“Simplicity” Q&A with Guillermo Angelelli

Actor, director and teacher, Guillermo Angelelli studied drama at the National School of Dramatic Arts in Buenos Aires (Argentina) and continued his training with teachers such as Carlos Gandolfo and Cristina Moreira.

He was one of the founders of Clu del Claun, a pioneering group that defied tradition in the 1980s and gained legendary status in Buenos Aires. In 1986, he began to develop training and research work with Iben Nagel Rassmusen of Denmark’s Odin Teatret, and is now a member of the Vindenes Bro Group (The Bridge of Winds) managed by Rassmusen.

Guillermo has been teaching since 1986 in drama institutions and at workshops, focusing on clowning, physical and vocal training in Argentina and other parts of Latin America, as well as Europe.

He has won many awards for his work in theatre including the Harlequin Award for Best Actor and Director for Asterion (1992), GATEA Award and Maria Guerrero Award for Best Actor for The Threepenny Opera (2004) and Hamlet (2004), and Maria Guerrero Award for Best Actor in Woyzeck (2006).

This March, he directs and co-creates Simplicity together with our graduating class. Inspired by the eponymous poem written by Jorge Luis Borges, Simplicity plays at the Drama Centre from 17 – 19 March 2016.

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Q: What were your motivations for choosing “Simplicity” – the poem – as the start point of this play? Continue reading

Actor Training: Intercultural and Interdisciplinary Perspectives

This December, ITI was invited to be part of an international symposium in Berlin, Germany, by the International Research Center on “Interweaving Performance Cultures” (Freie Uniersitat Berlin), in which the actor training model conceived and developed by ITI was the main focus. The only full-time acting programme in the world which includes four Asian traditional theatre forms as core modules, ITI is driven by the late Kuo Pao Kun and current director T. Sasitharan’s founding vision to mould critically and socially engaged contemporary artists for the stage.

Kunstquartier Bethanien, the symposium venue, is an old hospital in Berlin that has been converted into an arts space, now containing various studios and a lecture hall. With high ceilings and arches sitting atop ornately carved pillars, its stateliness and sense of history seem to collide head on with its now graffiti-scrawled stairway walls. Yet Berlin is nothing if not shaped by conflict: rooted in the city’s war-torn history, today it is embedded in its architecture and embraced by the many artists who live here, and who have used it to shape the art they make.

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