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Supporting artists on today’s stage

Marked by the spirit of openness and the decompartmentalization of stage artistic practices, the work proposes to enter the world of transdisciplinary stage creation where performance theater and new stage forms converge to create new languages. Interest in performative practices is understood as a way of creating and positioning oneself as a performing artist, around the key notions of action, event, presence, commitment and audacity. . The research is aimed at artists wishing to explore and invent modes of stage communication that shake up conventions, in terms of creativity and aesthetic, human, political, social, or philosophical positioning. She is interested in forms that use the languages of text, the body, presence, the sound universe or the image. It concerns hybrid work, at the boundaries between  theatre, performance, dance, site-specific actions or live installations.


Working time is seen as a space for reflection, meeting, research and intense creation through a philosophy based on the inner process. It is focused on the development of the creative faculties of each participant, within an exploration of forms, issues, places and strategies of innovative stage languages. Through a focus on the unique creativity of each person and an appropriate preparation time, this training aims to support creative artists who are confident in their potential and aware of the reality in which they place their approach.


Open to professionals in the performing arts, it will allow participating artists to develop an individual creative project, in a stimulating context of historical, aesthetic and theoretical perspective.



























Alongside practical work on the design and implementation of an individual artistic project, the participant is led to reflect through theoretical seminars, aimed at providing historical and contextual benchmarks. These courses will focus in particular on the artistic, aesthetic, political and social issues that mark the history of the performing arts. These theoretical benchmarks will focus on encounters between disciplines: theater, visual arts, music, dance, textual universes... They will put into perspective the hybrid compositions which characterize the evolution of today's artistic scenes.


Carry out an individual research and creation project


Through intense teaching which requires full commitment, this time aims in particular to support an artistic project on the basis of which the artist, a professional wishing to improve, or wishing to explore the world of performative creation, will have been selected. This project on which the participant will work throughout the training, can be a solo, or a form which requires the collaboration of several artists or participants. This project is shown as part of one or two days of presentations at the end of the training.
















Research, design, experiment


Research and experimentation in the sense of openness and bold exploration around an encounter between original creative visions hold a prime place in this learning. They allow the participant to know themselves better as a creative artist and to develop a working method that they will be able to analyze, contextualize and question.


A philosophy of the whole in an international context

Focused on the development of each person’s creative personality, the work is nonetheless done in an overall spirit. It is about working on an open and shared creative approach, within a united group committed to a common perspective. The international dimension of training is a constituent part of the project.




Performing arts professionals. Actors, performers, dancers, writers, visual artists, musicians... wishing to explore performative strategies within their artistic practice, to deepen their theoretical, historical and practical knowledge in this field and wishing to carry out a research project and an individual creative project, with the support of a coordinating artist within a group of creators.

Yoko Ohno, Cut Piece                                     Carolee Schneeman, Meat Joy



(University School of Italian Switzerland)














The research and creative work alternates between personal work that the participant can carry out in their place of residence and intensive courses which take place within the Academy.

It provides for two intensive work blocks of 6 and 21 days within the framework of the school; and three blocks devoted to the participant's personal research work to be carried out alternating with the intensive practice sessions.


The intensive sessions are based on essentially practical work dedicated to the design and realization of an artistic project, combined with an initiation to reflection on questions relating to the performative arts of a historical, aesthetic and theoretical nature.

Individual research work time gives rise to two written works leading to two performances











Educational coordination and artistic direction

Stéphanie Lupo, Phd, performing artist, performer, actress, director, author, researcher, teacher. External collaborator of STD SUPSI.


Program manager

Demis Quadri, Phd, Professor of Theater Theory, researcher, head of Advanced studies at STD SUPSI




- Two blocks intensive practical sessions with theoretical introduction at the Accademia Teatro Dimitri school in Verscio (Switzerland).

From April 24 to 29, 2016 and from May 21 to June 12, 2016, between 11 a.m. and 9 p.m.


- Three blocks of individual research on the personal creative project. Outside of school. Free location and times. Between April and August 2016 (approximately 90 hours).


Application deadline:

January 12 2016



Accademia Teatro Dimitri SUPSI

Stradon 28

CH - 6653 Verscio


Tel.: +41 (0)91 796 24 14

Fax: +41 (0)91 796 23 93








































Jan Fabre-Marina Abramovic. Warrior


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