Über eatc

Philosophie ... a sound approaches from far off - it passes by close enough to touch. Ungraspable... So you wait for the next one. It just refuses to come. The seeds of doubt take root. Did the first one even exist ? Have you ever had this experience ? Or think of a dream - crystal clear and living images before your very eyes – but by morning you will have forgotten them. Should you try to keep hold of a dream? It is dark, you rush to your desk, search round for a scrap of paper and a pencil, make sure you get down all the details - and satisfied, you fall back asleep. In the morning, when you read it through, nothing remains – just a page of eroded fantasy. Last night in the theatre - what did we see? what did we play? what did we know yesterday about theatre and about the actor’s art? And today? We realise, if we are honest with ourselves, that we must doubt even what we think we know. Yesterday we seemed to know. Today we realize: this knowledge no longer has any value; indeed it is perhaps something we did not even ourselves acquire. We hold fast for the moment to a very slender certainty - but it is not the certainty we enjoyed yesterday nor will it be the same tomorrow. Everything we acquired yesterday in the theatre, with great effort, today no longer belongs to us. We have to start all over again from the beginning . . . . . It is not the actor who performs an exercise – it is the exercise that forms the actor. If one sees training and text analysis as the actor’s own autonomous preparation, if the actor does not simply carry out an exercise - but the exercise actually shapes him, if, subsequently, the familiar frontiers between exercise and scene, rehearsal and performance, school and theatre, pedagogy and direction, are all cleared away and all these processes, in practice kept separate from one another, are united in one whole, then, here, one enters unknown terrain. In the search for the basic principles that define the actor’s art, the central question of research is how the actor develops the ability of expression, each time in a new and individual way, and how the experience of a really creative process can be summoned up, both for the individual artist and for the ensemble. From within this creative freedom emerge the authenticity and uniqueness of acting, at a far remove from cliché or imitation, and permitting the actor to grow above and beyond his craft. The actor becomes a genuine creator and thus himself the author of his role. In this sense, work in the theatre is the continuous, never-ending growth of one’s own artistic self. To initiate, to promote, and to accompany this process, one needs a systematic and methodical line in acting pedagogy and in research into its fundamental principles. If one wishes to change the situation in the theatre, one must first change the part played by teaching - because it is after all teaching that defines the theatre’s future.

The World Theatre Training Institute

AKT-ZENT International Theatre Centre Berlin becomes the World Theatre Training Institute.

The new name reflects more precisely the actual field of activity: scientific and artistic research in theory and practice of training methods for the professional theatre, which also includes the transfer into other professional and social areas.

At the centre of research is the change from Homo Sapiens to the Homo Creativus, i.e. the necessary innovation of pedagogy, imparting of the theatre craft to a generation of artists who grow up in the digital age, whose learning and needs have changed extremely.

The Hybrid Platform for Theatre by Jurij Alschitz



International Directors‘ and Trainers‘ Colloquium


A new dimension of theatre training

Artistic Meeting with Dr. Jurij Alschitz

Berlin, 4th – 8th January 2017

Dr. Jurij Alschitz is approaching a ground-breaking innovation in theatre training as an experiment for pedagogical practice in general. With the research project 40/40 – forty days for forty years – using the tools of hybrid education he intends to create a completely new approach of conveying, receiving, and most of all creating knowledge. The research includes investigation of learning algorithms, the specific use of resonance and vibrations to address the actor’s psycho-physical existence, and the restructuring of mind-set from analog to spherical perception and thinking. The overall aim is to foster a creative energy, which will carry the person through his/her future artistic career as a Homo Creativus.

In practice such a training unit will last 40 days with a specifically tuned team of teachers, who themselves work as a sphere around each student. This extremely complex programme is supposed to start as a proof test in 2017.

The Directors’ and Trainers’ Colloquium will serve as an international think-tank. The participants will be the first ones to listen and discuss these new principles, as well as trying out some aspects in practice.

We are looking forward to see old friends again and to meet new participants at our annual meeting for theatre practitioners – an offer to refresh own resources, to get new ideas for the upcoming year, to meet colleagues from all over the world and to initiate new artistic projects within our worldwide ensemble for theatre culture.


Please register early.

Teaching language: English; on stage: your mother tongue
Working hours: 10 to 4pm with training lectures, practical work
Seminar fee: 440 €

Your attendance will be assured after the first payment of 80 € (non-refundable registration fee) has been made.

Please send your application with a cover letter, a picture and CV to:

AKT-ZENT Research Centre of the International Theatre Institute

Artistic Direction: Dr. Jurij Alschitz

Skalitzerstr. 97, D-10997 Berlin, Tel. 030 – 612 87 27-4 Fax –5




16 – 22 September, Cyprus

Chronotopos – Time and Space in Theatre

Artistic direction Dr. Jurij Alschitz

created by the European Association for Theatre Culture

produced by RECTUS CENTRUM – International Research Centre of Theatrical Art & Science

under the patronage of the ITI -Theatre Education and Training Committee

METHODIKA welcomes theatre artists, pedagogues, directors, students and scholars of performing arts to an intensive work-meeting exploring various methods of theatrical training.

The festival opens up new directions in the development of theatre training and the evolution of methodological approaches; spreads knowledge to theatre professionals and scientists; and finally creates a discussion about pedagogy in theatre schools, and in the theatre itself.

Four practical working groups will be led by the Masters Masaki Iwana (Japan), Oleg Liptsin (Russia), Peter Oskarson (Sweden), Alejandro González Puche (Colombia).

Contact: info@methodikacyprus.org

Information and application: www.methodikacyprus.org

 early booking discount until June 17 !

Veröffentlicht unter Acting

The World Theatre Training Library

AKT-ZENT – International Theatre Centre Berlin appointed Research Centre of the International Theatre Institut

Artistic director: Dr. Jurij Alschitz;

Programme director: Christine Schmalor

On the occasion of the 33rd  World Congress of the International Theatre Institute, held from 19th to 25th of September 2011  in Xiamen (China), the general assembly appointed  AKT-ZENT as  ITI Research Centre. The ITI works under the patronage of  UNESCO.

Since 2003, AKT-ZENT has conducted European and international theatre research projects on various themes; the latest one was dedicated  to “The Art of Dialogue”, supported by the European Commission, programme Culture. All research is practice-based, realised in seminars, laboratories and master-classes, and finally published in theatre hand-books for theatre practitioners.

The new multi-annual project will be
The World Theatre Training Library / Laboratory

The World Theatre Training Library is the most comprehensive collection of worldwide existing theatre training methods and exercises. It brings together all different theatre traditions and schools. The World Theatre Training Library will contain of 10 volumes on different themes and is going to be published worldwide in the six UNESCO languages at least.

In Asia, Africa, and Latin America, Master-Classes for theatre teachers will be established to conduct in-depth research in the particular regions and – at the same time – to support the development of theatre training. This will be realised by specific programmes for theatre teachers in the respective countries. In some countries this will lead to the establishment of the first professional theatre education programme / school.

In the following World Theatre Training Laboratories actors and theatre teachers are going to put the collected exercises to the test about its universal use for the theatre practice. This research will emphasise on the principle of exercises as way of communication in the intercultural work.

More information: http://wttl.theatreculture.org
The publication of the World Theatre Training Library shall bring the world-wide richness of old and new trainings and exercises to all theatre people in the world.

More information: http://wttl.theatreculture.org