4. PARTICIPANTS

A) Groups / B) In @work project

Berlin n@work:
Berlin n@work was established in 2006 with the aim to research contemporary definitions of work and the evolutionary processes the meaning of work is undergoing today. Jörn J. Burmester, Janine Eisenächer, Florian Feigl, Joy Harder and Nicolas Galeazzi form the core of the Berlin n@work. They operate within a network of artists and scholars, most closely with the performance artist Otmar Wagner and the media artists Blackhole Company.

Aiming to initiate open discourses including a broad variety of artistic strategies and aesthetic expression, the Berlin n@work developed new ways of live co-operation during a series of workshops. To be part of the international theatre and performance research network @work means an opportunity to experience and appropriate diverse artistic approaches and to extend the fields of research across Europe. The Berlin n@work established an archive on the topic of work collecting texts, images, video and sound samples. The archive contains also documentary footage of current artistic processes and serves as a pool of information for future approaches.

http://www.liveartwork.com/stammtisch

Playing for Real...

Our aim is to create research based productions that expose contemporary issues in innovative ways of theatre communication.

TeaterKUNST joined the @ WORK network in 2005.

And the group now consists of: Vahid Evazzadeh (dramaturg), Layla Mollerup (actress), Fadime Turan (actress), Bronwen Loshak(actress), Sheila Trillingsgaard (set designer) and Nina Larissa Bassett (director), Maja Gambill (assistant) and Dorte Wium (producer).

TeaterKUNST is an independent production company founded in 2004 by three female directors: Vivian Nielsen, Solveig Weinkouff and Nina Larissa Bassett.

TeaterKUNST believes that art and love are the most direct means of forming understanding between people.

www.teaterkunst.dk

modern, idea based, revolutionary theatre
 
TEATERMASKINEN was founded in 1997, by a group of Swedish artists with the ambition to explore the boundaries of stage, mind and present. We work in the former mining village of Riddarhyttan, some 200 kilometers northwest of Stockholm. In the outskirts of this village we are creating an international workshop and residency for stage art in the realms of The Machine Project.
 
In order to trying to develop another kind of stage art and in search of another kind of actor we run a research project from which all our plays emerge. Our latest performance A staged essay on work, is produced within the @work context and is based on two and a half years of research and collaboration with unions, workers, scholars. The performance is currently touring Sweden and will be presented at the platform in Copenhagen. We plan to translate the performance for further European touring in 2008 and onwards.
 
In our earlier performances we have explored the bio political body, the consumption society, the domestication of nature, love, sexuality, language, globalisation, death and the power of stories.
 
Our next research - The language of the forest people - started in March 2007.

www.teatermaskinen.com
www.myspace.com/teatermaskinen


Reality Research Center (RRC) is a new kind of ’performing arts garage’ from Finland. It was founded in 2001 by young theatre/performing arts professionals devoted to question the prevailing concept of reality. What is reality? How can we observe, describe, define, reflect, discuss, present or represent it? Foremost we search for new innovative ways of creating performances. As a result to this we often work in the grey area between contemporary theatre, dance, performance, community theatre, visual arts and what ever is needed.

We don’t have a stage of our own and tend to make a lot of collaboration with other theatre groups and institutions. Therefore we can be described as ’parasites’. To widen our horizon we are determined to increase cooperation with performing artists abroad, with people from different fields of art and with research workers who explore reality from a different point of view. 

In 2006 RRC has 20 members and runs eight productions (5 – 10 per year).  Besides this we take part in seminars and discussions and contribute regularly to the Finnish Theatre magazine by writing reviews. In 2002 we received the National Arts Award from the Art Council of Finland for persistent and substantial research of ”new” and testing the limits of contemporary theatre.

Participants from RRC in @work are Essi Aittamaa, Niina Hosiasluoma, Jussi Johnsson, Pilvi Porkola, Janne Saarakkala, Antti Nikkinen, Maria Nuutinen and Janne Pellinen.

www.todellisuus.fi

The Red Room creates theatre and film that frees the imagination to challenge the status quo.  The Red Room is a small company with big ideas with over 10 years experience in producing award-winning theatre and film that is radical both in form and content.

The Red Room creates groundbreaking new projects involving collaborations between artists and communities. The work always seeks to influence the relationship between theatre practice and broader society, and to give a voice to disempowered people, working in a way that enables people to gain new and enriching experiences, and opening up a genuine dialogue with a new audience.  The most recent show, "Hoxton Story", involved nearly 100 people from the local community as interviewees, performance participants, production assistants and stewards.  

In addition to its high quality, innovative productions, the Red Room has historically involved itself in debates and activism around culture and politics.  Our RRPlatforms are a series of bi-monthly talks and presentations by leading artists, activists and cultural critics, bringing people together to encourage activism, forge alliances and create debate. Previous events include Going Public , (2003) a free and publicly performed debate about theatre as a public form involving companies such as RSC, Cardboard Citizens and Outside Edge; Artists Against the War (2001) was a network of artists against the war in Iraq creating work for demonstrations; Palestine Verbatim in Trafalgar Square and Shock and Awe cabaret (2002). In 2004 the Red Room was involved in the European Social Forum Cultural working group.  

Founded in 1995 as a voluntary organisation, it achieved core funding from the Arts Council in 2002, was incorporated in 2003, gained charitable status in 2005

www.theredroom.org.uk