We will welcome participants from the United Kingdom, Ireland, the United States and Greece. From Greece, we are delighted to welcome the students from the Acting and the Theatre Directing courses of the Drama School of the Greek National Theatre.
We want to take this opportunity to thank publicly our collaborators and our sponsors. The Captain Vassilis and Carmen Constantakopoulos Foundation for our ongoing association and, through their grants in the past four years, for providing the opportunity to new artists from Messinia to participate in our annual programme. Also, the Messinian Amphictyony and the Messinian Chamber of Commerce for their kind support and their ongoing collaboration since KaDISS 2019 until today.
KaDISS 2022 Course Leader director Andrew Visnevski will teach acting technique, character creation and imaginative embodiment of Shakespeare’s text. The movement tutor, stage artist and director Gabrielle Moleta will work daily on the students’ physical performance and their paths to transformation.
This year KaDISS is dedicated to the memory and to the lasting influence of Peter Brook. From the mid-1940s to the present day, his incessant, informed exploration in the realm of acting and theatre-making has left an enduring mark upon several generations of actors, directors, designers and theatre-goers alike.
In tribute to Peter Brook, this summer we shall take upon us to apply his teaching principles and research into expanding the boundaries of the art of theatre-making. Using the text of Shakespeare’s ‘King Lear’ as our starting point, we shall build upon the aims of KaDISS of liberating the actor and bringing new vitality to the text and characters, by exploring the theme of “Shakespeare as Ritual Theatre”.
Not diverging from the searing humanity of the text, we shall question whether all-pervading Νaturalism is not a limiting approach to poetic drama and whether by a deeper insight into the actions common to all humanity and by an understanding of the principles of the tragic flaw and catharsis in Ancient Greek tragedy and by use of masks in rehearsal, we might not liberate the modern actor in unexpected ways – in imagination, spirit and body and breath.
