN PRACTICE INA
“INA wants to focus her attention to the territory that her body serves to the other, or to the space around her. INA has a clear approach to the surface she gives or uses. INA controls and searches for freedom in her corporal node. INA is sensible to tact. INA is my Mother and my way to understand the movements of my body.
As a child, I lived planning our daily movements and fisical needs to be able to advance in space with another body, to keep control and, on the other hand, to try to be as natural as possible.
My mother, INA, lives with the sindrom Arnold Chiari and needs a reference to be able to recognize the position of her own body. After years of creating choreographies based on my research of balance and its manipulation, trying to control my passion for the potential that hides in the connection between bodys, and developing as an individual my sensibility to gravity and tact, I’m happy to finally give it the name of INA: The sense of my Balance.
The focus of this language is placed on the concept of gravity, on digging deeply into this matter, on discovering its most unexplored aspects. How is my body capable of manipulating the weight of the other? What are the active centres that allow me to carry out this manipulation? What new forms of movement can I generate from there?
On the other hand, to these questions we must add the energetic expression that shapes the bodies, because it never goes unnoticed in the creative processes. Movement implies the transmission of an element with which it has previously been connected… I move as a direct expression of what happens inside me, not as a tool of expression, I move out of an internal and irreversible need.”
Sharon Fridman
LAURA FRIGATO
from PARC Company
TO CREATE TOGETHER || IN-COMMON
Rhythm and listening are fundamental notions of our work. As core elements of structure and relation, they will be excercised in order to ‘awaken’ a certain kind of quality, presence and perception. The session will deal with the comprehension on how these ingredients can define one’s own identity inside a group, and with ways to reassess the individual responsibility in relation to the collective.
Which means do we employ in order to create in common, knowing that each one of us holds the skills to reach the same objective?
How do we measure the value of an act and the repositioning in space, in their relation to the group?
Which part of us do we need to strenghten in order for the creative process to maintain the objective consideration of ‘working’ together, in common?
To delve into the specific traits of these issues we may need to take a closer look into one or more elements from performances such as MayB, Umwelt and Bit.
EDUARDO TORROJA
from ULTIMA VEZ Company
The workshop will focus on the energetic and physical repertory vocabu- lary from the three first pieces of Ultima Vez: “What the Body Does Not Remember”, “Les Porteuses de mauvaises nouvelles” and “The weight of a hand”.
It is about movement “as a theatrical act”. Participants will follow the crea- tion process going from the origins of the material, the working transitions until the final performed results.
This vocabulary will be also the starting point to a guided development of the participants’ own choreographic work. Creating their compositions through the form, the emotion, the strong theatrical atmosphere and the intention of the proposed material.
We will explore and confront this material through improvisations,
floorwork, contact and partner work, group forms and objects’ manipula-
tion. To arrive to this vocabulary will also be the starting point with a wide
range of concepts such as: tension, instinct, chaos, sensuality, risk, trust,
protection, dependency, power, strategies, neutrality, physical extremes.
International GUESTS
Each month the program hosts international guests for one full week. This season we are proud to host 10 international choreographers who will contribute to the professional and artistic growth of the trainees.
BRANDON LAGEART
current dancer Peeping Tom Company
MARIGIA MAGGIPINTO
from TANZTHEATER WUPPERTAL Pina Bausch
TOMER NAVOT
Sharon Fridman practice INA
BOOK YOUR AUDITION NOW
Complete your application now by filling out the online form
Apply for your audition
Admission is subject to invitation. To apply to the program, candidates are asked to go through an audition consisting of a contemporary dance lesson, a choreographic class, and an individual interview with the staff. Participating in the audition is free of charge.