mardi 19 mai 2015

Bio & Videos Roberta Carreri / ODIN Teatret

About Roberta CARRERI

 Roberta Carreri is an actor, teacher, writer and organiser. She was born in 1953 in Milan, Italy, where she graduated in Advertising Design and studied Art History at the Milan State University. She joined Odin Teatret in 1974 during the group's stay in Carpignano, Italy. Roberta Carreri has taken part in ISTA (International School of Theatre Anthropology) since its beginning in 1980, coming into contact with performing techniques from Japan, India, Bali and China. This has influenced her work as an actress and teacher. From 1980 to 1986 she studied with Japanese masters such as Katsuko Azuma (Nihon Buyo dancer), Natsu Nakajima and Kazuo Ohno (Butoh dancers). She gives workshops for actors all over the world and presents, as a work demonstration, her professional autobiography, Traces in the Snow. She organises and leads the annual international workshop Odin Week Festival in Holstebro and abroad. In 2009 she directed Rumor with Cinzia Ciaramicoli for Masakini Theatre Company (Malaysia). Her professional experiences are presented in The Actor's Way, edited by Erik Exe Christoffersen. Roberta Carreri has written her own book Tracce (published in 2007 by Edizioni Il Principe Costante, Milano (in Italian); in 2012 by Editora Perspectiva, Brazil (in Portuguese) and Ed. Artezblai, Spain; and Triskel Artes Escénicas, Chile (in Spanish); in 2013 by El Apuntador Ediciones, Argentina (in Spanish); in 2014 by Routledge, UK/USA (in English), in which she relives the most relevant aspects of her theatre life - her training, pedagogy and her story as an actress of Odin Teatret. Her articles have been published in journals such as New Theatre Quarterly, Teatro e Storia, Máscara, The Open Page and Performance Research.





 
Odin Teatret was created in Oslo, Norway, in 1964, and moved to Holstebro (Denmark) in 1966, changing its name to Odin Teatret/Nordisk Teaterlaboratorium. Today, its members come from a dozen countries and three continents.

Odin Teatret/Nordisk Teaterlaboratorium's activities include: Odin's own productions presented on site and on tour in Denmark and abroad; "barters" with various milieus in Holstebro and elsewhere; organisation of encounters for theatre groups; hosting other theatre groups and ensembles; teaching activity in Denmark and abroad; the annual Odin Week Festival; publication of magazines and books; production of didactic films and videos; research into theatre anthropology during the sessions of ISTA (the International School of Theatre Anthropology); periodic performances with the multicultural Theatrum Mundi Ensemble; collaboration with the CTLS, Centre for Theatre Laboratory Studies of the University of Århus; the Festuge (Festive Week) in Holstebro; the triennial festival Transit devoted to women in theatre; OTA, the living archives of Odin Teatret's memory; WIN, Workout for Intercultural Navigators; artists in residence; co-productions; children's performances, exhibitions, concerts, round tables, cultural initiatives, transformative processes and community work  in Holstebro and the surrounding region.

Odin Teatret's 50 years as a laboratory have resulted in the growth of a professional and scholarly milieu characterised by cross-disciplinary endeavours and international collaboration. One field of research is ISTA (International School of Theatre Anthropology) which since 1979 has become a performers' village where actors and dancers meet with scholars to compare and scrutinise the technical foundations of their scenic presence. Another field of action is the Theatrum Mundi Ensemble which, since the early 1980s, presents performances with a permanent core of artists from many professional traditions. Under the name of Nordisk Teaterlaboratorium, younger artists and groups that are closely connected to Odin Teatret's history and experience develop their artistic autonomy in the form of residencies, co-productions and local activities.

Odin Teatret has so far created 76 performances, performed in 63 countries and different social contexts. In the course of these experiences, a specific Odin culture has grown, founded on cultural diversity and the practice of "barter": Odin actors present themselves through their work to a particular milieu which, in return, replies with songs, music and dances from its own local culture. The barter is an exchange of cultural manifestations and offers not only an insight into the other's forms of expression, but is equally a social interaction which defies prejudices, linguistic difficulties and differences in thinking, judging and behaving.

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