2015 SEASON

Our workshop-laboratories share a common thread based in Imalis' research into the performance practices of Ancient Greek Theater. Our Workshop Series builds upon the same theme that initiated our first under the title "Shed the skin, trace the path, set the post." It is an open invitation to start at the beginning with that first, most primordial gesture of the performer: that gesture by which we shed or peel away a part of our selves in order to create a new space and touch others.
Imalis’ yearly laboratory-workshop series constitutes the spine of its activities, allowing it to operate as an independent, self-sustaining entity open to all, regardless of race, creed, social or educational status. Participants from all walks of life, seasonal guests as much as local citizens, artists, students and professionals benefit equally from highly structured, intensive yet accessible learning contexts.
Participate in workshop, performance, ensemble and community work, artistic, spiritual and healing retreats, writing seminars and research expeditions organized from Imalis’ base at the historic site of Epidauros, Greece. Oh, and of course you can also relax and enjoy the sun, the sea and the beauty of Ancient Epidauros...
Join us for a unique and historical experiment in the arts, sciences and politics of Ancient Greek Theater!

WORKING SESSIONS

HIPPOKRENE FONT II

PSITTACUS & CYCLOPS

DIGITAL IMALIS

A PERSONAL MESSAGE AS PROEM

The theme for our first and second year of workshops is titled “Shed the skin, trace the path, set the post,” three actions that signal a beginning, a journey and an end, watersheds marking important stages in our re-discovery of the Ancient Greek performance tradition, and important milestones in the programing of our work-sessions. read more...

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WORKSHOPPING ANCIENT POETICS IN 2011
Segments of text and specific roles will be drawn mainly from Euripides’ tragedy Orestes. These will not only serve as our primary foundation for scene analysis, but we will explore how the text in its native tongue can be broken down and transcribed phonetically and acoustically as texture and tone, rhythm and breath.
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AIMS AND MEANS OF ANCIENT DRAMA — A WORKING HYPOTHESIS

At the end of a very elaborate process of training and rehearsal, the ancient actor, having constructed his role, would sit in the wings in a moment of deep contemplation, his mask before him. Before lifting the mask to his face what is it that he had shed, and what was he putting on? read more...