To use the words of Peter Brook: "nothing in theatre has any meaning before or after. The meaning is now".
Theater makes you a better person, makes the world a better place, produces important impacts on society.
I offer training to the sensitive souls in children, youth, adults and people with intellectual disabilities.
I offer intensive training workshops about
physical theater, improvisation and creativity, neutral mask and embodied movement, unfold technique.
I help performing arts groups to co-create their artistic performances from a transcendent space where all exists as infinite potential.
I help to increase the awareness of the body and Self in movement. The process is inspired by the work developed by Valentina Bordenave using Alexander Technique, Movement and Improvisation.
I offer one to one, workshops and sessions
for organisations, in presence or online, to improve the posture and functioning of the body at the workplace.
I help organisations to explore emerging future possibilities using applied theatre inspired by Social Presencing Theater develop by the Presencing Institute.
A dimension of theatre which is playful, collective, metaphysical, integral and spiritual.
Courses in Physical Theatre:
During the course the participants are invited to imagine, to trust their intuition, to create and express themselves with playfulness. It is a unique process which aims to discover the “authentic body” as the goal is to be and not to show.
The process is an invitation to discover the authenticity of the own body to:
- develop an authentic and meaningful presence on stage;
- develop the capacity to listen and improvise trusting the own internal intuition made of images, visions, sensations and ideas;
- analyze the theatrical situation;
- design, devise, and co-create a scene.
Courses in Theatre for Self and personal development:
The structure includes: warm up with games, rhythm and senses, movement exercises, voice and speech, self-expression and improvisation. I ask frequent feedback (what did you watch? and how did you feel?). In a safe environment, participants are invited to tap into their own creativity, imagination and intuition in order to express stories and emotions through movement and making the imagination visible through the body using the techniques of physical theatre
I have several years of experience teaching theatre for personal development with Helen O' Grady Academy Malta to 3 to 18 years old and with the Maltese Government Youth Agency (Agenzija Zghazagh) which offers inclusive education programs, based on applied learning, for young people between the age of 16 and 21.
I offer physical theatre training at Opening Doors Malta to young adults with intellectual disabilities since 2015.
Contact me for more information about duration, costs, tailored courses.
Among the elements that the workshop taps in, there are: theatre and metaphysics, concept of energy and action, awareness of body in movement, fully embodied emotions, authenticity and poetic body, creativity and improvisation. The work goes towards a process that help people to find more connection with themselves and their creativity.
As Jaques Lecoq considered the actor an artist, a poet which language is the body, the workshop aim to train the body of the performer to become a poetic instrument. The observation of life and its movements create the poetic vision within the body and the limitless will to continue researching and creating. Everything is in motion, “even a fix point is in movement”.
The analysis of movement and its dynamic are core aspects, so what causes the movement and how, become very important. Mime is therefore a fundamental act to understand and play with in order to learn theatre and life as a child mimes the world to learn it and know how to live. “To mime means to become one with” that’s why a similar mime exists in all arts and any artist is a mime. To understand something you need to mime it, which means to live it so it becomes organically integrated within you.
The playful embodiment allows us for the time of play an integration of latent energetic potentials, or an experience of the collective or transpersonal dimension within us.
the neutral mask is a handmade leather mask that comes from the traditional Japanese Noh Theatre. In the Western Theatre, it has been at the heart of Lecoq’s work and pedagogy. He stated that the neutral mask opens up the actor to the space around him, it puts him in a state of discovery, of openness, of freedom to receive. There is, underneath, the idea of forgetting as prerequisite to learn and recognize the world. The neutral mask is essential in the process of learning through the body because it can bring the actor towards a state of unknowing where one is completely open to creative impulses or stimuli. It also allows the exploration, through movement, of the Personal, the Transpersonal, and the Collective, finding the physical embodiment of “the existential within us all”.
Contact me for more information about duration, cost, tailored workshops.
Co creation is a model to use for expansive creative processes. It is a model where performance ideas and movements come from the zero-point-field, the field from which everything in our universe unfolds from. This field of quantum potential has the major quality of wholeness and is full of creativity.
This field is the stage director, it already has all the information about the performance in the form of potential.
The task of the team is to learn to listen to this field and receive the information and translate it into a performance.
The stages of the co-creation process are:
Listening, Translating, Improvisation/Performance, Enfolding.
"So now, let us come together as a great powerful force that emerges out of effortless intention, the intention to become whole, the intention to fill every need upon this planet". (Barbara Brennan)
The aim is to create not just from an intellectual source and from what we know, but from an unknown realm.
"New thoughts and creative ideas can also present themselves from the unconscious - thoughts and ideas that have never been conscious before. The ability to reach a rich vein of such material and to translate it effectively into phylosophy, literature, music, or scientific discovery is one of the hallmarks of what is commonly called genius."
In theatre and performing arts, I want to use Co creation to co create performances.
I am not alone, we are a team of professionals from the fields of dance, theatre, yoga, education, ecosomatics, bodywork, economics, architecture, engineering, and we are experimenting co-creation since 1 year.
We offers co creation workshops and session, online and live.
Our vision is to give birth to a "Center for Co Creation" which core is to facilitate co-creative processes from a space of wholeness, also called the ground of being, source, the zero-point field, the field of quantum potential.
These co-creative processes can be applied for teams that want to create something together e.g. a business, a project, an arts performance, a community, a school, etc.
Human potential unfolding and enfolding in a co-creative team processes.
Contact me for if you want to experience co-creation with your group.
This work increases the awareness of the body and the Self in movement in the space.
It is inspired by Unfold Technique developed by Valentina Bordenave (Alexander Technique Teacher and Dancer). Her work is based on and uses the Alexander Technique and applies the principles on movement - dance - improvisation.
It includes three sections: organization, coordination and improvisation.
The person receiving this technique can expect a more "passive" time during the one to one session and more "active time" when the principles are applied to movement in the space.
This work is about educating and improving the awareness of the use of the Self, means the whole physical-psychological-spiritual aspects of ourselves. More attention to our use means more awareness about different body parts communicating among them. When this communication is awakened and we are able to understand where there is interference, then the functioning and movement is more natural, organic, wholeness, light and ready to react (powerful). Such conditions can change our own creativity.
Contact me for more information about one to one, workshop and sessions awareness for organizations.
Social Presencing Theatre is a methodology developed by the Presencing Institute under the leadership of Arawana Hayashi, for understanding current reality and exploring emerging future possibilities. It can be practiced at the individual, group, organization, and larger social systems level.
This is not "theater" in the conventional sense, but uses simple body postures and movements to stage a particular situation, experience, system, group, without the research of an aesthetic, but to communicate directly, access intuition and experience with the body and through the body what would be otherwise just an intellectual and logic elaboration.
The aim is to make visible both current reality, and the deeper – often invisible – leverage points for creating profound change.
You can learn more here: https://www.presencing.org/aboutus/spt
After participating to the Ulab.2x Project launched by the Presencing Institute and learning the Social Presencing Theatre, I offer this tool in team with other professionals in order to hold a safe space for what is needed to be explored and experienced.
There are four different stages in this methodology:
- movement as mindfullness body practice to avoid being lost in thoughts and bring the mind into the present moment:
- exploring the current reality and the emerging future through body sculptures;
- 3D mapping to map and make visible, using objects, the elements of the organizations or system and position them according to relationships they have and develop;
- 4D mapping to make visible in the space the current reality of the organization or social system.
The mapping process can be observed so that there are feedback from the insiders and from the observers.
An important element that I bring in in the Social Presencing Theatre methodology is about the "embodiment of emotions" during the last phse of the process (4D Mapping); this is done in a playful way, so that allows us, for the time of the play, an integration of latent energetic potentials, or an experience of the collective or transpersonal dimension within us.
Being theatre something that involves the body, the expression, the emotions, the voice, it becomes a very rich process that gives more information then a sole intellectual process.
The feedback and reflections that follow "la messa in scene" are a more logic and intellectual moment that helps to integrate and elaborate what has happened.
Contact me for more information about cost and duration.
Badanai is an italian word that means clamor, din, clutter of sissies or youth. A word you can use to ask...what is this "badanai"? I was just a child when I was creating comic sketches and summer shows with friends for the folk living in my condominium. I was nineteen when I joined the C.U.T. theatre Group at University of Economics in Bergamo. I was twenty one when I co-founded in Italy Badanai Theatre Group with my best friend Mamo. We wanted to perform and use theatre to reach large audience and have a social impact. We asked his uncle Norbi to direct us in our first performance, "Buon appetito" inspired by the book "Johnatan Livingstone Seagull" by Richard Bach. We have been inspired by the search of freedom of this normal seagull and we wanted to tell the story of the flock after his departure. So we needed more actors to have a flock on scene, and that's why we asked our friends, brothers and cousins to join us in the play. That's when Badanai, as a playful baunch of energetic youth, was born. We self trained in a garage. We organized theatre sketches during cine-forums. We organized theatre festivals. From 1995 to 2002 we devised five shows: Buon Appetito, La passeggiata di Buster Keaton, Tokyo's Uchi, La Ruota, Quattro. We performed in theatres, halls, schools, residencies for poors, social centers and outdoors in squares and streets. To bring to everyone the playfulness dimension of our theatre.
In 1996 the show "La passeggiata di Buster Keaton" won the final selection at Scena Prima, an italian theatre contest for emerging groups. In 1997 the show "La ruota", in its original version with the Rom music group Cindy Bah, passed the second selection of Premio Scenario, an italian theatre contest for professional groups. Both contests marked an important step for Badanai as the confrontation with the jury, formed by professionals and critic in the field of theatre, helped the group to better define and understand the strengths and also the limits of our work. They valued the interest of the group for making a theatre with a social impact and an educational dimension. They recognized that the significance of our proposals was driven by the passion for the cinematographic art, the taste for the image and the desire to compose the plasticity of the forms. These elements pushed the group to design the architecture of the shows, the montage of short frames characterized not so much by a narrative intent, but by a predominantly evocative and symbolic dimension.
In 2006 Badanai joined "Compagnia Brincadera" (Italy), a theatre group already existing for many years, characterized by a collective vision of making and devising theatre from very playful, rhythmic, engaging performances to social engaged theatre pieces. Under the artistic direction of Giuseppe Goisis, the performances "Tokyo's Uchi" and "La Ruota" have been developed into more structured plays, always coherent with the original poetic visions, and performed many times to raise awareness about refugees and homeless. "Compagnia Brincadera" has been like a family, and for almost six years an important and indelible professional and human experience.
When I arrived in Malta in 2013 I did volunteer for Opening Doors Malta, an organization that creates artistic opportunities for young adults with intellectual disabilities in the field of theatre, dance and music. When I have been asked in 2015 to lead the theatre group I started an amazing journey of joy, passion, commitment for theatre and the performing arts that continues till now. The performers aren't professionals, but there is an high level of commitment to devise qualitative, authentic pieces that show an aesthetic research. I am grateful to be able to work with such inspiring performers: on the scene they are fully present, generous and thankful, which are indispensable qualities to play theatre. They teach me new forms and a new physicality and also an explosive will to express themselves.
My theatre has been definitely enriched by working with them: I have abandoned preconceived forms and I am convinced of the existence of a field of infinitive artistic possibilities of movement to explore. They have risen my commitment to bring out their artistic talents, to work hard towards gaining more awareness about their poetic presence. And even if we don't do drama therapy, my work with them is kind to let them feel they are worth and unique.
Several performances have been created since 2010 when Opening Doors started, including a big production "The Prince" for Valletta 2018.I have co-directed in 2016 the first big production, Ahdar id- Dezert, that has seen actors, musicians and dancers performing together. I have been devising several performances and I am involved in bringing physical theatre to different communities as outreach projects.
In 2014 - 2015 I enrolled the course that changed my career and my life.
Andrew Smith, a professional astrologer, read my chart and told me I could find more about myself and my elements not with figures and budgets, but working with people to help them discover the trans-personal dimension within them.
I thought I could become a bartender and do it helping people become drunk!
Instead I choose to do it with theatre.
I remember that moment like being the acknowledgment that my movement has something natural I can use to tell things that nobody can tell in that way.
I decided to discover more about my talent, to nourish it and to build my new profession as theatre practitioner.
The program Integral Movement and Performance Practice (IMPP) helped me to explore the moving, playing and performing body at the intersection of the performing, healing and educational arts. It also helped to guide me through a more integral development of myself as whole person because it promoted movement, play and performance as ways to enlarge my understanding of self as an openended process, in which the movements of our individual, collective and universal body are deeply interwoven.
I went through my personal and artistic Individuation Process exploring the world of Masks and Myths as container for the individual, collective and universal body we are. I explore the collective and universal myths with the Neutral Mask, the most important cornerstone of Jacques Lecoq’s pedagogy and considered “the mask behind all other masks”. The Neutral Mask can be seen as an archetypal image of the unified reality of body, psyche and world, which has been described in mythology, science, philosophy and depth psychology as the Self.
The process of growing awareness through differentiation and integration of our hidden potentialities, called individuation by C.G. Jung, allowed me to become more playful with the multiple ways of being in and with the world.
By integrating what I have learned in the IMPP course of study, I created physical theatre modules that I offer for children, youth, adults and young adults with intellectual disabilities: they focus on embodied movement, creativity, authenticity and playfulness.
I am pursuing a Master in Integral Movement and Performance Praxis with Rose Bruford College (UK) and my research is about Co-creation, which is a way of creating performative materials and ideas collectively in a process that involves connection to Self and connection to Source.
Connection to Self means that each person in the creative process, becomes aware of the own psycho-physical and spiritual parts.
Connection to Source means connection to the field from which everything in our universe unfolds from. This field of quantum potential has the major quality of wholeness and is full of creativity. This field is the stage director, it already has all the information about the performance in the form of potential.
By connecting to Source, everyone is participating in the creation and receiving a piece of "information" that makes meaning only together with the other pieces. What unfold has a strong core and everyone serves this core participating with a clear sense of wholeness and expansion. Co-creation includes also the enfolding process as reflective moment to learn from what has unfolded.
My aim is to co-create performances from Source and teach co-creation.
I am also studying in Berlin Unfold Technique that brings the principles of Alexander Technique to movement - dance - improvisation. Through a better organization and coordination of the movement of the body in the space, the movement and presence of the person unfold more efficiently and powerfully, because the body and Self re-gain the natural tendency to create organically a dialogue among the body parts.
My aim is to bring this creative movement and education process to all people that want to improve their daily activity as well as performers that want to apply it for performative creation and improvisation.
„ Andrea has the true spirit of an explorer who strongly believes in the necessity of traveling into the vast landscapes of the human soul, not to conquer her, but to learn to listen to her wisdom, which will be crucial for the survival of humanity and the future of our planet in and beyond the 21st century.
What is probably most important to understand is that these landscapes are not to be found on some distant continent beyond the horizon, but right here and right now in our own bodies. We therefore need guides who help us on that journey into our own body as well as the body we share with others. We need guides who introduce us to our senses, our intuition, our body imagination. Andrea is one of those guides, courageous, gentle and knowledgeable. I wish him all the best on his future explorations, whether alone for himself or as a guide for others. “
"Adrea Grancini spent two years working with the international Helen O’Grady Academy in Malta. His dedication and passion for teaching is second-to-none, and his ability to inspire and empower students of all ages is indeed a rare quality. Besides the implementation of the Academy curriculum, Andrea also taught trained in No Verbal Communication, Impro and Creativity and Physical theatre"
Andrea became the artist practitioner in charge of the theatre group of Opening Doors from October 2015. Drawing on his depth of experience of theatre practice in Italy, Andrea evolved his own inimitable methods of working with our theatre group, carefully nurturing the capabilities of each member, with support from Maltese assistants and volunteers. In the 2016-17 season all three groups collaborated on a production of Ahdar id-Desert /The Green Desert, and Andrea worked enthusiastically with all the performers to connect the narrative and foster the relationships between the actors, dancers and musicians.
Since October 2019, Andrea has worked with our Level Two theatre group, carefully supporting the creation of a number of performances at Spazju Kreattiv and Teatru Salesjan, working tirelessly with individuals and small groups to create characters, develop relationships and develop the passion for theatrical performance. Even in lockdown and online, the work continues.
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