Tapasudana

Tribuana, une parameter de 3 sur la vie

2010-07-17T19:24:00.000-07:00

Texte sur théâtre Tribuana, et information sur le stage Tribuana:

expression Tribuana se trouve a jour ici (avec 25 champs à explorer)

Autre blog Tribuana workshop, klik ici SVP.

Tapa Sudana as Shiva in Mahabharata of Peter Brook (film)

une partie de spectacle "Bayu" de tapa sudana à Roma en 1992

Tapa Sudana English CV

2010-03-18T11:28:00.000-07:00

Born in Denpasar, Bali, Indonesia : 21 September 1945, IM70, 70 kg.

Photo Tapa Sudana

Until 1974, his name: I Gede Sudana;

From 1974 on, his name: I Gede Tapa Sudana.

Study : 3 years Faculty of mechanical engineering at Gajah Mada University, Jogyakarta.

3 years Academy of Film and Theatre in Jogyakarta, Indonesia

Theatre in Indonesia started in 1968: with Ikra Negara, Putu Wijaya, W.S.Rendra and SardonoW.Kusumo.

With Rendra: In Hamlet as Claudius, in Oedipus as Therisias, in Macbeth as Macbeth.

With Sardono: In 1973-74 Kechak creation at Teges, Bali; in 1974 Dance Theatre Mask: “La Sorcière de Dirah”, European tour.

Theatre: since 1974 living in Paris.

“La Legende du glacier”, “Les Gens du glacier”, theatre-dance-mask of Bali and Lötschental (Swiss) directed by Marcel Robert, Geneva.

“PATRA”, theatre-dance-mask of Bali, a creation with I Made Netra, Soegeng, Dewi, Jacques Fassola. Performed Balinese Mask dance with: I Made Djimat, Cristina Wistari, Made Gerindem, Ida Bagus Geria, Soegeng.

“Voyage Punta” Solo dance theatre mask of Bali. “Bayu”: performance with: mask dance, flute, sakuhachi, Silat (Indonesian Kung-Fu), Kyu-do.

“Oh Jerusalem” by Elisabeth Swadows in New York and Roma.

“Zarzuela” directed by Alain Maratrat.

“Les Rescapés de la Dernière Croisade” de Marco Horvat, directed by Michel Hart.

“Tabarin” de Geneviève Serreau, directed by David Esrig as actor, masked.

“Zat”, Sufi story directed by Ali Ihsan Kaleci.

“Arbre à Palabre”, story telling with Footsbarn theatre;

With Peter BROOK (1979-1991): “La Conference des Oiseaux and L’Os”, Carmen,

The Mahabharata, The Tempest.

“Das lied von der Erde” by G.Mahler, David Stern, Yoshi Oida.

« Il n’y a plus de Firmament » by Josef Nadj.

Assistant Director:

Actor-trainer for mask in “Oedipus” directed by Stavros Dufexis, in Madrid. (Jose Luis Gomez as Oedipus).

Musician and actor-trainer for mask in “Iketides” directed by Stavros Dufexis, Epidaurus and Athenes.

Film work (actor):

“Rapsodie en Jaune”, telefilm in Paris.

“Carmen”, “Mahabharata” by Peter Brook.

“Tang le onzième” by Dai Sijie.

“Prêt à porter “ by Robert Altman.

“J’ai faim” by Florence Quentin.

“Palais Royale” by Valérie Lemercier

« Belle ville tour » of Zakia & Ahmed Bouchala

film Banlieu 13 Ultimatum de Patrick Alessandrine,

Dubbing voices film : MAHABHARATA, KUNDUN, L’EMPIRE DU TIGRE.

Intervention in theatrical creation with various company : Tour de Babel, Salamandre, Footsbarn theatre.

Teaching workshop Tribuana. Since 1979, Tapa Sudana gives workshops on Balinese mask and movement.

He has created a work on expression of the “three worlds”(thought, emotions, body) through workshops in France, Greece, Italy, Switzerland, Spain, Amsterdam, Belgium, Bogotá, Venezuela.

This work includes: body work based on Tai Chi, Silat (Indonesian Kung Fu), Yoga, Ko Do, Kyu Do, Totem (object composition/construction, contemplation, ritual, the sacred), Ethnic Song, Tongkat (stick work developed by Tapa), I.Disk (design, mandala, sacred-syllable), Story telling, Mask, Improvisation, Contemplated text, Meditation, Taoist health exercises, Chi Kung, Kechak (Balinese voice rhythm, movement), Rhythm, Group work.

Klick here French Tribuana with link.

Tapa Sudana, CV chronologique ...2000

2010-03-18T10:59:00.000-07:00

Né à Denpasar, Bali, Indonésie le 21 Septembre 1945. nom : I Gede Sudana

Premier né de ma mère de 8 enfants (4 filles & 4 garçon), ma mère étant la première femme de mon père, et mon père I Gede Madera avec sa deuxième femme a eu 5 enfants (4 garçons et une fille).

Village de naissance Banjar Pemedilan, jalan Gunung Merapi 3 , Denpasar, Bali, Indonesia.

Religion Hindou-Bali.

Père : I Gede Madera 1922-2007 : enseignant à l’école maternelle, m’a enseigné la base de la danse balinais dès l’age de 4 ans, travail aussi pour le ministre d’éducation et sport à Bali. Il compose des gym pour les écoles élémentaires à Bali des années ’50, ou tous les jours les enfants font gym de 7H00-7H15. Pendant sa jeunesse il a fait sculpture en bois, gamelan/musique balinais, théâtre. Il a écrit plusieurs livres pour les écoles : géographie, langue balinais en lettre balinaise et latine, des chansons traditionnelles des enfant de Bali (j'ai composer et mis dans you tube, voici entre autre) Il a un petit orchestre de Angklung et inventer/créer un instrument « guitar noix de coco » pour les enfants. Il a deux femmes et 13 enfant dont je suis l’aîné/le premier né du 13.

MÈRE: Ni Made Nurani : on peut dire mère professionelle de 8 enfants , 4 garçons, 4 filles..

Mon oncle, I Nyoman Siki, maître de Silat (l’art martial balinais) donc je témoigné son travail/l’ensignement quotidien dansnotre cour de la maison balinais.

Un de mes Grand-pères: I Tjetig était Mangku Gede (moine gardien-serviteur) du temple du roi de Pemecutan/Denpasar Bali.

La vie traditionnelle Balinais (Hinduiste) avec tous ces cérémonies en musiques/gamelan, dance, théâtre me forme des ma petit âge.

1945-1964 Grandi et étudié jusqu’à Bac à Bali, avec exemption de 1958-1960 à Sumbawa.
1964-1967 Faculté d’ingénieur de l’Université Gadjah Mada à Jogjakarta, Indonésie.
1967-1969 ASDRAFI (Académie de théâtre et film) à Jogjakarta).
1968-1974 Acteur du Théâtre MANDIRI de PUTU WIJAYA.

Nouveau nom : I Gede TAPA SUDANA, officiellement à partir de mes sejour à Paris en 1974.

Acteur du BENGKEL TEATER de W.S.RENDRA : comme CLAUDIUS dans Hamlet ,
THERESIAS dans OEdipe Roi, MACBETH dans Macbeth et autres pièces de RENDRA et
PUTU WIJAJA

1973 Participation à la création de Kechak in village Teges, Bali, with Sardono W.Kusumo.

1974-1974 Acteur, danseur dans La Sorcière de Dirah (Théâtre danse musique masques chants de Bali et Java) mise en scène de SARDONO W. KUSUMO tournée européen : Paris, Nancy, Rome, Florence, Genève, Amsterdam, Holsterbro (Odin Teatret).

1975 Acteur dans Tabarin de Geneviève SERREAU, mise en scène de David ESRIG au Théâtre de
Chaillot, Paris. PATRA (danse théâtre musique masque de Bali) crée avec I Made Netra à Genève, puis SOEGENG, Jacques FASSOLA, DEWI tournée à Nice, Nancy, Angers, Tunisie (Tabarka, Bizerte), Paris, Sartrouville.

1976 Présenté son travail théâtral au colloque de Eugènio BARBA à Belgrade, Théâtre des
Nations.

1977 PATRA au Festival de Villach (Autriche), Festival de Nancy, Genève.

1978 PATRA tournée en Allemagne (Bochum, Erlangen, Fribourg, Hambourg, Stuttgart, Köln
Festival de mime), Autriche (Gonz), Nice :spectacle avec ARTHEA Gestation Sonore de Goa
et Franky comme danseur.

1979 Stage de masque Balinais à Vaison de la Romaine, Nice, Genève. Acteur dans La Conférence des Oiseaux, spectacle de PETER BROOK à Avignon, Paris, Berlin, Rome.

1980 Tournée de L’OS et LA CONFERENCE DES OISEAUX en Australie (Adélaïde, Melbourne,
Sydney), New York, Lisbonne, Paris.

1981 Guru Djati, avec Patricia PASSAT, SOEGENG : spectacle danse, masque pour Comédie
Caen. Spectacle et stage pour Semaine de la danse à Avignon, organisée par Amélie
GRAND, stage pour Université di Lecce (Italie), stage et spectacle pour ADADA,AMR,ARTO de Marcel ROBERT à Genève.

1982 RAGA (avec SOEGENG et Patricia PASSAT) spectacle de danse musique masque de Java et
Bali au Centre Mandapa, Palais des Glaces, Paris. Stage à Bruxelles, spectacle solo : Voyage de Punta, à Liège.
Création d’OEdipe Roi à Madrid (José Luis GOMEZ), mise en scène de Stavros DUFEXIS, musique de Christodoulous CHALARIS : travail préparation d’acteur pour jeu de masques.
Acteur dans CARMEN de BIZET , TADADA (music-hall, acteur chanteur) au Bouffes du Nord à Paris, mise en scène de Peter BROOK.

1983 Acteur dans les trois film :CARMEN de Peter BROOK. Tournée de Carmen en Europe et
New York.

1984 CARMEN à New York. Acteur dans « Oh, Jérusalem »,spectacle de music-hall de Élisabeth
SWADOWS, New York, Rome.
Préparation, création et acteur dans MAHABHARATA (rôles: PANDU, SHIVA, SALYA) mise en scène de Peter BROOK, texte de Jean Claude CARRIÈRE.
Acteur dans Téléfilm: « Rapsodie en Jaune ».

1985 Acteur dans MAHABHARATA : Avignon, Italie, Espagne, Grèce, Allemagne.

1986 Le MAHABHARATA à Paris. CARMEN de Peter Brook à Pompéi, Rome, Bari, Cagliari,
Düsseldorf, Munich, Milan.

1987 Spectacle de danse et masque de Bali à Mandapa avec SOEGENG, Cristina WISTARI. Stage
en Allemagne. Le MAHABHARATA version Anglais tournée à Zurich, Los Angeles, New
York.

1988 Le MAHABHARATA à Adélaide, Perth, Copenhague, Glasgow, Tokyo. FILM MAHABHARATA tournée à Paris, rôles : PANDU, SHIVA, SALYA.

1989 Stage pour Le Théâtre FOOTSBARN à Genève.

1990 –1991 LA TEMPETE de Shakespeare mise en scène de Peter BROOK : Paris, Suisse,
Allemagne, Glasgow, Tokyo, Italie, Avignon. Stage à Athènes, Rome.

1991 Tournée La Tempête au Japon.

1992 Stage à Athènes, Rome, Ausbourg, (Allemagne).
BAYU, spectacle solo de Flûte Sakuhachi, Silat (l’art martial Indonésien), masque, Kyu-do (tir à l’arc de cérémonie japonais, première à Rome.
Acteur dans ZARZUELA, opérette de Thomas BRETON mise en scène de Alain
MARATRAT à Vienne, Festival d’Avignon.

1993 Stage AFDAS à Hérisson au Théâtre Footsbarn, stage à Rome, Paris, spectacle BAYU à
Volos (Grèce).

1994 Stage à Barcelone, Paris.
Acteur dans le film PRET-A-PORTER de Robert ALTMAN.
Musicien et préparation d’acteur pour jeux de masque dans LES SUPPLIANTS d’Eschylles
mise en scène de Stavros DUFEXIS à EPIDAURE et Athènes.
Stage AFDAS à Hérisson, Théâtre Footsbarn.

1995 Stage contes Soufis, comme animateur avec Ali Ihsan KALECI, Andréa COHEN, Kudsi
ERGUNER à Paris.
Stage AFDAS « Éveiller l’expression des trois mondes » à Paris, Besançon (Théâtre Salamandre), Italie(Chenzy), Hérisson (Footsbarn), Barcelone, Angoulême (théâtre Tour de Babel).

1996 Stage AFDAS à Paris, Besançon (Théâtre Salamandre, CDN Besançon), stage contes Soufis
à Paris, stage à Madrid ( Teatro de la ABADIA dir. José Louis GOMEZ), stage à Genève,
Italie (Chenzy), Fontaine (Comédiens du Possible), Hérisson (Footsbarn), Sardaigne (Tiana).

1997 Stage à Chenzy (Italie), Trappes (pour Les AILES), Postdamn en Allemagne pour Ton Und
Kirschen Theatre, Angoulême (Les Plateaux, Milan, Athènes pour DESMI direction Aspassia
PAPATHANASSIOU, Colombie (Bogota) pour CENIT direction Bernardo REY et LA CASA DEL TEATRO subdirection de Adela DONADIO, Crète (Hania) pour Thod Espiritous, stage à Montone (Italie), stage à Hérisson (Footsbarn), Acteur dans film « TANG LE ONZIEME » de DAI Sijie, Tournée à Hanoi, Viet Nam (rôle TANG-le-Ier).

1998 Stage à Turin, Italie (Zona Castalia/Soc.Coop. Il Mutamento), Spectacle Solo le 16 janvier à
Zona Castalia et le 17 janvier au Théâtre Matteotti de Moncalieri, Turin ;
stage AFDAS à Paris de 26 jan.-20 feb ;
stage à Athènes de 5-17 mars ;
stage à Ostia de 23-29 mars, à Roma de 30 mars-5 Avril : Grenoble de 20-29 Avril stage AFDAS (Comediens du Possible) ;
3-4 juin : acteur dans « Les Rescapés de la Dernière Croisade » de Marco HORVAT, mise en scène Michel HART (spectacle avec des chansons Moyen Age) ;
19-21 juin : acteur dans L’ARBRE à PALABRES de FOOTSBARN theatre au Festival Le Printemps des Comédiens à Montpellier ;
2-11 juillet :stage à Hania en Grèce ; 13-15 juillet à Athènes, avec présentation de travail à l’école de Nelly KARA ;
24 juillet-4 août stage AFDAS à Hérisson (Footsbarn) ;
17-26 août stage en Italie ( à Biella, Santuario di St.Giovanni d’Andoro) ;
29 août – 6 septembre stage à Palermo, Italie ;
26 oct. – 4 nov. Stage à Athènes ;
13-15 nov :spectacle L’arbre à Palabres avec Footsbarn Theatre à Bourg-en-Bresse ;
16-30 nov. stage à Caracas,Venezuela organisée par Isabel SOTO, El Arte del Interprète ;
Décembre stage à Amsterdam organisée par Daniel ROVAI, Load center.

1999 11 jan -4 mars :stage « Éveiller et Cultiver l’expression des trois mondes » organisée par
AIA-France .
stage Shakespeare et Soufis avec Ali Ihsan KALECI, Andréa COHEN, Kudsi ERGUNER à Paris. Stage E.C.E des Trois Mondes : à Athènes 5-15 mai 99,
à Rome : de 24 Mai – 6 Juin 99,
Amsterdam de 11-15 mars 99 ;
à Hérisson chez FOOTSBARN THEATRE stage les Trois Mondes de 5-14 Juillet ;
à Grenoble de 19-24 Juillet ; Nantes (La Pastière)de10-14 sept ;
Athènes de 21-29 sept. ;
12-16 Octobre à Mulhouse, Spectacle Arbre à Palabra de Footsbarn Théâtre comme acteur ;
12 –20 novembre stage pour élève d'école dramatique de Nellie KARA à Athènes (entendant et mal-entendant) ;
25-29 novembre stage à la Pastière de Alessandro ARICI, Nantes ;
10 et 11 décembre, ZAT : spectacle des contes Soufie, mise en scène Ali Ihsan KALECI, musiciens Kudsi ERGUNER, Catherine BRISSET, avec Isabelle ASTIER, ZIREK à Moulin d'Andé et à Centre Culturel Jean Vilar, Marly-le-Roi.

2000, 10-14 janvier Stage AFDAS Shakespeare Contes Soufi à Paris.
20-26 janvier stage à Madrid.
1-6 février à Milan. 9-13 février Cenci(Italie).
13mars-20 avril stage AFDAS « les trois mondes » à Paris.
29-30 avril Grenoble (cie. Théâtre des Com. du Possible).
7-17 mai à Besançon (cie. Théâtre Tohou Bohou).
22-28 mai à Torino (Nino Falleti - ninonin8@yahoo.com).
15-25 juillet stage à Footsbarn Theatre (Olivier Durin fax : 04 70 06 84 71).
9-13 oct. Stage à Venise IISMC.
17-23 nov. Stage à Madrid.
27 nov. Tournage film « J’ai faim » de Florence Quentin ;
9-10 décembre Grenoble (cie. Théâtre Com. Du Possible).

2001 Tribuana workshop.

1. 14-21jan; Rome; 00 39 06 963 29 42

2. 13-19fev; Athènes; sandralala11@hotmail.com

3. 21, 22, 23 fev & 7, 8, 9 mars; Paris stage ANPE de 12feb-24 mars ; ayaz@wanadoo.fr

4. 26 fev-4mars-; Milan; rosadeiventi@libero.it

5. 17-18 mars; Grenoble; Laurence Remy 04 76 63 90 58

6. 28 mars-1avril; Rovigo; trdellem@tin.it

7. 8 – 12 Avril ; Caracas; escenateneo@cantv.net

8. 23-30 avril; Athènes; 00 30 1 77 99 141

9. 12-13 MAI; Grenoble;

10. 22-28 mai; Amsterdam; deloods@xs4all.nl

11. 3-6, 26 30 juin; Preparation spectacle « les Bacchante » La Devignère/Angoulême Th.Tour de Babel.; tourdebabel@excite.fr

12. 13 – 17 Juin; Cenci, Italie; cencicasalab@pronet.it

13. 9-13 , 16-20 Juillet; Stage à Footsbarn théâtre; citinerant@wanadoo.fr

14. 27-29 Juillet; Grenoble;

15. 6-15 août; stage tribuana Le Domaine du Houvre; sofig@libertysurf.fr

16. 3-6 sept-; Preparation travail de groupe pour Footsbarn Shakespeare; la-chaussee@wanadoo.fr>

17. 9-13 sept; Venise (St.Giorgio IISMC°; musica.comparata@cini.it>

18. 25,26 – 30sept,1oct; Athens (Drama School); arhi@hol.gr

19. 13,15-19,20 oct ; Bibbiena (www.folial.it.) org. Fabrizio di Felice;

stages@folial.it

20. 27 oct-4 nov ???; Grenoble;

21. 6,13,20,27 nov; Université Paris; Ngauthard@aol.com

22. 14 – 19 nov; Roma;

23. 23,24,25 nov; Suisse, Moutier, Sornetan; ajac@bluewin.ch

24. 2-9 dec ; Greece; sandralala11@hotmail.com

25. 26 DEC-30 JAN 2002; Spectacle opéra Das Lied von die Erde de G. Mahler. David Stern, Yoshi Oida.; OPERA à ROUEN,

2002 Tribuana workshop.

1. 26 dec-30 jan2002; Opéra ROUEN; Béatrice Lhommet; 0235985098 / 0235153349

2. 27 Fev-3mars 2002; Cenci, strada di Luchiano 13, Amelia (Terni) ; Carlotta Alessandrini 0347 4236106/ alexlotte@hotmail.com; T.0744.980330, 980204. E-.mail : cencicasalab@pronet.it

3. 19 mars 18-20h; Univ Créteil; Nathalie Gauthard; Ngauthard@aol.com

4. 20,21,22,23 mars; Gotein (64); Cie.Le Grain, Rolande Bergeron; compagnie.le.grain@wanadoo.fr

5. 17-21 avril 2002; MADRID; Armando Arjona www.elcandilteatro.com; estudio@elcandilteatro.com **34 91 521 34 55

6. 25-26 avril; Reading “Neige”; Agathe Sanz ; 06 63 30 82 85

7. 1-11 mai 2002; Paris; Olivier Richard, Metamorphose; 01 46 07 79 02, 06 03 97 33 59 larbretropiques@parisfree.com

8. 15-18 mai; Besançon; Salamandre ; compagnie@la-salamandre.com

9. ~~31mai-3juin; Montevaso;~~ Francesca/Enrico; teatrodelmontevaso@montevaso.it>

10. 12-19 juin 2002; Bonnieux; Sophie Gazel & Pablo Contestabile; 04 42 44 66 53 / 06 61 84 96 86, contact: sofig@libertysurf.fr

11. 1-12 juillet 2002; Footsbarn; Olivier Durin; 047006 2434 / 8471FAX

12. 21-28 juillet 2002; Venise; Sabrina Morenco & Patrizia Ancilotto Spiller,; Fond.G.Cini, 39 041 5289900 / 5238540 FAX musica.comparata@cini.it

13. 20-29 Août 2002; Dom. du Houvre; Sophie Gazel & Pablo Contestabile; 04 42 44 66 53 / 06 61 84 96 86, sofig@libertysurf.fr

14. 3-5 &7-8-9 septembre, (repéttiton opéra de Yoshi Oida : « das Lied von die Erde » G.Mahler)

15. 10,11,13,14 septembre; Répétition Opéra : Générale et Spectacle Paris, théâtre de la Ville; Ilja Fontain,; Opera de Rouen, IljaFONTAIN@ OperadeRouen.com

16. 21 et le 25 septembre; Tribuana à Palermo; Dario et Alessandra di Bernardi; assodanza@tiscali.it

17. 8-13 oct; Cenci casalab.; Franco/Carlotta; cencicasalab@pronet.it & alexlotte@hotmail.com

18. 22 oct-27 oct; Italie; Massimo 338 7017887; artemidecom@virgilio.it

19. 9-11 nov ; Grenoble; Laurence Remy, Comedien du Possible; 04 76 63 90 58

20. 19-23 novembre; TNT in Spain ; Sharon Sapienza & Patricia Garzon; atalaya@emailaccount.com & tnt@arrakis.es

21. 10-14 decembre; Athens; Nely Karra, Maria Mouyanni; arhi@hol.gr

2003 Tribuana Workshop.

1. 3 – 9 février; Athens, Desmi; Theodora Loisou; ANCDRAMA@otenet.gr

2. 20,21 mars ; Spectacle Opéra de Opéra Rouen , répétition; Ilja Fontain Opera de Rouen; Opera de Rouen, IljaFONTAIN@OperadeRouen.com

3. 22 mars générale 23 mars spectacle; Vitry, spectacle ; Ilja Fontain Opera de Rouen;

4. 30 mars répétition, 31 mars générale

5. 1 avril spectacle’; Issy les Moullineaux; Ilja Fontain Opera de Rouen;

6. 16 to 20 april, ; Tribuana workshop, Ostuni, Brindisi, Italia; Robert McNeer, La Luna nel Pozzo; lupo.teatro@libero.it ++ 39 0831 330 353 alexlotte@hotmail.com

7. 27 avril générale , 28 avril 15H30, 29 avril spectacle Opera de Rouen à Sartrouville

8. 26 mai-5 juin; Paris Pour des comédiens; Cie.Metamorphose ; Olivier Richard; Cie ART Métamorphoses ; 29, rue Méhul 93 500 PANTIN France Tel. 01 48 45 00 22
artmetamorph@libertysurf.fr

9. 10-14 juin; Paris; Stage Tribuana à univ.Censier; laure_fernandez@yahoo.fr

10. 25-29 juin; Tribuana à Fond.Cini, Venise; Sabrina Morenco& Patrizia Ancilotto Spiller,; Fond.G.Cini, 39 041 5289900 / 5238540 FAX musica.comparata@cini.it

11. 7-18 juillet 2003 Tribuana à FOOTSBARN THEATRE, Herrisson (Stage AFDAS); Olivier Durin la-chaussee@wanadoo.fr Telp. +33 47006 2434 +33 4 70 8471 FAX Association La Chaussée La Chaussée 03190 Maillet France

12. 18 – 22 août, 23 août; Paris, répétition spectacle Josef Nadj, Centre National de la Danse ; Petit Studio15h00 à 21h00 ,13h00 à 17h00; 15, rue Geoffroy-L'Asnier, 75004 Paris (Métro Saint-Paul)

13. 28 29 30 31 août; Tribuana à LUC EN DIOIS, France; PABLO, SOPHIE de TheatreOrganic; Sorganic@aol.com 21, rue Ile de France, 66140 , Canet en Roussillon

14. 8 september; Paris; Repetition pour spectacle de Josef Nadj;

15. 10-14 sept 2003; ARHI, Athens ( Ecole de théâtre); Maria, Nelly Kara; arhi@hol.gr

16. 16, 17,18, 19 sept; Spectacle “Firmament” de Josef Nadj à Zagreb ; départ de Paris (CDG) 16/9/ 12h15 Arrivée Zagreb 14h05 Départ Zagreb19/9/ 09h15 Arrivée Paris (CDG) 11h15

17. 26-30 sept 2003 tribuana workshop à Ecole de théâtre de Juan Carlos Corazza, MADRID; 10-14 & 15-19H; estudio@teatrocorazza.com

18. 13-19 octobre; Madrid ; Prado Pinilla, La nave de los Locos 0034 91.560.14.79; info@lanavedeloslocos.org

19. 25-26 oct stage Tribuana (week end); Grenoble 38000, 46, rue St.Laurent; Commediens du Possible de Laurence Remy; comdupos@aol.com 04 76 63 90 58

20. 3 Nov-12 Dec ; PARIS, Stage Tribuana pour AFDAS; Valéry Rybakov, 06 60 80 46 77; pzuvotce@wanadoo.fr 14 rue de Paradis, Paris 75010, 01 47 97 12 40

21. 15-19 dec ; Stage Tribuana à Genève; Michèle Mohr; mmohr@span.ch

CV Tapa Sudana

2009-05-15T05:43:00.000-07:00

image/photo 13 octobre 2011

image 12 juillet 2011

Tapa Sudana as Shiva in Mahabharata of Peter Brook film.

Nom: (I Gede) Tapa Sudana

tapasudana@neuf.fr

++33 (0)6 1719 6 888

Origine : BALI, INDONESIE.

Né le 21 septembre 1945 à Bali.

A l'âge de 4 ans , mon père I Gede Madera ma transmit la base de la danse Balinais.

Mon Oncle I Nyoman Siki m'a transmit un peu le pencak silat (l'art martial) Balinais, car il enseigne dans la cour de notre maison familiale.

Je porte le nom I Gede Sudana de 0-27 ans. A l'âge de 27 ans j'ai ajouté Tapa avec permission de mon père. Officiellement pour mon départ tournée Européen avec spectacle "La Sorcière de Dirah" de SARDONO février 1974, mon première passeport porte le nom: I Gede TAPA SUDANA. I veut dire genre masculin. Gede veut dire le premier né de la famille, dont je suis le premier né de 13 enfant de mon père + 2 femmes ( Ni Made Nurani porte 4 Garçons & 4 filles, Ni Ketut Sukadi porte 4 garçons & 1 fille).

Taille : 1M71 / 69 kg

Danse traditionnelle de masque de Bali.
Flûte : traversière, indienne, balinais, chinois, japonais (sakuhachi) ;
Guitare ; Clarinette ; Tabla ; Djémbé, Percussion ; Chant ;
LANGUE : balinais, javanais, indonésienne, anglais, français ;notions d’Italien et d’Espagnol
PERMIS DE CONDUIRE B.
SPORT/ : Silat (kung-fu indonésien),Tai Chi, Kyu-do, Chi Kung , Yoga.,Tongkat.
NIVEAU d’étude : Université, faculté d’ingénieur 3 ans à Jogyakarta 1964- 1967.

FORMATION PROFESSIONNELLE : Académie de Théâtre et Film, 3 ans à Jogya, Indonésie.

Former par /travail avec le Théâtre MANDIRI de PUTU WIJAYA , Bengkel teater de W.S.RENDRA , danse théâtre de SARDONO en INDONESIE. Durant mes période de travail avec RENDRA 1969-1973 j'ai reçu le Silat Bangau Putih du maître SUBUR RAHARJA de Bogor/Sunda west-Java. Ce Silat (l'art martial Indonésien) me suivi/je le suit en France avec maître (maîtresse) Palisandre Singer, dont elle fait partie du 18 première héritier du maître jusqu'à 1999.

EXPERIENCE PROFESSIONNELLE en INDONESIE :
Théâtre en Indonésie :Cladius dan Hamlet, Macbeth dans Macbeth, Thérisias dans Œdipe Roi. Participation à des spectacles écrits par WS RENDRA et PUTU WIJAYA.. Création à Bali avec SARDONO : Kechak Teges 1973 et La Sorcière de Dirah, 1974 tournées Européennes.
1974 arrivé et travailler en France, venu avec un groupe de théâtre danse musique, chantes, masques de Bali et Java : « La Sorcière de Dirah » de SARDONO, tournée européenne.
THEATRE avec PETER BROOK de 1979 - 1991:
L’ange de la mort dans L’OS ; chauve-souris, Princesse en masque balinais, Astrologue, marionnettiste dans LA CONFERENCE DES OISEAUX & L’OS. Lilas Pastia, Garcia dans CARMEN, Chanteur dans TADADA (une présentation de music-hall de Noël de Peter Brook); Pandu, Shiva, Salya dans Mahabharata ; Esprit, Trinculo dans la TEMPETE.
THEATRE : TABARIN (acteur-masquer) texte de Geneviève SERREAU, mise en scène David ESRIG.
ZAT, (acteur-conteur) contes soufi texte et mise en scène Ali Ihsan KALECI.
ARBRE à PALABRE (acteur-conteur) de FOOTSBARN THEATER.
THEATRE DANSE
Avec Josef Nadj, Acteur danseur dans « Il n’y a plus de firmament ».
THEATRE MUSICAL :
Acteur dans Oh ! Jérusalem d’Élisabeth SWADOWS à New York ; Comedien-chanteur dans Zarzuela Thomas Breton mise en scène Alain MARATRAT ; Janus Roi Bouffon dans « les rescapés de la dernière croisade » de Marco HORVAT mise en scène Michel HART (spectacle avec des chansons de moyen-age). Acteur dans « das Lied von der Erde » de G.Mahler mise en scène de Yoshi Oida et maestro David Stern, Opéra de Rouen et théâtre de la Ville à Paris, Luxemburg.
ASSISTANCE à la mise-en-scène :
Œdipe Roi mise-en-scène DE Stavros DUFEXIS à Madrid avec José Luis GOMEZ (Œdipe): préparation des acteurs et jeu de masque. Les Suppliants, mise-en-scène de Stavros DUFEXIS à Epidore et Athènes : musicien, préparation d’acteurs et jeu de masque.

CINEMA :
Servant dans Rhapsodie en Jaune (Téléfilm) ; Garcia dans Carmen, Opera de Peter Brook ; Pandu, Shiva, Salya dans Mahabharata de Peter BROOK ; Chauffeur dans « Prêt-à-porter » de Robert ALTMAN ; Tang le premier dan « Tang le onzième » un film de DAI SIJIE. Acteur dans « J’ai faim » de Florence Quentin. Acteur dans film : « l ‘Etranger » Mirroir Magique prodduction. Serie Télé « Faits Divers Extraordinaires » de Elephant & Cie. Palais Royal de Valérie Lemercier. Acteur dansFilm « Belle ville tour » de Zakia & Ahmed Bouchala

DOUBLAGE : MAHABHARATA, KUNDUN, L’EMPIRE DU TIGRE.

CREATION :
PATRA, danse théâtre musique masque de Bali avec : I MadeNetra, Soegeng, Dewi, Jacques FASSOLA « Guru Djati » danse théâtre masque avec Patricia PASSAT et Mas SOEGENG ; Danse masque traditionnel de Bali au Centre MANDAPA : avec Mas SOEGENG et Christina WISTARI; Spectacle de danse & masque de Bali à Nice avec NETRA, SOEGENG, I MADE DJIMAT; Voyage PUNTA : solo masque balinais ; BAYU : solo de flûte sakuhachi, masque, danse, Silat(Kung-Fu indonésien), Kyu-do, chants.

TONGKAT TriBuana: l'art du bâton avec contenu: travail d'échauffement, méditation, long mouvement, travail de groupe/collectif/commun.

COMPOSITION MUSICALE : Jardin de Jade : cassette de flûte indienne et sakuhachi.

FORMATEUR depuis 1979.
Dirige des stages de formation et préparation d’acteur « Éveiller et cultiver l’expression des trois mondes », TRIBUANA mouvement :yoga, art martial indonésien (Silat), Tai Chi, Tongkat (l’art du bâton), masques, rythme, improvisation, contes, travail de groupe, totem ..; (25 champs à explorer).

Le Stage en France, Italie, Espagne, Grèce, Suisse, Bruxelles, Bogota, Allemagne, Caracas, Amsterdam. Stage de formation (AFDAS) en collaboration avec Ali Ihsan KALECI de AYNA centre de recherche théâtrale, Jean Paul DENIZON de AIA France, Olivier Durin de THEATRE FOOTSBARN , Le Théâtre Organic, Théâtre Métamorphose, Cie Labyrinthe Russe.

A ce moment fait partie de Cie. Art Métamorphoses de Olivier Richard organise des stages de théâtre et l'Artisanat des Menteurs de Sébastien Rabbé fais des spectacle de théâtre pour enfants.

Je continu de donner des stages de théâtre TriBuana le plus souvent en Italie et France à ce moment.

Montreuil ,mai 2007.

...+

de 2009-2011 participation dans le projet aux collèges des Banlieue de Paris avec la Compagnie Musique de l'Ebène de Michel Dahan, dans le cadre Culture aux Collèges, avec Gamelan Angklung complet balinais de la Compagnie.

Montreuil 11 aout 2011.

some Hints/Thoughts for Participant of Tribuana theatrical workshop

2008-04-02T15:18:00.000-07:00

dear participants,
here are some thoughts:
to form and transform oneself to become an actor-tribuana
is to work on the movement,
working on musicality (playing one musical instrument at least),
working on the energy (emotional, energy of life),
working on thought expression (expression in word/ in making sentence, expressive-emotional sentence or saying an opinion or solving life problem),
working with hand to produce instrument of work, props, puppets, simple sets, ...

Working on tribuanic element of human being, human expressive instruments is also doing exercise body, emotional/energy and thought. Exercise takes sometimes years to be able to use it naturally correct.

To understand is not enough. Understanding must produce action, to make the idea invisible/ real/ become reality to live.

Producing "the essential" that useful for human universally is one of the goal of a performer.

Tribuana propose 22 lessons to be practiced everyday, some takes three months, or three years, or one ..... life time or two ... depend on the criteria of satisfaction.

The goal of tribuanic-theatre is health (thought, energy of life and body) in harmony with surroundings, is life: daily life.

So, participants must bring instruments for work like tongkat/wood stick, mask, musical instrument, ... etc.

For doing Silat, white-T shirt and white pantaloon/ jogging pan.

...... (to be continued)

tapa sudana
2 april 2008

Salutation Tribuana by Tapa Sudana

2008-03-06T18:29:00.000-08:00

Tribuanic-Salutation, to open and to close a session of work in group. To be done in circle.

Tribuana Theatrical Workshop

2008-03-06T16:51:00.000-08:00

"To awaken and to cultivate the expression

of the Three Worlds of human:

Thought, Energy of life, Body "

(up dated 9th april 2010)

My opinion: in Bali, the actors behave like servants. They serve "something", they bring into life a story, or a character, or an object, which must be honoured. In Tribuana way, an actor also gives life a song, a movement. This means that the story (or other “served thing”) is more important, more interesting, contain higher value than themselves. The story/the “thing” has already a “life”. The “hi-story” includes a better knowledge, wisdom, as well as a natural path (visible or invisible, comprehensible or incomprehensible) to follow, to celebrate, to honour.
In order to reveal this life (this mystery), the actors must mobilize all their resources, their capacity to give life, to re-incarnate those things into performed living presentation.
The work consists to wake up, to be aware, to cultivate and to unify the expression of the three worlds (body, energies of life, and thought) in order to arrive to a total expression through deep solution, cleverly intellectual, scientific and also sharply intuitive, analytical and global at the same time. Of course we cannot always reach those ideal-parameter, but important to be in the path that lead us to ideal destination. To be understood, that a destination will lead to the next one, and so on and on.
The history must be carrying the three natural, creative and generating ingredients:
1. It cultivates the intelligence in a creative way in the way of the harmony; therefore, it must make people more intelligent, a bright clear brain quality.
2. It gives a long life to its essence, its existence will last beyond its presence, longer than its physical life, beyond the emotion, beyond this earthy energy of life.
3. It must have the transforming (magical) effect, it transforms the actor/ the actress, the spectators and the surround (the world, "three worlds")

The field of exploration includes 25 lessons:

0. Prep.
1. Silat Tribuana (based on martial arts from Indonesian Pencak Silat, I translate it as the art of survival). To foresee for this lesson, preferable to dress in white (white trousers and white T-shirt if it is possible).
2. Tai Chi Tribuana (awareness of the movements, profound attention, carrying out to the conscience of the physical articulation and energy = chi=prana=Ki in a natural flow)
3. Chi Kung Tribuana (of the exercises: physical and mental carrying out to the conscience of precious fine yet powerful energy and very subtle which animates life and cosmos)
4. Koukoul Djagat, the work of percussions inspired by the Kodo (Japanese drum) to exert the work a ritualistic manner on rhythm, endurance, force, voices of the Three Worlds. The instrument Kodo must be built.
5. Yoga Tribuana: being in a static posture, to wake up sensitivity and be aware of breathing and sensation, which makes it possible to feel the interior impulse, which carries out an actor to the action and the realization.
6. Pranayama Tribuana, exercises of breathing; inspiration and expiry of energy (to perceive and try out various kinds of energies);
7. Daily practice of some exercises of Taoist health. This exercise engages: the image, the movement, the sound and mental activities in link with the energy of life such as emotions, the organs of digestion, the 5 elements, the colours... etc).
8. Tongkat:The work of the stick; the actors handle the stick and play with by repeating some precisely determined movements. The exercise of the stick is inspired by the martial arts for the aim of warming-up, health maintenance, work in group, meditation, and to awaken the feeling to be "ready to follow" (in the direction where the actor must serve, follows and gives life to a character or a story). The participant invited to bring with them a stick (of wood ) 35 mm in diameter, a length equal to that which separates the feet from the eyebrows (third eye).
9. Mask work. Mask is considered as personal belonging, personal instrument of expression and considered as sacred object. Participants are suggested to bring their personal mask.
10. Puppet, Objects (props), like tools of expression or accessory to tell a history.
11. Work with the musical instrument /percussion
12. Kéchak: The story of kechak from Bali was a vocal chorus of all the villagers who take part in this dance/ trance of Bali, for goal to move away the contagious mortal diseases, negative/ destructive energy, or the natural disaster who threaten to destroy the life of the people, animal or vegetal. This "chorus/ dance" in Sanghyang “dance ritual” from Bali, will give the possibility to the actors to work on the voice, on the collective rhythms, on the conscience and the energy of the group. It is a work on the harmonization, wakes up personal cosmic energy in a group for cures, for joy, for healthiness, for happiness of the life. Nowadays, this Kechak dance has become a very popular tourist attraction.
13. Ethnic music. The actor is moved, danced and by ethnic music, by singing songs from various countries could be developed into improvisation. Ethnic song as theme of improvisation for movement and story to improvise. The sound of an ethnic instrument carries ethnic treasure, ancient seeds to taste and to grow.
14. Bayu Swara, a work on the sacred syllables - the sound – personal inner voice: to find, to give birth to a syllable each day. A syllable corresponds to a sound and is made up of only one vowel and 1 to 4 consonants. The progression of this work, the composition of the syllable, develops in such a way that the first day syllable will give birth to the syllable of the second day; the syllable/ the reality of the second day gives life to the syllable/reality of the third day, etc.
15. Autumn leaves or crystal thought. To meditate on (to contemplate) short sentences which are to be regarded as the crystal of the thought, fruits of contemplation. To reflect and exchange opinions, to discuss subject/ problem in a group, all these activities are the field where the thought can be cultivated and involved in order to produce a common theatrical language, a common creation based on common understanding/comprehension, clarify the common destination/goal in action.
16. A work in the group and on the group: aware of oneself being member of a group, to remember, serving the centre of the common interest of the group, it is necessary to know "the magic and mysterious thing which binds us together", to feel the common energy, the common impulse/ common intension, which will give rise (realise) a story to tell, which will be then shared publicly. Aware of one common “thing/energy/story” to develop; at the same time the actors remain open, alert, sincere, essential, therefore simple and direct. To understand/to comprehend "theatrically" is to be, is an action (with or without accessory) of a definite comprehension/interpretation that being expressed in a living way. A tribuanic-actor who says, "I understood", they must be able to make it, to carry out their comprehension into action.
17. A work on improvisation, common creation, that relate with the work in/on a group. In this work 3 steps must be considered well: 1, knowing/comprehending the participants, 2, creating a common theatrical language and 3, choosing/working on “subject” in common to serve/to feed it together that link the member of the group, that must be honoured, that is more important then themselves during that improvisation.
18. Story telling, story which are told by participants, or by myself, who will give place then to improvisations. To find a common language to explore and build together. To give life to a story consists in finding together the inner impulse of the story inside us, a work where the sharing is experienced.
19. TOTEM Tribuana A totem is a material composition, in tribuanic manner which one develops by adding object/something to the previous composition; the work is like feeding everyday reality. Totem will be visited any moment, could be presented the last day of the workshop in open door session. The totem can be personal or collective. The totem can be made inside or outside in the nature. A totem can find its origin or/and initiated by a place or by an idea, which needs objects to make it real. It is a work to find the spirit of the objects, the energy of a place, the magic of a building, a charismatic present.
20. TRIPASS. When the spirit of the totem concentrates on a piece of paper, it becomes an image, a drawing in one page and series of syllable in the next page, which is built with the passing days by daily adding a form or a line of colour and a sacred syllable. It is what is called: the Compact Disk of the personal identity or Diskette or Tribuana Passport (Tripass)
21. An introduction to ritual, by honouring the instruments of work, workspace and environment. A place where we work will be called and transform into:DO JO in Japanese way or MARGA PURA in Balinese words. The place is regarded as a place where one cultivates a way of life/a path of life, cultivate a way / manner of being. Each one takes care the place of work, and share/ participate its maintenance, to clean it, to put it in order before and after the work together. The preparation Marga Pura is depend on the work/lesson to come, and it will develops the work of group and awaken the sense of awareness and responsibility.
22. Bayu Panah, is inspired by Kyu-Do of Japanese ceremonial archery. This work needs bow (Japanese bow of bamboo ideally) and arrow and target, or we may use elastic to replace the present of bow. Students need to bring those instruments. There are some sequences of movement to be repeated every time in a ceremonial and intense-concentrate way. Total awareness is to be developed.

23. Questionnaire-Tribuana: working on expression (in writing) of three parts of life-time: PAST (what are your ancestral heritage, c.v, education, important workshop being done, important accident, past important experiences); Present (job for living, what are you doing now in present living-time, what do you like to explore among 23 "lessons"); FUTURE (what are you like to be in the future, your dreams, your ideal goal in life .... have the courage and sincerity to express not being afraid or shy to write if your were able or not able to reach it).

The past will make you sure to be present, and the future will attrack the present, hopefully with joy.
24. Personal dialoog with Tapa Sudana. The meeting is to share essence of experience, to find answer of personal problem, to pro-pose one's opinion, one's advise, one's parameter/reference of life, how to be or not to be, what to take what to ignore, to channel one's thought and action in a direction.

It is impossible to do all these 25 lessons during the workshop, but we may explore and taste each of it during the first 2 days, and then you are free to work deeper on one or some of them. How? We will decide it together with the time, space, and instruments.

If the theatre is the "diamond of the life", its goal should be to crystallize the experience of life into luminous memory. Memory creates vocabulary, language and instruments of expression. By awaken and cultivating the expression of the "three worlds" (tribuana = body, energy, thought), we follow the way of the harmony with nature, adapting their reality to the needs of the space, time and situation.

An actor (Tri Buana) must be in good health (tribuanicly), in the way of harmony, in order to be able to animate the story (which animates them) and to offer it to the public that came to share the authentic account of the hi-story.

Brahman signifies the imperishable supreme. The realm of the SELF is the pure clear liberated essence of ones being. To ACT is to be on the way of the manifestation of the creative process, which leads the invisible BEING to existence.
Inspired by Bhagavad Gita, song VIII, 3.

Tapa Sudana,
Montreuil, 6 november 2010
tribuana@wanadoo.fr
++33 6 1719 6888

Workshop Tribuana way in 2010

Madrid 22-24 January 2010, at Elencoactoral of Jorge Gurpegui

Director C.A.R.A. Elencoactoral

www.elencodeactores.blogspot.com

Athens, 24-28 March 2010

at Anna Dimitratou

contact:

orientalexpression@hotmail.com

info@orientalexpression.gr

annadimitratou@yahoo.gr

Ostuni, Italia, at La Luna nel Pozzo , 24-29 april 2010, canceled information: click here

Contact teatro.lunanelpozzo@tiscali.it

Conttatti : Pia Wachter

Telephone: xx39.0831.330353

xx39.3358037241

Patras, Greece, 19-23 may 2010

contact: Anastasia Bourbou: anastasia_bourbou@hotmail.com

Italia

28 may- 2 june 2010

contact: Teatro Granara, Annalisa Rossini, +39.335.5917315 www.granara.org

15-21 july 2010

Contact: Francesca & Enrico Pompeo

Teatro del Montevaso

s.p. Del Montevaso km 18

56034 Chianni (Pisa)

tel. 333 - 8592986 / 338 - 9397192

info@teatrodelmontevaso.it

laboratori@teatrodelmontevaso.it

24-29 july 2010

Artimbanco Teatro - Villa Guerrazzi
Loc La Cinquantina- Cecina (LI) - +39.347/8857743

artimbanco@libero.it - www.myspace.com/artimbancoteatro

In September

CaRoman, Venezia

3-11 (??) september 2010, in progress

info@teatroinvisibile.it
antoniocargnello@yahoo.it
saracele@hotmail.com
luca@icialtroni.it
329 5667182
328 4185372
333 4152106

Workshop calender 2008:

Roma org. by Marco Adda: 15 - 19 january, contact 0039 + 328 9410442 , marcoadda@libero.it

Paris org. by Olivier Richard, Cie Art Metamorphoses,

28 january to 1st. February,

10-14 march,

12-16 may,

contact 33 (0)1 46 07 08 10, 33(0)6 24 83 52 35 , oprichard@cegetel.net

Ostuni, Bari, Italia, org. by La Luna nel Pozzo, Robert McNeer and Pia Wachter, 19-23 march, contact: 0039 0831 33 03 53, 00 39 335 8037241, lupo.teatro@libero.it

Athens, org. by Manolis Karyotakis 30 210 34 54 491, 2-6 may 2008;

Aegina, Greece, will be in april 21-25th, 2008 by Christina Chorafas contact 0030 2 29 70 26 885, oikiak@yahoo.gr

Roma, still in process to be held in April from 3-7, org. by teatro Ygramul, contact 39 06 41229951, 39 3314703950, amaralina@libero.it and info@ygramul.net

In Paris, a Tribuana teatre manifestation will be organized by Compagnie pour l'Artisanat des Menteurs , in may from 24-25, contact: Sébastien Rabbé, 06 87 77 65 66, 08 70 37 93 93, sebrb@hotmail.com

at Teatro del Montevaso: http://www.teatrodelmontevaso.it/ Workshop Tribuana from 8-13 august 2008, contact:Francesca Pompeo

Teatro del Montevaso

s.p. Del Montevaso km 18

56034 Chianni (Pisa)

tel e fax 0587 647617

tel 333 - 8592986

teatrodelmontevaso@montevaso.it

Tri Buana Theatre Calender 2006

2006-04-24T04:12:00.000-07:00

The way of TriBuana Theatre is itinerant. We just finish a session from 11th – 17th April 2006, at Teatro La Luna nel Pozzo, of Robert McNeer and Pia Wachter in Ostuni, Italia, every Easter period.

Paris workshop organized by Olivier Richard, Théâtre Métamorphoses, fromp 2nd – 6th may 2006, see http://artmeta.free.fr/ ; There will be a workshop being programmed in July.

Next meeting, workshop in Athens organized by Sandra Mavroidis, 10th – 14th of june 2006. sandralala9@yahoo.gr,

In August will be at Teatro Montevaso, from 22nd – 27th of August 2006, please see http://www.montevaso.it/tao.html#laboratori.
This period will be dedicated on mask, building up the character and story to be improvised. Participants should bring their own mask and the dress for the character. At the end of those five days, there will be an open door work presentation.

From 11 - 15 septembre 2006, workshop in Napoli, Italy. Contact : agostinoriitano@libero.it see also http://www.efesti.org/

From 13 - 17 october 2006, workshop in island Aegina, beautiful island of Greece, contact: Chorafas Christina, OIKIA KARAPANOU, oikiak@yahoo.gr or Stella Christodoulopoulou at stella_christo@hotmail.com

To read more information on TriBuana theatre/work please see two other blogs:
http://www.blog.ca/tapasudana , blog in French, some information on CHAMPA, everybody can participate morning exercise freely in the park, only in good weather, every Saturday morning from 11H00 to 12H30.
and http://theatretribuana.blogspot.com

Hope to see you there.

This page will be up dated periodically.

Stick to the master, Tongkat salutation before working on the stick.

2006-02-04T14:43:00.000-08:00

This text has its complete images that you may see in my other blog, please find it in: http://www.blog.ca/tapasudana

Some references:

1) To act, to work. Go on ..., flow on ...., to follow a guide.
2) Standing still vertically; spread feet to find a firm, deep and well-rooted sensation. Base of the hands, near to the sternum, holding lower end of the stick vertically, fore arms horizontal. Breathe deeply and profoundly as if you smell the perfume of a blooming-flower.
3) Finding the right moment. Release the pressure on the stick, press it to stop just before the stick touches the ground (as close as possible to the ground)
4) Repeat three times exercise no.3. Observe every times your comment. Remain undisturbed in success and failure.
5) Stick salute.
I) Stand, feet parallel close to each other, stick vertical on the right side of the body holding by the root of your thumb and index, right palm facing the ground. Left palm touching the navel.
II) Left hand open palm upward move forward down and up, breathe in, curve down palm facing ground, breathe out, until palm at HARA level (4-5 fingers below the navel), follows by slight bending of the knee to get a sensation as if you are sitting on the mountain, end of breathing out. During II) words to say in the mind: “earth and sky accompany my action”.
“Here I am begin to act always like a beginner, sit on the mountain, sky and earth, create inside myself a way from me to you: the knowledge, the wisdom, the master, the stick animate my being”.

III) Right foot slide forward and backward to wipe the edge of the stick back, the stick turn 360°+45° while the left hand move elegantly from navel - palm upward – front – wave down – up (to suggest and indicate the metamorphose of the material energy to emotional, to intellectual and at last spiritual energy) - left hand palm upward at the level of the forehead, suggesting a posture of someone offer and receive at the same time, left food stretch loosely forward heel on the ground, right leg bend carrying the most weigh of the body.
“Actor move/articulate the stick, stick articulate the actor and his/her three worlds (thought, emotion, body), entirely involve, to move his/her immobility, curves a posture, an attitude of the one who offer and receive at once, the grace and creative habit.
IV) Left hand hold the upper-edge of the stick front-up-right of the head, moving diagonally down-left until left side of the left hip, right hand in front-right of right shoulder vertically palm facing left ready to push the stick to left shoulder, weigh to front leg so left leg bend, right leg stretch behind.
V) Right hand (vertical) move horizontally to the left in front of your face like wipe-away cloud of thought, stop in front of left shoulder, fine inner smile, at the same time right foot from back move to front to joint left foot, parallel, standing straight.
“Cleaning the 5 perceptions in order to be able always to perceive everything clearly, see through the future”
VI) Stick between the root of thumb and index of right hand, palm downward, right hand sliding up until the third-eye level. Breathe in.
VII) Right hand move down with the stick, breathe out, until lower edge of the stick 1 mm from the ground, equivalent to the hand position on the level of HARA, centre of gravity/of movement. Then release the stick…sound: IKT.
“Crystallizing the perfume of the thought, colouring the blooming of the emotions, solidify the physical and strengthen the energy to initiate an action. In HARA dwells the centre of deep-action”
VIII) Start from the beginning with another side (right palm stick on navel).
6) Follow in mind one end of the stick in movement as point of reference to create rhythm while you work.
7) The stick suggests the prolongation of your consciousness.
8) Strait to the point like a stick.
9) The weigh of a stick awakens the sense of gravity.
10) If a stick gives you the sensation to be stiff, then be aware to develop your flexibility. Keep your opinion/ your personality/ your nature yet be open-minded and supple.
11) Awaken the sensation of the consciousness of your articulation, work on your joints. Articulate materials –articulate and digest food –articulate situation –articulate the three worlds.
12) A stick points a direction.
13) Tik, tak, tik, tak, making a rhythmic sound out of a circular movement.
14) Each rhythm could contain melodies. Making song with personal syllables.
15) Concentrate, keep looking at one point while walking in movement which enlarge / round consciousness. Each repeated-short-movement (KA TA) could be done in many ways. The question is to hold in mind a definite point of reference.
16) To honour a master that hidden in a stick. What is being awakened during the work, and what remain after?
17) Linking several KA TA will create a long movement as a choreographic movement, as Tai Chi, as if by doing it so you do an act of praying.
18) At the end of the exercise takes time to do step no.2) and no.3) with close eyes, to observe inner sensations, messages, physical sensation. Strait naturally like a tree. Here I am between earth and sky. Smile and free, to thee. Stick to the master. A master can take a form of a stick, a mask, a sentence, a human, animal, tree, stones, invisible, ..., everywhere yet one and fulfill everything (time, space and emptiness). The quality of one master is depend on the intelligent of one's interpretation, the capacity of one's perceptions, the quality of their spirit that will manifest in one behavior.

People can say anything about you, but the truth is carried by you. Wise and high quality of someone depend on one's self. So you are not disturb by others opinion, others expression. Sometimes when we are not aware we tend to arrange and punish or mocking others instead of arranging oneself first, looking inside, keeping a natural and just behavior.

That is true that words can changes ones opinion, but we must try to understand who are those peoples that easily changed like that. Maintaining one's opinion is important in life but also with a capacity to live in harmony with others. Internet will give one access to understand the world and human behavior. Theatre work on that, on character. Is there school of cultivating human character? What does school produces? A master: who are them. In my other blog there I propose some reference of master attitudes in front of their students.

Master your emotion otherwise your emotion will master you;

A sign, a secret of a master is revealed in everyday life. The question is how to see and here and catch them, how to comprehend them in your brain, to your heart and to your action, daily action, then you may say that you understand it. Understand in Tri Buana means to be able to do, to be... or not to be? Ha haaa, hm hmmmm.

Have a good time.
Smile is not to difficult, and it help, but what is in the smile. Ponder it. Patient, go on cow, with time, grass will transform into milk. But how? For exemple: eat during the day, and ponder in the night. (Manger la journée et rumine le soir)

Montreuil, 11 February 2001 – 4 fev 2006.
Tapa Sudana

The Cristal of Thought, for actor of life ....

2006-01-21T17:19:00.000-08:00

Points of references, crystal sentences, perfum of contemplation, opinions, pondering on words, road signs, to be or not to be but how,….:

1. Roots: unseen, rooted foundation.
2. Awaken the mind without fixing it anywhere, but over all.
3. In the “three worlds” (body, emotion, thought), everything depends on the mind.
4. Nothing is either good or bad, but thinking/the mind makes it so. Mind you.
5. Day after day the sun rises in the east; day after day the sun set in the west. East and west start and end the day & night. East starts the day, west ends the day; west starts the night, east ends the night.
6. Gazing at the flowers of the morning glory I eat my breakfast; beauty is truth; truthful beauty.
7. The clear stream never ceases to flow; the evergreen trees never lose their green. Constancy last forever.
8. ahhh, This morning a nameless hill is veiled with mist; please put my soul at rest.
9. Not my thorns that protect me, said the rose, but my perfume.
10. The wind has no wants; your everyday mind that is the way.
11. Let the nature be your teacher; do one utmost in all thing.
12. The mind is a clear mirror, dust free, unseen beauty.
13. What is death, we are seven; what is life, we are seven. (the present produce/decide death and life).
14. If you don’t know life how can you know death?
15. Stillness penetrates rock and rolls still.
16. Non-dependent on words in writing, directly pointing to the nature of mind.
17. Non-dependent on words in speaking, directly pointing to the nature of man.
18. Cowards die many times before death.
19. The miserable has no other medicine but hope. I have hope to live, I am prepared to die.
20. One, who has attained mastery in art, reveals it in his every action.
21. Knowing others is wisdom; knowing oneself is enlightenment.
22. Nothing is impossible to a willing mind.
23. When you are seeking it, you cannot find it. Who found it they got it.
24. For the uncontrolled there is no wisdom, no power of concentration, no peace; for the unpeacefull, how can there be happiness?
25. Patience, the essential quality of man.
26. Power of mind is infinite while brawn/muscle is limited.
27. Flow with whatever may happen and let your mind be free.
28. Stay centred by accepting whatever you are doing; be entirely total and do one utmost in all things.
29. Drive your emotions or your emotions will drive you. The angry man will defeat himself in the battle as well as in life.
30. Let the light without shadow guide you. Brighter the light, darker will be the shadow.
31. Let your mind flows. The mind of a prefect man is like a mirror, it reflects but not holds; it grasps nothing, it expects nothing. The perfect acts without effort.
32. Entirely in, yet detached; act fully free.
33. As long as you remain in one extreme way or the other, you will never know the centre: the oneness.
34. The way is perfect like vast space where nothing is lacking or in excess.
35. The disease of the mind is the struggle between what one likes and what one dislikes.
36. If you wish to see the truth, then hold no opinion for or against.
37. A smallest distinction set infinitely apart heaven and hell.
38. Love: living the reality of others.
39. When love and hate are both absent, everything become one, clear and undisguised.
40. The great-way is not difficult for those who have no preference.
41. Words! The way is beyond language, for in it there is no yesterday nor tomorrow nor today.
42. If only the eyes never sleep, all dreams will naturally cease.
43. Thoughts give birth words; words give birth action; actions give birth habits; actions give birth character; character carries you to your destiny. Then, how to improve destiny?
44. To be or not to be, but how?
45. Simplicity is essential. A simple-man is a man that acts the essential efficiently.
46. Whosoever would save his soul shall lose it. When you posses nothing how can you lose it?
47. The last shall be the first if you make it so; that is the first last, long life the everlasting.
48. A turning wheel carries an immobile centre.
49. Energy is muscle, energy is food, energy is material, energy is emotion, energy is thought, energy is mind, energy is light and shadow, energy is silent, in emptiness there is still energy.
50. Even the darkest day carries light.
51. He/she, who master him/herself, has no other master.
52. Seeking the brightest light, carrying the darkest shadow.
53. What links us together, cannot be sensed, beyond the thought, cannot be wet by water, cannot be burnt by fire, cannot be dried by the wind, without beginning nor end.
54. Hands are gest-ing our comprehension. Do read gesture!
55. Posture: immobile movement is the beginning of inner intension into actions.
56. Silence carries music that produces silence, “musical silence”.
57. I serve you, to be able to understand how possible you serve me, so we could serve “something” together.
58. To see myself in you, to lose and to find oneself in others, to get him, to get her, together. One in two. One in three. One in multiple.
59. Act the multiple-one then the multiple-one will acts is the secret to be everywhere.
60. Like fire in the flint, luminous knowledge exists in the mind; suggestion is the friction, which bring it out.
61. A great being told by their common actions.
62. Character is manufactured by “karma”, manifestation of the will.
63. Learn and earn. No one get anything unless they earn it. Learn from what you earn, as far as your concern. Don't learn, don't earn.
64. All work is simply to bring out the power of the mind, which is already there to wake up the soul.
65. The power is inside every human being, so is the knowledge; the different works are like blows to bring them out, to cause these giant to wake up.
66. In the midst of the greatest silence and solitude, find the most intense activity; and in the midst of the most intense activity find the silence and the solitude of the desert.
67. Duty and morality vary under different circumstance.
68. Unity in variety is the natural plan of the creation.
69. Nature is composed of three elements: 1.Inactivity, darkness, inertness (“TAMAS”); 2.Activity, attraction or repulsion (“RAJAS”); 3.Equilibrium of TAMAS AND RAJAS: (“SATTVA”).
70. Vibration of mind goes with vibration of breath. Fine mind: fine breath. Work on both toward the true silence.
71. Silence in the mind, silence in the breath. The thought is silence. The thought is silenced, a sleeping silence.
72. The soul is like a traveller, who has set in a journey of life in the chariot of body; driven by the intellect (BUDDHI), with the mind for the reins, and the sense organs being the horses. The objects of experience form the way to be traversed.
73. The soul, the senses and the mind together form the enjoyer of pleasure and pain that is the individual.
74. If the mind is not properly controlled, then the senses go out of hand like untrained horses. Free the mind to remain free!
75. If only I could free myself.
76. A candle loses nothing of its light by lighting another candle or by placing it in a bright sunshine.
77. Everything exists in relation to other things.
78. The reality of the life are most truly seen in everyday things and actions;
79. Everything exists according to its own nature. Our individual perception of worth, correctness, beauty, size and value exist inside our head, not out side them;
80. The self and the rest of the universe are not a separate entities but one functioning whole.
81. Man arises from nature and gets along most effectively by collaborating with nature, rather than trying to master it.
82. True inside does not come from specialized knowledge.
83. In emptiness form are born. When one becomes empty of the assumptions, inferences and judgements acquired over the years, one comes closer to the original nature and is capable of conceiving original ideas and reacting freshly.
84. Thinking and acting. Being a spectator while one is also a participant spoils one’s performance. Entirely in yet free and centered, ready to follow the flow of nature, the flow of reality.
85. Accept insecurity and commit oneself to the unknown, creates a relaxing faith in the universe.
86. One can live only in the present moment. Repeated action makes practise, practise give experience, experience grows faith, faith give birth relax and easy feeling, a path is being opened to tranquillity, peacefulness and freedom.
87. The living process and the words about it are not the same, and should not be treated as equal in worth.
88. Each of us develops onto a unique individual who enters into unique transactions with the world.
89. Snowflakes are one of the nature’s most fragile things, but just look what they can do when they stick together.
90. Dropping anxieties, lead into faith. To live in faith is the road to non-duality.
91. Voices of two bells that speak from twilight temples. Ah, what a cool dialogue.
92. New Year’s day. What I feel goes beyond words. I am wondering the age of God.
93. Renew oneself through self-freedom-realisation, on the way that leads you from timeless to eternity.
94. The confidence of faith comes through experience.
95. Nothing ventured, nothing gained.
96. When you drink water don’t forget its source. Spring from the initial, depart from the origin.
97. A moment of failure contains teachings.
98. He’s a fool who plays it cool by making his world a little colder.
99. A sharp knife shapes the wood; sharp words shape the self.
100. To understand a person be aware of three points: 1:Observe the means they use and their behaviour. 2: Understand their goal, or their aims in action, their search; 3:Comprehend where they lay-on their satisfaction, happiness and joy.
101. Between you and me there are works to be developed, there are story to be told, there are life to be improved, there are love to be cultivated.
102. To be in good form for a performance, get the right information for self-formation, work on idea, reformation: confirmation lead to action.
103. Like a puppet-master an actor articulates the three worlds: body, emotion and mind.
104. Smile like a flower blooms.
105. As legs and arms are the members of the body, experiences to re-member yourself.
106. A comprehensible advice sometimes is helpful, opens the way and clarifies the mind.
107. Actors played by the text, by something inside the text that is not in the words.
108. Open up to the world and the world opens you up. See the world till you have it in mind.
109. To destroy, to vanish an image from the eyes is to put it in the mind, to remind it as a memory to remember.
110. Existences change its manifestations. (What is real to you?)
111. A silence contains whatever you are able to fill it, to give it.
112. Listen a silence is to catch and to feed a chance.
113. Living immobility is to be with surroundings, to be harmonious; it is a work to develop.
114. Give up, to give new meaning, new life, to forgive.
115. Find the work and enjoy your existence in every moment of your life. (How does it work)
116. When you receive light you carry shadow, and when you are in a shadow you are sure there must be light somewhere near you to find.
117. Do your action as if the last act of your life.
118. A perpetual adjustment is in action whether you are aware or not.
119. Reading a signification/meanings in a quality of continuous-touch.
120. Touching, teaching.
121. Learning, earning.
122. What are you doing now will be the road for the future generation.
123. Your existence is a necessity. Who for? It is a perpetual adjustment!
124. Actor is being acted by the essence of the sentence (text) that is the spirit of words.
125. The art of “mise-en-scène” is like the process of metamorphoses of water: steam to water and then water to solid, the realisation from the invisible to visible.
126. Words set free, reveal and imprison thought.
127. Word and thought, cover and discover each other. Language is the master.
128. Thought: the way to realise idea.
129. Pure intelligence like harmony both is the way to comprehend nature.
130. False intelligence often produces excuses.
131. Deal with good and bad, positive and negative, like and dislike, emotions and action.
132. Male and female create the energy of love, creative creation. How to love, how to make love?
133. When material moves passionately the action, when passion animates the thought/the mind, when mind and spirit delude into “emptiness/ nothingness”, then GOD is there to represent the missing link, the “invisible reality”. Do we treat GOD correctly as GOD was one and will always be one and multiple at the same time, yet everywhere presents forever.
134. The mystery is incomprehensible because it comprehends us all.
135. Great thing create silence and immobility of great quality.
136. The unperturbed is always moving in balance and harmony, sometimes in invisible actions.
137. To be at ease, in harmony and now is a sign of perfection.
138. Master, how do you breathe? I can’t hear! “The pore, tool of osmoses”, speak the hole.
139. To learn, behaving always like an empty bowl to give space for others within.
140. Accept!?! When one is without concept!
141. To communicate: to be come one, in come one, in common, in community of….? (of same vibration)
142. Music produces the silence that carries the music. What kind of silence? Is the quality of the music!
143. What's next ?, is shadowed by the past; so, be present!
144.The ideal human being is the one who amidst the deepest silence and the biggest solitude finds the most intense activity, and the one who amidst the most intense activity finds the silence and solitude of the desert (Swami Vivekananda)
145. The supreme goal in sacred-acting/action is the realisation of the Supreme Eternal or the Impersonal Divine.
146. When performed without attachment the action becomes an easy way to obtain the real goal in life :union with the origine-the-ONE.
147. Not by ceasing to act, but by acting completely detached can we effortlessly obtain the supreme state of beatitude and enlightenment. (Swami Ramadas)
148. "Action free of desire, with a total detachment from its fruits, is superior to the knowledge combined with practice" "The state in which the performance of the action is free of desire is the way which easily leads towards enlightenment." (Teachings of Ramana Maharishi).
149. Bhagavad Gita: "You have the right to perform the action, but only to perform it, because from now on you should never again desire its fruits; the fruits of your action should never be the motive which sets you to work".
150. Swami Brahmananda: "If you truly wish to act correctly, you must never forget two main principles: in the first place a profound respect full of attention for the action to be done and in the second place a total indifference or detachment for its fruits.
151. Mahatma Gandhi : "the continual satisfaction lays in the sincere effort of performing (the action) and not in the success. The complete effort is, with anticipation, the expression of complete victory"
152. "I have just very imperfectly realised my intense desire of profoundly melting into the Divine; I have ardently wished to be just a boulder of clay in the Divine hands of the Creator, so that I could serve much better, without being interrupted at all by my ego" Mahatma Gandhi.
153. Act your intentions or firmly focused will.
154. Desire is the most terrible obstacle on the path of inner evolution.
155. The complete restrain of selfish desires is at the root of all true virtues"
156. Sri Ramakrishna: "The heart which has only burned in the fire of selfish desires can in no way stand the influence of elevated spiritual feelings or experiences"
157. Sri Aurobindo: " If the selfish desire is not completely mastered, how could we walk fast and easy on the spiritual path? Because liberation shows up instantly after the loss of ego and selfish desires".
158. Ma Ananda Moyi : "You are the ones who are always creating selfish desires through your thoughts, and you are also the ones who can destroy them, by firmly and detachedly thinking the opposite".
159. Do have a feeling of duty, to be open to the mysterious "inner voice" of consciousness, to have a detached desire to be the best possible vehicle or channel for the manifestation of the Divine, to align our intention with the cosmic will.
160. Whoever doesn"t love at all must not be surprised that he will not be loved at all.
161. Love and Freedom are inseparable, since without Freedom we cannot talk about love, but about constraint.
162. Great love and a perfect transfiguration makes our beloved one even more beautiful.
163. Transfiguration shows us that beauty is the child of love.
164. Beauty lasts until ugliness starts to set in, but wisdom (once attained) lasts forever.
165. Brancusi said, "When we stop being like a child, we are already dead".
166. Samuel Ullman: "Youth is not a time of life, it is a state of mind"
167. Samuel Ullman : "Youth means a temperamental predominance of courage over timidity, of the appetite for adventure over a life of ease."
168. You become old because you turned away from your love and your high ideal.
169. Giving up your high ideal wrinkles your soul.
170. "Young is that person who loves always and being very curious is continuously amazed and discovers many mysteries where other people don"t see anything out of the ordinary. This person always asks questions, such as "Why?", "What happens next?", etc. Such a person determines the events of his life through his creative thinking and always finds new happiness in the divine play of life.
171. You are as young as your love and faith. You are as old as your isolation and doubt.
172. You are as young as the greatness of your self-confidence and hopes. You are as old as your discouragement.
173. You will always stay young as long as you will be full of love and goodwill and open towards everything that is beautiful, good, true, great and divine. Receptive to the voice of love, to the people around you, to the infinit.
174. And now there are these three left: Faith, Hope and Love. But the greatest of them is Love."
175. Discovering the beauty. Responding spontaneously to the moment. Action with no ego-involvement. We are carried by a wave of bliss which is neither 'mine' nor 'yours' and not even 'ours': it is cosmical, impersonal, limitless.
176.

Mask ritual, Balinese approach, I Gede Tapa Sudana

2006-01-19T18:10:00.000-08:00

Mask Ritual.

Venetia,13 October 2000
A 5 days workshop at Foundation Giorgio Cini at isle St Giorgio from 9-15 October for the first time. 18 students, with diversity condition and capacity, we work on group work, Silat, tai chi, music improvisation, rhythm, and mask.
On 12 Oct. we were working in a smaller room, in a library to explore the sensitivity on space, relation with others, text of a short sentence on crystal of thought, contemplation
The beginning of mask work, showing how to explore mask by holding it in your right hand in three phases of work , describing the three step of preparations to “become” a masked-character:
1=Taking the information from the mask, looking at it, the mask lower than the level of your face.
2= Identification/ “to be”= like the spirit of the mask: When you get some information about the life of the mask then rise the mask until the level of your face, so you start to explore by walking together, making the same expression with the mask, to follow the mask as your guide “to be” lively present. Exploring the voice, the process of adjusting your self with the mask physically, emotionally, mentally (spirit and thought). When you feel that you have given life elements to the mask, necessary elements that the mask asked you, only then you are ready to put the mask on your face, facing the world, the life surround through the look of the mask.
3= Entering the spirit:Holding the mask with one hand, higher than the level of your face, both mask and you facing the same direction, and then holding it with both hand, so you find yourself in the position of honouring the mask with profound respect. The mask stay fix in a place, you move your self toward the mask so your face meeting in contact with the back face of the mask. Important to adjust the look of the mask and your look for mask that has eyes designed. For half mask, to adopt the form of the lips of the mask with yours so the upper lips of the mask meet harmoniously with the lower lips of yours. Speaking then becomes the articulation of both (mask and you). Two make one.
To be one. To become someone.
Life starts differently in you when the mask sticks on your face.
Either you hide your self behind the mask, or to give your life to the mask for a period of time as an actor, as a servant, to serve the desire, the movement, even the thought of the mask. The act then become the way to be, or not to be as the mask, the character, the spirit ask you how to be, become another but you still in, completely in.

How to detach a mask from your face: first release the elastic link by moving the elastic/robe from your back head with one hand (active hand*) then hold the mask with both hand steady on the same place the same level, move your face and your body lower backward so you find yourself in a posture of holding-honouring the mask (the manifested spirit) above you.
Hold the mask with your passive/receptive* hand, face to face, the points of the active* fingers meet the third eye to release and move the spirit of the mask back to the third eye of the mask.
This ritualistic gesture is necessary to refine the quality of “to be” in acting, so a way to ceremony, celebration, building up a tradition, rooted deep toward the centre, the origin.
Tapa Sudana, 13 oct 2000 11H46, up dated 20 january 2006.
if you write with right hand, right is active/yang, left is receptive/yin; or vice-versa.

Here is one of my memories on mask: We used to give offering to the mask in Bali. Even when Mr. Pugra, the old master was in Paris, he gives every morning food to his masks, coffee and bread with butter and jam before he eat his breakfast. He put his mask on a higher place always, because he (like all Balinese) consider the mask as a sacred living object that has a spirit in it. Actor ask permission first to the spirit of the mask before he performs. A Balinese mask is made of wood, it was a living material.
While touring with a show in 1974, with Balinese masters and dancers, actors, musicians, singers, 4 children from Java and Bali with the group of Sardono W Kusumo,"La sorcière de Dirah", one of our singer got a headache. No way to get rid of her pain in her head. Then one night, she dreamed about a mask in our show. She did offering. By chance or by miracle, later, her head ache is gone away. Believe or not, this could be also just a coincidence. To be live or not to believe, anyway actor act, start from "if", that invisible, it could be an idea on an imagination, that not yet born into reality. How to be, Ahh, there are many ways. Bon voyage. Follow the life.

Photos "Tribuana theatrical workshops", Tapa Sudana

2006-01-19T16:23:00.001-08:00

Here are some photos of Tribuana theatrical workshop of Tapa Sudana. Workshop Tribuana since 1979 in Italia, France, Greece, Suisse, Amsterdam, Spain, Bogota and Caracas. This photos hopefully to be added gradually, to give some image of the work.

Actor's references, Steps of work and other considerations.

2006-01-01T16:05:00.000-08:00

To open the way of “the three worlds”/TRIBUANA

Tapa Sudana proposes :

THE STEPS
1. Concentration, to be here now, follow the center, always with the center.
2. Perception, observation, - five senses; perceive through 5 senses.
3. Experiences, memories, vocabularies, ready tools/instruments to be used.
4. Imagination, association, mental power.
5. Expression, letting grow.
from 1 – 5 concentrates on the actor's preparation/inner work.
6. Projection, sharing, transmission. In this step start communicating, aware of spectators.
7. Rhythm, life Aware of surrounding.
8. Essence. Extract the essentials, the meaning.
9. Harmony, nature, universe, cosmos, Tao, yoga.
Natural symphony.

THE FIVE VOWS/WISHES/DESIRES/CONDITIONS (comes from Master Subur Rahardja, Indonesian Master on Martial art, Silat PGB Bangau Putih, Bogor, Indonesia)
1. To respect and cultivate one’s nature/personality/profession.
2. To be just, honest, sincere.
3. To honor one’s knowledge/profession.
4. To be in harmony with others and the surroundings.
5. Mastering oneself.

POINTS OF REFERENCE/CONSIDERATION
1. The three worlds: body, emotion, thought.
2. yin-yang, positive –negative, up–down,
in-out world, past-future.
3. jo – ha – kiu : start-development-conclusion.
4. Natural cycle: Spring – summer – autumn – winter.
5. Birth – life – death/metamorphoses.
6. Gift/talent - -effort/work – chance/destiny.
7. Rhythm – melody – accord / harmony.
8. Space/place – time – situation.
9. Thought - speech - action
10. Inner impulsion – bones – action.
11. Actor – story/message – spectator.
12. Movement, song/music, text
13. Origin/root – the way –the aim –criteria of satisfaction/fulfill ness.
14. Musicality: rhythm, melody, harmony/accord.
15. In theatre space respond, reality is guide.
16. etc……..

Points of reference, wise words, proverbs, the law of nature, the crystal of thought, the fruit of contemplation, maxims, and other things that could be considered as the parameter of truth are worth to carry in mind, to remind that action should be just, to be or not to be but how,……….

Master's Considerations.

2006-01-01T12:37:00.000-08:00

Master’s consideration :

1. Accept difficulties and his limits in front of his/her students.
2. Keep maintaining his/her silence.
3. Be calm and serene, aware of emotional expression.
4. Restful thought and clear.
5. Be modest, simple and essential.
6. Avoid jokes that despise students.
7. Gentle and anticipating, see ahead.
8. Be patient with students that has no courage and weak.
9. To educate hard students with good manner and advise.
10. Don’t shout at students who ask question.
11. Be interested by a students question and listen attentively.
12. Understand the question and answer only the question.
13. Accept excuses and put things in its place.
14. Accept his fault and admit/honour the truth.
15. Prevent student from learning disastrous thing.

16. Awaken the three worlds (body, emotion and thought) toward the path of universal spiritual way of life.
17. Be precise, clear and firm; be just.
18. By necessity a master could be authoritarian without becoming authoritarian.
19. To prefer/encourage expression then submission.
20. To know how to be: sometimes be in front as a guide, sometimes in the middle as participant, sometimes behind watching and observing so everything going well.
21. Always ready to give and transmit the knowledge with caring-love.
22. The aim/goal and the satisfaction of a master is to transform a student/disciple into a teacher/master.
23. Offer advise and explanation according to students level/maturity. In this case it is useful to know in advance the students inner-situation, his/her “ 3 worlds” expressions and his/her goal in action/doing.
24. Respect students opinions and indicate where she/he will arrive with that opinion.
25. Keep maintaining the behaviour and appearance of a master, it is the mirror of his/her healthiness in body, emotion, thought and spirit.
26. Before all, to serve student first for the common purpose/cause/work.
27. Behave in mind to feed the whole worlds/ everybody even though she/he speaks for one student.
28. Thinking analytically and globally at the same time without neglecting the important presence of the intuition.
29. In his/her every expression of the three worlds (body, emotion and thought) always contain compassion and universal love.
30. Every action should be natural, in the way to honour the law of nature, to cultivate nature.

N°: 1-15 from : Hakki Ibrahim, Turkish wise man, translate by Ali Ichsan Kaleçi into French, and by Tapa into English
N°: 16-30 from : Tapa Sudana

Ce qu'un Maître prend en considération lorsqu'il est avec ses élèves :

1-Accepter les difficultés et les barrières avec ses élèves.
2-Garder son silence.
3-Être calme et serein, veiller l’expression émotionnelle.
4-Avoir une pensée reposée et claire.
5-Être modeste, simple et essentiel.
6-Abandonner les blagues qui puissent être reçues comme du mépris par certains élèves.
7-Être doux et prévoyant avec ses élèves.
8-Être patient avec les élèves faibles et sans courage.
9-Éduquer l'élève dur avec de bonnes manières et des conseils.
10-Ne pas engueuler l'élève qui pose des questions.
11-S'intéresser à la question de l'élève et l'écouter attentivement.
12-Comprendre la question et répondre juste à la question.
13-Accepter les excuses, remettre les choses à leur place.
14-Accepter son erreur et se soumettre à la vérité.
15-Empêcher les élèves d'apprendre des choses néfastes.
16-Éveiller ses trois mondes (corps, émotion, pensée) dans la voie de la spiritualité du monde universel.
17-Être précis, clair, ferme avec justesse.
18-Par nécessité un maître prend l’apparence ou attitude d’un autoritaire sans y demeure.
19-Solliciter l’expression plutôt que la soumission.
20-Savoir être : par fois devant comme guide, par fois au milieu comme participant, par fois derrière comme celui qui surveiller.
21-Toujours prêt à donner, à transmettre la connaissance avec amour.
22- Le but ou la satisfaction d’un maître c’est de transformer ces élèves en maîtres. (Un maître est celui /celle qui maîtriser quelque chose : a savoir la différence entre maître corporelle, émotionnel, intellectuel et spirituel )
23-Offrir un conseil (explication) , adaptée selon la maturité des élèves. Pour cela : a 24-savoir en avance, quel est l’état de son élève, et quel est le but de sa parole.
24-Respecter l’opinion de ses élèves mais indiquer ou va arriver l’élève avec son opinion.
25-Maintenir quotidiennement l’apparence et les comportements d’un maître (ces sont les miroirs de sa santé physique, émotionnelle, intellectuelle et spirituelle) ;
26-Avant tout, servir d’abord l’élève en premier, pour le but d’avancer le travail en commun.
27-Penser à nourrir tout le monde même quand il parle pour une personne.
28-Avoir à la fois une pensée analytique et globale sans ignorer l’important rôle de l’intuition.
29-Avoir toujours la présence de la compassion et l’amour universelle dans tous ces actes (expression des trois mondes).
30-Tout acte doit être naturel ou dans la voie pour honorer la nature, à cultiver.

N°:1-15 de : Hakki Ibrahim, Sage Turque, traduit par Ali Ichsan Kaleçi

N°: 16-30 de : de Tapa Sudana

THE IMAGE OF HUMAN TRIBUANA, by I Gede Tapa Sudana

2005-12-19T14:54:00.000-08:00

When we ponder on human body from baby to maturity, from horizontal to vertical, from birth to death, the structure contains an axe as an essential pillar that is the 33 pieces of the backbones that carries 4 extended members as branches (like a tree): two arms+two hand to comprehends, to express and two legs as moving root. One end of the vertebrae is head and the other end is the sexual organ, the organ of divine ancestral creativity. Both poles/ both ends contains the house of the mental/ the intellectual/ the invisible/ the head/ the idea at one end and at the other end contains the house of the sexual organ/ the material/ the body/ the visible/ the reality, both poles will create living multicolour energy and the emotional energy produce by digestive organs. So, to play with emotional energy, the intelligent and the spiritual of human being takes an important guidance in action and creation with the support of the body as the carrier and as instrument of realisation, of movement. Of course depend on human character, sometimes the emotion will dominates and guides, sometimes the physical will determines.

If we associate the triangle of the brain activities to the head and the material to the lower part (navel – sex) then we may find that life on earth is the product of sky and earthy elements. There are three form of life: vegetal, animal and human form.

Sky is as a vibrate and radiant energy, while earth is as an inert energy, a mass and a sleeping energy, both will create life. As yin and yang create, as positive and negative electrical charges create light and energy. (This sleeping mass is another form of energy as it is found by Einstein). The complimentary two can become the contradictory two. A form is in a perpetual transformation. Performance. To perform life is as if we are trying to perform the playfulness of the idea and the reality, the invisible and the visible/the real. The theatre makes visible the invisible, the act of realize-ation. To realize how we are played by thought, how we are played by our emotion and how we articulate our body, to speak, to sing and to dance/ to move is a dialectic contemplation that lead into an ascend-consciousness meditation. The three arts are the expressive instrument of the theatre. Another three fundamental element of theatre are: actor, spectator and story to share and to enjoy together. A miracle could happen between the actor and the spectator, between the transmitter and the receptor, between the giver and the receiver, between the creator and the reality.

What kind of preparation is an actor should do? What experience should they pass through? What lessons is needed. What to learn in other to earn something? Yes, we need to learn for to earn.

To open some way to the answer let us review the path of life from baby to old time. The three step of work:
1. the work to grow the body
2. the work to develop the energy of life for exemple: the emotional experience, to discover emotional and physical love. To explore the sensation and the feeling. To explore and cultivate all type of energy (prana, chi, ki, bayu, pnefma) that animate the body and the brain, the mind or spirit, .....
3. the work to structure the brain, to educate and cultivate the intelligent.
This three worlds of human being ( I name it Tri Buana) has its own natural time to grow. Education must be aware of this program of human nature. Education and transformation must be adjusted to the flowing program of nature, reality that surround us. The reality composed by the visible and the invisible.

The three parameter that determine the ”real-thing” are: the past, the present and the future; the head, the digestive organs and the sex (sex: as instrument of divine ancestral creativity); the thought, the emotion and the body; the sky, the earth and the life, the living climatic energy; left, right and the centre; up, down and the middle; you, me and our story/ our way/ our points of agreement/ our living relation/ our common project; right, wrong and just; the beginning, the end and the life/ the present; the good one, the bad one and the real one; your truth, my truth ant the truth; the thing you like, the thing you don’t like and the reality; as a child, as an adult and as an old wise human.

If we would like to find out what will be the ingredient of the “tribuanic theatre”, then the possible answer will be the theatre that contain food for brain, for music/feeling/emotion and body/movement, where we find that both actor and spectator is actively doing work with text, song and movement. How it can happen? It needs a special place of happening, a special “theatrical space”, and another form of performance (other form). The question is: do we need this form, where the spectator is not only sit in a comfortable chair as a passive present, a receptive observer? If a spectator speaks, sings and moves they will become a performer. Ah haa, we got a problem. Nice! We got works to do! But how to be or … not to be.

An actor should play playfully, fluently like an innocent infant, to behave like a well ripe adult, own a quality of intelligent like an expert / a scientist, a mind of a wise man and wise woman, to maintain his way in a spiritual path, in an invisible way of life. The present of a spirit as in Balinese theatre, for instant, a present of a religious attitude, a "god" (creator) with no name is necessary in every action as well as the present of ritual. Oo hoo, hm mmm! It is too idealistic! It is too difficult!! It is impossible!!! Well, difficulties and impossibilities will not stop a conscious-being to act, facilities and possibilities not always pull a mind/ a desire into action. But as saying says: where there is a will there will be a way.
When human makes plan, GOds laugh ......

An established definition or an established finish-ion is finish, is done and will be like that forever .... or not!? When "thing" is finish, "thing" is dead. To improvise in theatre of life, trying to improve something. So, a chance could be given to present a tribuanic theatre. It is preview at La Luna nel Pozzo, from 10-17 april 2006. www.la-luna-nel-pozzo.com

TriBuana is a way among all-ways, among other ways, it is an offering, a balinese way of offering, people are free to be or not to be in.

Step by step, station by station, state by state, constatation to constalation ....

Alors, bon voyage Monsieur & Mesdames.

Hope to read your comment then.

Sincerely
Tapa Sudana.

TRIBUANA, THE THREE WORLDS, THEATRICAL WAY

2005-12-07T01:33:00.000-08:00

"To awaken and to cultivate the expression
of the Three Worlds: Thought, emotion, body "

My opinion: in Bali, the actors behave like servants. They serve a story (or "something"), which must be told (honoured). This means that the story is more important, more interesting, contain higher value than them. The story has already a life. The “hi-story” includes a better knowledge, wisdom, as well as a natural path (visible or invisible, comprehensible or incomprehensible) to follow.
In order to reveal this life (this mystery), the actors must mobilize all their resources.
The work consists to wake up, to cultivate and to unify the expression of the three worlds (body, emotion and thought) in order to arrive to a total expression through deep solution, clever/ intellectual, scientific and also sharply intuitive, analytical and global. The history must be carrying the three natural, creative and generating ingredients:
1. It cultivates the intelligence in a creative way in the way of the harmony; therefore, it must make people more intelligent.
2. It gives a long life, its existence will last beyond its presence, longer than its physical life, beyond the emotion.
3. It must have the transforming (magical) effect, it transforms the actor the actress, the spectators and the surround (the world, "three worlds")

The field of exploration includes 21 lessons:

1. Penchak Silat or Silat (martial arts Indonesian = the art of survival). To foresee for this lesson, preferable to dress in white (trousers and white T-shirt if it is possible).
2. Tai Chi (of the movements carrying out to the conscience of the physical articulation and energy = chi)
3. Chi Kung (of the exercises physical and mental carrying out to the conscience of precious energy and very subtle which animates life and cosmos)
4. The work of percussions inspired by the Kodo (Japanese drum) to exert the work on rhythm, endurance, force, voices of the Three Worlds and the ritual. The instrument Kodo must be built.
5. Yoga: static positions, wakes up sensitivity which makes it possible to feel the interior impulse, which carries out an actor to the action and the realization.
6. Pranayama, exercises of breathing; inspiration and expiry of energy (to perceive and try out various kinds of energies);
7. Daily practice of some exercises of Taoist health. This exercise engages: the image, the movement, the sound and mental activities in link with the emotions, the organs of digestion, the 5 elements, the colours... etc).
8. The work of the stick (Tongkat): the actors handle the stick and play with by repeating some precisely determined movements. The exercise of the stick is inspired by the martial arts for the aim of warming-up, health maintenance, work in group, meditation, and to awaken the feeling to be "ready to follow" (in the direction where the actor must serve, follows and gives life to a character or a story). The participant invited to bring with them a stick (of wood ) 35 mm in diameter, a length equal to that which separates the feet from the eyebrows (third eye).
9. Work with masks, stories which will be told individually or in group
10. Work with the musical instrument /percussion.
11. Work with the objects (props), like tools of expression or accessory to tell a history. (Puppet for example)
12. A work on improvisation, common creation, that relate with the work in/on a group. In this work 3 steps must be considered well: knowing/comprehending the participants, creating a common theatrical language and choosing/working on “subject” in common as “thing” more important to serve/to feed together.
13. A work in the group and on the group: serving the centre of the common interest of the group, it is necessary to know "the magic and mysterious thing which binds us together" which will give rise (realise) a story to tell, which will be then shared publicly. Aware of one common “thing/story” to develop; at the same time the actors remain open, alert, sincere, essential, therefore simple and direct. To understand/to comprehend "theatrically" is to be, is an action (with or without accessory) of a definite comprehension/interpretation that express in a living way. An actor who says "I understood", they are able to make it, to carry out their comprehension in acttion.
14. Kéchak: it is in the beginning a vocal chorus of all the villagers who take part in this dance/ trance of Bali, for goal to move away the contagious mortal diseases, negative/ destructive energy, the natural disaster who threaten to destroy the life of the people, animal or vegetal. This "chorus/ dance" makes it possible to the actors to work on the voice, on the collective rhythms, on the conscience and the energy of the group. It is a work on the harmonization, wakes up it cosmic energy of the group for cures, for the happiness of the life.
15. The actor is moved and danced by ethnic music, by singing songs from various countries, Ethnic song as theme of improvisation for movement and story to improvise.
16. A work on the sacred syllables - the sound – personal inner voice: to find, to give birth to a syllable each day. A syllable corresponds to a sound and is made up of a vowel and 1 to 4 consonants. Just as for the totem, the progression of work, the composition of the syllable, develops in such a way that the first day syllable will give birth to the syllable of the second day; the reality of the second day gives life to the syllable/reality of the third day, etc.
17. To meditate on (to contemplate) short sentences which are to be regarded as the crystal of the thought, fruits of contemplation. To reflect and exchange opinions, to discuss subject/ problem in a group, all these activities are the field where the thought can be cultivated and involved in order to produce a common theatrical language, a common creation based on common understanding/comprehension.
18. Story telling, story which are told by participants, or by myself, who will give place then to improvisations. To find a common language to explore and build together. To give life to a story consists in finding together the inner impulse of the story inside us, a work where the sharing is experienced.
19. Work on the "totem". A totem is a material composition which one develops by adding object/something to the composition each day. Totem will be presented and visited the last day of the workshop. The totem can be personal or collective. A totem can find its origin and initiated by a place or of an idea, which needs objects to become reality (and a definite place in the case if we work in the nature, outside).
20. When the spirit of the totem concentrates on a paper sheet, it becomes an image, a drawing and series of syllable, which is built with the passing days by daily adding a form or a line of colour and sound. It is what is called: the Hard Disk of the personal identity or Diskette.
21. An introduction to ritual, by honouring the instruments of work, workspace and environment. A place where you work (DO JO/MARGA PURA) is regarded as a place where one cultivates a way of life/a path of life, a manner of being. Each one takes care the place of work, and share/ participate its maintenance; The preparation of the place will develop the work of group and awaken the sense of responsibility.

If the theatre is the "diamond of the life", its goal should be to crystallize the experience/ history /reality in expression, by awaken and cultivating the expression of the "three worlds" (body, emotions, thought), to follow the way of the harmony with nature, adapting their reality to the needs of the space, time and situation.

An actor (Tri Buana) must be in good health (tribuanicly), in way of harmony, in order to be able to animate the story (which animates them) and to offer it to the public that came to share the authentic account of the hi-story.

Brahman signifies the imperishable supreme. The realm of the SELF is the pure clear liberated essence of ones being. To ACT is to be on the way of the manifestation of the creative process, which leads the invisible BEING to existence.
Inspired by Bhagavad Gita, song VIII, 3.

Tapa Sudana,
Montreuil, Sunday 17 July 2005
tribuana@wanadoo.fr

for the new text of Tribuana presentation please see another blog : http://theatretribuana.blogspot.com/
NEXT WORKSHOP:
10 - 22 July 2006 in Paris, contact Olivier Richard 33 1 46 07 08 10, email: artmetamorph@libertysurf.fr , time from 10H00-18H00, except 16 july 2006;

Athenes, from 11-14 june 2006, contact Sandra Mavroidis: sandralala9@yahoo.gr tel: 00302107628368.

22-27 august 2006 at teatro del Montevaso, Italia,s.p. Del Montevaso km 18 - 56034 Chianni (Pisa) tel e fax 0587 647617 : tel 333 - 8592986 / 338-9397192
contact: Francesca Pompeo & Enrico Pompeo. teatrodelmontevaso@montevaso.it

TAPA SUDANA
tribuana@wanadoo.fr
Born in Denpasar, Bali, Indonesia : 21 September 1945, IM70, 70 kg.
Until 1974, his name: I Gede Sudana; From 1974 on, his name: I Gede Tapa Sudana.
Study : 3 years Faculty of mechanical engineering at Gajah Mada University, Jogyakarta.
3 years Academy of Film and Theatre in Jogyakarta, Indonesia

Theatre in Indonesia started in 1968: with Ikra Negara, Putu Wijaya, W.S.Rendra and SardonoW.Kusumo.
With Rendra: In Hamlet as Claudius, in Oedipus as Therisias, in Macbeth as Macbeth.
With Sardono: In 1973-74 Kechak creation at Teges, Bali; in 1974 Dance Theatre Mask: “La Sorcière de Dirah”, European tour.

Theatre: since 1974 living in Paris.
“La Legende du glacier”, “Les Gens du glacier”, theatre-dance-mask of Bali and Lötschental (Swiss) directed by Marcel Robert, Geneva.
“PATRA”, theatre-dance-mask of Bali, a creation with I Made Netra, Soegeng, Dewi, Jacques Fassola. Performed Balinese Mask dance with: I Made Djimat, Cristina Wistari, Made Gerindem, Ida Bagus Geria, Soegeng.
“Voyage Punta” Solo dance theatre mask of Bali. “Bayu”: performance with: mask dance, flute, sakuhachi, Silat (Indonesian Kung-Fu), Kyu-do.
“Oh Jerusalem” by Elisabeth Swadows in New York and Roma.
“Zarzuela” directed by Alain Maratrat.
“Les Rescapés de la Dernière Croisade” de Marco Horvat, directed by Michel Hart.
“Tabarin” de Geneviève Serreau, directed by David Esrig as actor, masked.
“Zat”, Sufi story directed by Ali Ihsan Kaleci.
“Arbre à Palabre”, story telling with Footsbarn theatre;

With Peter BROOK (1979-1991): “La Conference des Oiseaux and L’Os”, Carmen,
The Mahabharata, The Tempest.
“Das lied von der Erde” by G.Mahler, David Stern, Yoshi Oida.
« Il n’y a plus de Firmament » by Josef Nadj.

Assistant Director:
Actor-trainer for mask in “Oedipus” directed by Stavros Dufexis, in Madrid. (Jose Luis Gomez as Oedipus).
Musician and actor-trainer for mask in “Iketides” directed by Stavros Dufexis, Epidaurus and Athenes.

Film work (actor):
“Rapsodie en Jaune”, telefilm in Paris.
“Carmen”, “Mahabharata” by Peter Brook.
“Tang le onzième” by Dai Sijie.
“Prêt à porter “ by Robert Altman.
“J’ai faim” by Florence Quentin.
« Palais Royal », by Valérie Lemercier.

Intervention in theatrical creation with various company : Tour de Babel, Salamandre, Footsbarn theatre.

Teaching :
Since 1979, Tapa Sudana gives workshops on Balinese mask and movement.
He has created a work on expression of the “three worlds”(thought, emotions, body) through workshops in France, Greece, Italy, Switzerland, Spain, Amsterdam, Belgium, Bogotá, Venezuela.
This work includes: body work based on Tai Chi, Silat (Indonesian Kung Fu), Yoga, Ko Do, Kyu Do, Totem (object composition/construction, contemplation, ritual, the sacred), Ethnic Song, Tongkat (stick work developed by Tapa), I.Disk (design, mandala, sacred-syllable), Story telling, Mask, Improvisation, Contemplated text, Meditation, Taoist health exercises, Chi Kung, Kechak (Balinese voice rhythm, movement), Rhythm, Group work, Ritual. MONTREUIL, 6 dec 2005.

Under the Buana Tree, at La Luna nel Pozzo

2005-12-06T12:59:00.000-08:00

Under the Buana Tree, at La Luna nel Pozzo.

The fifth TriBuana workshop of Tapa Sudana at Theatre La Luna Nel Pozzo of Robert McNeer an Pia Wachter, will be from 10_17 April 2006.A spring time to grow a way.
Please see: www.la-luna-nel-pozzo.com, and mail : lupo.teatro@libero.it

What will be different from the last open door after the 5 days workshop of those last years? It is also depend on the participant. Who are they? They are the nature, the hard worker and loyal participant and the public. Those three elements will set the way to a future Tri Buanic theatre..

The celebration of the three creative expressions of mind/thought, emotion and body, of human nature is to be performed as offering.. So, there to hope to be a celebration, a ritual with music, story telling, dance, puppet, mask, Tongkat, Kodo, Totem all the fruit of the 21 lessons of Tri Buana way.

Participant of workshop are invited to bring a proposal to be work out during the 7 days workshop. It could be song, ethnic song, story, puppet, art craft, handicraft, totem, and dance.
An invisible stream of Balinese theatrical spirit will be presented be my, sorry, since I have been wandering in Europe since 1974, and running the grain of this Tri Buana work shop since 1979.

I don’t know what will be the real form, but I will surrender to the will of the reality to realize it. And the present of others is great real present, the creator, the cultivator.

For more informations, please look at http://theatretribuana.blogspot.com and http://www.blog.ca/tapasudana

Hope to see you
In the way
Smile Tribuana,
I Gede Tapa Sudana

TRIBUANA, TROIS MONDES, UNE VOIE THEATRAL

2005-12-05T15:23:00.000-08:00

SVP cliquer ici pour voir le texte travail/voie Tribuana avec 25 champs à explorer.

« Eveiller et cultiver l’expression
des Trois Mondes :
Pensée, émotion, corps »

Mon opinion : à Bali, les acteurs se comportent comme des serviteurs. Ils servent une histoire ( ou « quelque chose ») qui doit être racontée (honorer). Il faut que l’histoire soit plus importante, plus intéressante, supérieure à eux ; l’histoire a déjà une vie. L’histoire englobe mieux la connaissance, la sagesse, ainsi qu’un chemin naturel (visible ou invisible, compréhensible ou incompréhensible) à suivre. Afin de révéler cette vie ( cette mystère), les acteurs doivent mobiliser toutes leurs ressources.
Le travail consiste à éveiller, cultiver et unifier l’expression des trois mondes (corps, émotion et pensée) en vue de parvenir à une expression totale à travers une approche profonde, intellectuellement scientifique et aussi intuitive, analytique et globale.
L’histoire doit être porteur des trois ingrédients générateurs :
1. Elle cultive l’intelligence d’une manière créative dans la voie de l’harmonie ; donc, elle doit rendre l’être plus intelligent.
2. Elle donne une longue vie, son existence durera au-delà de sa présence, plus longtemps que sa vie physique, au-delà de l’émotion.
3. Elle doit avoir la magie transformante, elle transforme l’acteur l’actrice, les spectateurs spectatrices et l’entourage (voir : le monde, les « trois mondes »)

Le champ d’exploration inclut 21 leçons :

1. le Penchak Silat ou Silat (art martial indonésien = l’art de la survie). Prévoir pour cette leçon, préférable en tenu toute blanc (pantalon et T-shirt blanc si c’est possible).
2. le Tai Chi (des mouvements menant à la conscience de l’articulation physique et de l’énergie = chi)
3. le Chi Kung (des exercices physiques et mentaux menant à la conscience de l’énergie très précieuse et très subtile qui nous anime)
4. Le travail de percussions inspiré par le KO DO (tambour japonais) pour exercer le rythme, l’endurance, la force, les voix des Trois Mondes et le rituel. L’instrument KO DO a construire.
5. Le Yoga : des positions statiques, éveille de la sensibilité qui permet de sentir l’impulsion intérieure qui mène un acteur à l’action et à la réalisation.
6. Le Pranayama, exercices de respiration ; inspiration et expiration de l’énergie (pour percevoir et expérimenter différentes sortes d’énergies) ;
7. La pratique quotidien de quelques exercices de santé taoïstes. Cet exercice engage : l’image, le mouvement, le son et les activités mentaux en lien avec les émotions, les organes de la digestion, les 5 éléments, les couleurs, …etc. ).
8. Le travail du bâton (Tongkat) : les acteurs manipulent le bâton et jouent avec en répétant quelques mouvements déterminés précisément. L’exercice du bâton est inspiré par l’art martial pour le but d’échauffement, de maintenir la santé, de travail en groupe, de méditation, et pour éveiller la sensation d’être « prêt à suivre » (dans le sens où l’acteur suit et donne vie à un personnage ou une histoire). Les participants sont invités à apporter avec eux : objets, masques, instruments de musique, un bâton (en bois de poids) de 35 mm de diamètre d’une longueur égale à celle qui sépare les pieds des sourcils (troisième œil).
9. Travail avec des masques, des histoires qui seront racontées individuellement ou en groupe
10. Travail avec l’instrument musical/percussion.
11. Travail avec l’objet (accessoire), comme outils d’expression ou accessoire pour raconter une histoire. (Marionnette par exemple)
12. Improvisation, création commune qui en relation avec champ n° 13. Ce travail demande 3 étapes à respecter : comprendre bien les participants, création d’un langage commun et avoir l’intérêt commun/ l’histoire à servir, à honorer ensemble.
13. Un travail dans le groupe et sur le groupe : en se tournant vers le centre (l’essence) de l’intérêt commun du groupe, il faut savoir « la chose magique et mystérieuse qui nous lie ensemble » qui va donner naissance à l’histoire qui sera ensuite partagée publiquement. Le « récit de l’histoire » concerne chacun ; en même temps les acteurs restent ouverts, éveillés, sincères, essentiels, donc simples et directs. Comprendre « théâtralement » est une action (avec ou sans accessoire) faite d’émotion et de compréhension. Un acteur qui dit « je compris », il doit capable de faire, de réaliser sa compréhension.
14. Kéchak : c’est à l’origine un chœur vocal de tous les villageois qui participent dans cette danse/transe de Bali, sacrée, pour but d’éloigner les maladies contagieuses mortelles , les énergie négative/destructive, les désastre naturelle qui menacent à détruire la vie de l’homme, animale ou végétale. Cette « chœur/ danse » permet aux acteurs de travailler sur la voix, des rythmes collectifs, la conscience et l’énergie du groupe. C’est un travail sur l’harmonisation, l’éveille de l’énergie cosmique du groupe pour guérisons, pour le bonheur de la vie.
15. Les acteurs bougent et dansent sur des musiques ethniques, en chantant des chansons de différents pays,
16. Un travail sur les syllabes sacrées - le son - voix personnelle :Trouver, donner naissance à une syllabe chaque jour. Une syllabe correspond à un son et est composée d’une voyelle et de 1 à 4 consonnes. De même que pour le totem, la progression du travail, de la composition, du son, se développe de telle manière que le travail/composition/son du premier jour donnera naissance à la syllabe du deuxième jour ; la réalité du deuxième jour donne naissance au troisième jour, etc.
17. Méditer de courtes phrases qui sont à considérer comme le cristal de la pensée, les fruits de la contemplation. Réfléchir et échanger des opinions, discuter en groupe, toutes ces activités sont le champ où la pensée peut être cultivée et entraînée afin de produire un langage théâtral commun.
18. Ecouter des histoires qui sont racontées par les participants ou par moi-même, qui donneront lieu ensuite à des improvisations. Un langage commun à explorer et à construire ensemble. Donner vie à une histoire consiste à trouver ensemble l’impulsion intérieure de l’histoire à l’intérieur de nous-mêmes, un travail où l’on expérimente le partage du cœur.
19. Travail sur le « totem ». Un totem est une composition matérielle qu’on développe en ajoutant chaque jour quelque chose à la composition ; il est présenté et visité le dernier jour du stage. Le totem peut être personnel ou collectif. Un totem peut trouver son origine et démarrer à partir d’un lieu ou d’une idée qui a besoin d’objets pour devenir une réalité physique/matérielle.
20. Lorsque l’esprit du totem se concentre sur une feuille de papier, il devient une image, un dessin qui se construit au fil des jours en ajoutant quotidiennement une forme ou une ligne de couleur. C’est ce qu’on appelle : le Disque Dur de l’identité personnelle ou Disquette..
21. Une introduction au sens du rituel et du sacré, en honorant les instruments de travail, l’espace de travail et l’environnement. Un lieu où vous travaillez (DO JO/MARGA PURA) est considéré comme un lieu où l’on cultive une façon de vivre/un chemin de Vie/ une manière d’être. Chacun prend part à l’entretien et à la préparation du lieu ; ceci développe le travail de groupe et le sens de la responsabilité..

Si le théâtre est le « diamant de la vie », son but devrait être de cristalliser l’expérience/ histoire/réalité en expression, en éveillant et cultivant l’expression des « trois mondes » (corps, émotions, pensée), en suivant la voie de l’harmonie avec la nature et en s’adaptant aux besoins de l’espace, du temps et de l’environnement/l’entourage/la situation.

Un acteur (Tri Buana) doit être en bonne santé, équilibré et sensible, afin d’être capable d’animer l’histoire (qui l’anime) et de l’offrir au public qui est venu pour partager le récit authentique de l’histoire.

Brahman signifie l’Etre suprême impérissable. Le domaine du Soi est l’essence libre et parfaitement claire de tout être. « Agir » signifie être sur la voie de la manifestation du processus créatif qui conduit l’être à l’existence. .( Inspiré par la Bhagavad Gita, chant VIII, 3)

Tapa Sudana, Montreuil, samedi,11 juin 2005.

NEXT WORKSHOP:(prochain stage):
10 - 22 July 2006 in Paris, contact Olivier Richard 33 1 46 07 08 10, email: artmetamorph@libertysurf.fr , time from 10H00-18H00, except 16 july 2006;

Athenes, from 11-14 june 2006, contact Sandra Mavroidis: sandralala9@yahoo.gr - tel: 00302107628368.

22-27 august 2006 at teatro del Montevaso, Italia,s.p. Del Montevaso km 18 - 56034 Chianni (Pisa) tel e fax 0587 647617 : tel 333 - 8592986 / 338-9397192
contact: Francesca Pompeo & Enrico Pompeo. teatrodelmontevaso@montevaso.it

tribuana@wanadoo.fr

Origine : BALI, INDONESIE. Nom: (I Gede) Tapa Sudana
Né le 21 septembre 1945 à Bali.
Taille : 1M71 / 69 kg
Danse traditionnelle de masque de Bali.
Flûte : traversière, indienne, balinais, chinois, japonais (sakuhachi) ;
Guitare ; Clarinette ; Tabla ; Djémbé, Percussion ; Chant ;
LANGUE : balinais, javanais, indonésienne, anglais, français ;
notions d’Italien et d’Espagnol
PERMIS DE CONDUIRE B.
SPORT/ : Silat (kung-fu indonésien),Tai Chi, Kyu-do, Chi Kung , Yoga.,Tongkat.
NIVEAU d’étude : Université, faculté d’ingénieur 3 ans.
FORMATION PROFESSIONNELLE : Académie de Théâtre et Film, 3 ans à Jogya, Indonésie.
Former par /travail avec le Théâtre MANDIRI de PUTU WIJAYA ,Bengkel teater de W.S.RENDRA , danse théâtre de SARDONO en Indonésie.
EXPERIENCE PROFESSIONNELLE en INDONESIE :
Théâtre en Indonésie :Cladius dan Hamlet, Macbeth dans Macbeth, Thérisias dans Œdipe Roi. Participation à des spectacles écrits par WS RENDRA et PUTU WIJAYA. Création à Bali avec SARDONO : Kechak Teges et La Sorcière de Dirah.
1974 arrivé et travail en France, venu avec un groupe de théâtre danse musique chante masques de Bali et Java : « La Sorcière de Dirah » de SARDONO, tournée européenne.
THEATRE avec PETER BROOK :
L’ange de la mort dans L’OS ; chauve-souris, Princesse en masque balinais, Astrologue, marionnettiste dans LA CONFERENCE DES OISEAUX. Lilas Pastia, Garcia dans CARMEN, Chanteur dans TADADA ; Pandu, Shiva, Salya dans Mahabharata ; Esprit, Trinculo dans la TEMPETE.
THEATRE DANSE
Avec Josef Nadj, Acteur danseur dans « Il n’y a plus de firmament ».
THEATRE MUSICAL :
Acteur dans Oh ! Jérusalem d’Élisabeth SWADOWS à New York ; Comedien-chanteur dans Zarzuela Thomas Breton mise en scène Alain MARATRAT ; Janus Roi Bouffon dans « les rescapés de la dernière croisade » de Marco HORVAT mise en scène Michel HART (spectacle avec des chansons de moyen-age). Acteur dans « das Lied von der Erde » de G.Mahler mise en scène de Yoshi Oida et maestro David Stern, Opéra de Rouen et théâtre de la Ville à Paris.
THEATRE : TABARIN (acteur-masquer) texte de Geneviève SERREAU, mise en scène David ESRIG.
ZAT, (acteur-conteur) contes soufi texte et mise en scène Ali Ihsan KALECI.
ARBRE à PALABRE (acteur-conteur) de FOOTSBARN THEATER.
ASSISTANCE à la mise-en-scène :
Œdipe Roi mise-en-scène DE Stavros DUFEXIS à Madrid avec José Luis GOMEZ (Œdipe): préparation des acteurs et jeu de masque. Les Suppliants, mise-en-scène de Stavros DUFEXIS à Epidore et Athènes : musicien, préparation d’acteurs et jeu de masque.
CINEMA :
Servant dans Rhapsodie en jaune (téléfilm) ; Garcia dan Carmen ; Pandu, Shiva, Salya dans Mahabharata de Peter BROOK ; Chauffeur dans « Prêt-à-porter » de Robert ALTMAN ;
Tang le premier dan « Tang le onzième » un film de DAI SIJIE. Acteur dans « J’ai faim » de Florence Quentin. Palais Royal de Valérie Lemercier.
CREATION :
Patra, danse théâtre musique masque de Bali avec : Netra, Soegeng, Dewi, Jacques FASSOLA « Guru Djati » danse théâtre masque avec Patricia PASSAT et Mas SOEGENG ; Danse masque traditionnel de Bali : avec Mas SOEGENG et Christina WISTARI au Centre MANDAPA ; avec NETRA, SOEGENG, I MADE DJIMAT à Nice ; Voyage PUNTA : solo masque balinais ; BAYU : solo de flûte sakuhachi, masque, danse, Silat(Kung-Fu indonésien), Kyu-do, chants.
COMPOSITION MUSICALE : Jardin de Jade : cassette de flûte indienne et sakuhachi.
FORMATEUR depuis 1979.
Dirige des stages de formation et préparation d’acteur « Éveiller et cultiver l’expression des trois mondes », TRIBUANA mouvement :yoga, art martial indonésien (Silat), Tai Chi, Tongkat (l’art du bâton), masques, rythme, improvisation, contes, travail de groupe, totem en France, Italie, Espagne, Grèce, Suisse, Bruxelles, Bogota, Allemagne, Caracas, Amsterdam. Stage de formation (AFDAS) en collaboration avec Ali Ihsan KALECI de AYNA centre de recherche théâtrale, Jean Paul DENIZON de AIA France, Olivier Durin de THEATRE FOOTSBARN , Le Théâtre Organic, Théâtre Métamorphose, Cie Labyrinthe Russe.