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August, 1st
Studio 1

4:30 PM - 6:00 PM

Lígia Tourinho

Exploring the power of exchange between dance, theater, and performance knowledge, as well as the cultural foundations that organize them, this workshop combines improvisation and composition games, establishing encounters, chance, and interaction as the basis for real-time dramaturgy that unfolds in the moment of action. The Laban/Bartenieff System and Choreographic Game methodology serve as triggers for these relationships. 36 spots Beginners In-person

August, 2nd
Studio 2

9:00 AM - 11:00 AM

Regina Miranda and Susana Carneiro Fuentes

With Maria Knébel, drawing from her experience with the Stanislavski System, observing life, memory of details, and sensory perception. The "life of the body" in the role. Working with physical actions and events, a life constantly created, never ceasing, in relation to perceiving objects, people, nature, colors, in motion. In the intensity of the experience of acting, seeing, imagining. In Laban's approach, the scene experienced through the lens of movement, the vibrant and permanent intertwining of Body-Effort-Shape-Space, whose forms, qualities, and configurations gather in the scenic body in speeches, gestures, postures, movements, and modes of relation with oneself, with others, in various body-spatial intensities. This encounter is based on the premise that artists of the scene need to develop the embodied observation of actions, spaces, nature, and sensations, in a process of continuous improvement that approaches a way of living. Experiences in the "Attention Circles" (Knebel/Stanislavski) interspersed with the "Spheres of Intensity" (Laban/Miranda) will be proposed aiming to point out paths for a relational scenic experience that vibrates and makes vibrate and the possible awakening of writing intertwined with creation. 16 spots Intermediate In-person

2:30 PM - 4:00 PM

Caio Picarelli and Adriana Bonfatti

Starting from the Major Themes of the Laban/Bartenieff System and through the lens of the categories BODY and EFFORT, this workshop aims to bring participants closer to Butoh Dance through the mediation of clues from the Laban/Bartenieff System, dialoguing with some Poetics proposed by the dancer and founder of Butoh Dance, Tatsumi Hijikata (1928-1986), such as the Walk of Ashen Pillars and the state of metamorphosis. 20 spots Intermediate In-person

4:30 PM - 6:00 PM

Cristina Fernandes Rosa

Prática de pesquisa-criação que forja cruzo férteis entres categorias de análise de Laban e a cosmologia Bakongo (ou Bantu-Kongo). As pessoas participantes serão convidadas a codificar e decodificar qualidades de movimento de manifestações da cultura afro-Brasileira que reverberam essa cosmologia, a partir de seu cosmograma, a Dikenga dia Kongo. No centro dessa oficina estão 12 conceitos imagéticos-filosóficos, ou ideogramas, adaptados das publicações do filosofo congolês Busenki Fu-Kiau (2001), que transformam ideias aparentemente distintas em um emaranhado de brincadeiras sérias. A experiência combina práticas de movimento (exercícios guiados e tarefas de improvisação participativa) com desenho e musicalidade. 36 vagas Iniciantes Presencial

6:30 PM - 8:30 PM

Ana Clara Gaio

A space for bodily investigation guided by Laban's theories integrated with the theories of Reich and Lowen, combining, respectively, the theory of effort with the relaxation of muscular armor and concepts of bioenergetics. The intention is to promote an authentic experience to identify and dissolve the emotional blockages that imprison self-expression, as well as reconnect the individual's essence with the plurality of bodily expressions and the richness of cultural diversity. In this sense, this experience emerges as a field that breaks with the mechanization and standardization of bodies imposed by coloniality, with the aim that each participant is able to explore their own personal dance. Operating as a reversal of this process, the principles of Laban's Movement Art, dance, and movement expression are characterized as tools for the re-existence of bodies. 15 spots Beginner In-person

August, 3th
Studio 1

9:00 AM - 11:00 AM

Vanessa Mahamud

As a result of experiences related to Somatic Education, with Laban/Bartenieff as the main line, this practice will propose the interrelation between Western and Eastern knowledge. Reason and the sensitive body simultaneously perceiving inside and outside, that the environment affects us and we also affect the environment. Starting from the awareness of the three-dimensionality of the body and breathing, this workshop is an invitation to integration. 30 spots Beginner In-person

11:00 AM - 1:00 PM

Juliana Machado

Through a sensory experience and self-awareness through movement, in which participants are invited to engage in exercises calmly, genuinely without fear of judgment as "right" or "wrong," participants will be encouraged to experience, engage, and think about movement in unusual ways, investigating their own dance, their own movement, and body observation. Through improvisation, observation, and collaboration, each participant will receive stimuli to gain greater self-awareness, awareness of others, their own space, and others' space. 30 spots Intermediate In-person

Studio 2

9:00 AM - 12:00 PM

Bruna Fiuza and Luísa Fedrizzi

This workshop aims to experience the four Axial Scales, each of which has six directions and transits through the three Movement Planes in transversal paths, moving back and forth, as if probing something. This sensation is a way of perceiving a Diagonal as the axis of the Scale. Based on the cyclical repetition of the Scales and progressive acceleration of movement until exhaustion, participants will be invited to observe how this disturbance - the acceleration, is a possible entry into the Effort Category. A listening with time to observe the stimulus and elaborate changes and responses. We will share impressions and abstractions through movement, speech, writing, and/or drawings. Access to these deeper movement experiences seems to be the gradual return key to a larger Kinesphere of Connectivity. 20 spots Advanced In-person


9:00 AM - 11:00 AM

Giselle Ruzany and Tatyana Paiva

In this workshop, participants will have the opportunity to see some of the films created in the past and create their own dance by role-playing a dance with the ancestor of their choice. There are five sections for creating the dance dialogue. The first one is about how it is. The second one is a dance about the ideal world as if there were no trauma or issues in the ancestor's life. The third is about dancing with the obstacles that did not allow the ideal relationship to happen. The next prompt about dancing the dialogue is about acknowledging the different time zones, civilizations, and countries of origin while role-playing. One last movement happens that is about gratitude and ending the dance. Small groups then film and analyze the dance as the dancers find within themselves the story they create in the dance dialog. 20 spots Intermediate In-person

11:00 AM - 12:30 PM

Luize Helena Pessanha

Seeking to develop bodily expressiveness based on Laban's Effort and Spatial Harmonies theories, starting from improvised movement to also develop an understanding of the body as a place of multiple pathways, this workshop invites dance and theater artists to immerse themselves in their own bodies, to perceive the various layers of movement and the impulse of breath, with the purpose of developing a connected, conscious, and vibrant dancing and acting body, aware of its movement possibilities and latent on stage. 40 spots Beginner In-person

BIOS Ana Clara Gaio is a clinical and social psychologist. She completed the "Laban and Art of Movement" training, taught by Denise Telles-Hofstra. The roots of her research, which seeks to analyze dance through the lens of Laban as a decolonial instrument for the flexibilization of muscular armor and self-regulation of character, were born during the development of her final project for this course. Bruna Fiuza holds a degree in Dance from FAV (Faculdade Angel Vianna/RJ); Specialization in Laban/Bartenieff Movement Analysis System from LIMS (Laban/Bartenieff Institute of Movement Studies), NYC. She is a teacher of the Postgraduate Program in Laban/Bartenieff System at FAV and a Physical Therapist from IBMR (Brazilian Institute of Medicine and Rehabilitation) with experience in kinesiotherapy applied to health imbalances in bodily systems. As a dance artist, she works as a dancer and assistant director of theatrical works. Caio Picarelli is a Ph.D. student and Master in Performing Arts from Unirio. He is a teaching-researcher of Butoh Dance, postgraduate student in Laban/Bartenieff System at FAV, Body Preparer, and Bachelor in Dance from the same institution. He uses the System as an investigative path in the practice of Butoh Dance poetics and as a contribution to propositions of experience in educational and dance creative processes. Cristina Fernandes Rosa is an artist-researcher who works at the intersection of dance, body arts, and ecologies of knowledge. Rosa is a professor in the dance department at the University of Roehampton, in London (United Kingdom). Previously, she taught at several universities in the USA (2009-2016), was a researcher at IRC Interweaving Performance Cultures at Freie Universität (Germany 2012-13), and a visiting professor at the Federal University of Bahia (2021-2023). Rosa's research has been published internationally in renowned scientific journals, anthologies, and the book "Brazilian Bodies and their Choreographies of Identification: Swing Nation" (2015), published by Palgrave Macmillan. She completed her Ph.D. in culture and performance, supervised by Susan L. Foster, at UCLA, where she completed her training in LMA. Giselle Ruzany, Ph.D., L.P.C., R-DMT, is a psychotherapist, artist, researcher, contemporary choreographer, dance educator and mindful movement practitioner. With licenses in the states of CO, VA, and DC, she currently practices in Woodley Park, Washington, DC, where she integrates mindful movement and embodied inquiry into her trauma-informed psychotherapy sessions. Ruzany is fluent in Portuguese and English. Her research for her doctorate in Expressive arts therapies focused on embodied art-based research for healing transgenerational trauma. Her master’s thesis in dance Movement Therapy and somatic psychology (2000) explored tango for preventive couples therapy using the Laban and Kestenberg Movement profile. She is certified in E.M.D.R. and Gestalt Therapy, is a published writer, and has presented and performed all over the world. She taught at the Corcoran School of Arts and Design in the dance department for 12 years where Laban movement analysis was used in class (2011-2023). She is presently teaching at Antioch University, where Laban Movement Analysis is the common language. Ruzany is interested in the intersection of dance and psychology for genuine self-discovery, healing, and connection. She danced with Tatyana Paiva in Companhia Fim de século, directed and choreographed by Renato Vieira from 1987 to 1991, where they both were introduced to Laban by Regina Miranda when she was a guest choreographer for the company. For more information about Giselle’s psychotherapy practice, you can visit her at Juliana Machado is a choreographer and dance teacher/educator. She studied at the Laban Centre in London, where she began some investigations using Laban's methodology (including the Structural Model), which she deepened in Brazil in her classes and more recently at the Center for Human Development and Integration of Knowledge (Cedhic). Lígia Tourinho is an actress and dance artist. She works on Performative Theater and Contemporary Dance projects, receiving recurrent support from major Brazilian funding grants and awards. She is the creator of the Choreographic Game Project. She is a teacher in the Postgraduate Programs in Dance and Arts of the Scene and in the undergraduate programs in Dance and Theater Direction at UFRJ and in the Postgraduate Programs in Laban/Bartenieff at Faculdade Angel Vianna (FAV-RJ) and Teaching of Classical Dance at Theatro Municipal. She holds a Ph.D. in Arts (UNICAMP), a Master's degree in Arts, and a Bachelor's degree in Performing Arts from the same institution. Movement Analyst by the Laban Institute of Movement Studies (CMA) and Specialist in Laban by FAV. Luísa Fedrizzi holds a degree in Dance from ULBRA/Canoas, Specialization in Laban/Bartenieff System by FAV, and directs her own dance space in Caxias do Sul – RS, where she conducts research in movement related to the Laban/Bartenieff System. As a dance professional, she works as a dancer, teacher, researcher, and choreographer. Luize Helena Pessanha holds a Bachelor's degree in Dance from UFRJ, where she had her first contact with Laban's Theories with Master Marina Martins. In 2018, she completed the Laban and Art of Movement training by Denise Telles. In 2021, she developed the course and workshop "Improvise." In 2022, the result of the course application for the first group was presented as a Paper at the Laban Conference. In addition to the course, she applies the Theory of Efforts and the Theory of Spatial Harmonies in her classes for students of various ages, mainly for the technical theater course at the Maria José Guedes School of Arts, in Macaé. Regina Miranda is a choreographer, playwright, and theater director. She has written, directed, and choreographed about 50 shows with the Regina Miranda & AtoresBailarinos Company, including 30 choreographic installations for unconventional spaces. Nationally and internationally awarded, she received the APTR/Directing Movement Award in 2023 for "Olhos da Pele," also awarded the FUNARJ Dance Award and the FUNARTE/Masters and Masters of Brazilian Arts for her entire body of work. Her artistic formation was guided by scene masters such as Angel Vianna, Tatiana Leskova, Maria Clara Machado, Anna Sokolov, and Irmgard Bartenieff, to whom she is eternally grateful. Regina is a Certified Movement Analyst (CMA, class of 1975) by the Laban/Bartenieff Institute of Movement Studies, LIMS NYC, Bachelor in Dance Theory from the State University of New York, SUNY/Empire State, and Master of Science from Grand Canyon University, GCU. She developed the pedagogical project and, since 2010, coordinates the Postgraduate Program in Laban/Bartenieff at FAV. She is the author of "Expressive Movement, Body-Space, and Laban Lead" and is currently writing "Practices of Freedom in Extended Stages," to be published in 2025. Susana Fuentes is an actress, dancer, writer, and researcher, author of "A gaivota ou a vida em torno do lago - tema para uma peça curta," semi-finalist of the Oceanos prize, the novel "Luzia," finalist of the São Paulo Literature Prize, and the short stories "Carta ao Sol" and "Escola de Gigantes" selected by FUNARTE and the program "Rio, uma cidade de leitores" (SME). She wrote and performed in the solo play "Prelúdios" selected for The New York International Fringe Festival, with a presentation at the Gene Frankel Theater in NYC. At the Centro de Letras e Artes – Escola de Letras da Unirio, she guides the study group "Laboratório de composição cênica e escrita – A vida do papel – na página, na cena," with research on the work of Maria Knébel and elements of Stanislavski's system. She participated in the Conference "Notes écrites dans un souterrain de Dostoïevski dans la culture de l’Europe et de l’Amérique" at the Gorki Institute of World Literature, in Moscow, with the comparative study Dostoevsky and Clarice Lispector, and the XVIII Dostoevsky Symposium in Nagoya, Japan, with original video/performance creation. She works as a substitute teacher at the School of Letters – Unirio with courses in Text Production, Audiovisual Production and Teaching, Theories and Aesthetics of Image, Theories and Aesthetics of Narrative, Interartistic Dialogues. She completed a Ph.D. in Comparative Literature from UERJ, where she created the project "Leituras. Conto russo e narrativas da memória," winner of the Local Actions Award from the Aldir Blanc Law. Tatyana Paiva is an artist, dancer, and cultural producer. She was part of professional companies, acted in musicals and plays, working with important directors and choreographers such as Renato Vieira, Regina Miranda (with whom she did S. Thala), Marília Pera, Sérgio Britto, and Moacyr Góes. During her training, she took the Bartenieff Fundamentals course with Regina Miranda. She began working backstage simultaneously, assisting in costume and direction, as well as in production and fundraising areas. She entered the audiovisual sector, where she gained extensive experience in professional education, production, exhibition, management, and cultural administration. After working in the corporate sector for 12 years, she returned to cultural production with Renato Vieira Cia de Dança. She is currently the coordinator of the it ballerina dance academy, participating in the daily lives of students and in the production of the school's annual shows. Vanessa Mahamud holds a Bachelor's degree in Dance from UFRJ, postgraduate specialization in Laban/Bartenieff System from Faculdade Angel Vianna (FAV), Integral Yoga Instructor from ANYI, teacher and dancer of Belly Dance, and undergraduate student in Physical Education from UNIVERSO. She teaches Yoga and Belly Dance using Laban/Bartenieff as a foundation.

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