Theatre not only moves the audience to other realities – to other places – it mainly changes people’s experience of time. And what does this mean for the work of the actor? Time on stage follows different laws. The perception of time changes in the process of creation. Jurij Alschitz invites you to further research:

For me, theatre practice is always connected with philosophy and scientific research. When I was researching the phenomenon of time – one of the most significant parameters that actors and directors hold in their hands – I was inspired by M. Bakhtin’s theory of the chronotope. Chronos and topos – time and space are inevitably linked on stage. From there I started to develop practical exercises for actors.

The main questions I would like to propose for our work are: How can we understand scenic time? How is time represented by events in the play? What happens to the time of events on stage? In what scenic time is it expressed? How does it move? What is the internal concept of time of the stage? What is the internal concept of time of the actor? etc.

Together with you I would like to move from theory and philosophy to practice. How can I physically explore scenic time and learn to deal with it? By what means is it possible to stretch it, speed it up, condense it or even stop it? How do I engage my emotional and artistic self to work creatively with ideas such as “the time of the personage and the time of the actor”; or “the lifetime of words and the eternal time of silence”?