Program

During THE F.E.S.T you are welcome to borrow headphones and Mp3 players and follow the quest of this 3-dimensional sound performance leading us all the way through the history of this unique and affected village of Skillinge. A village of 500 people where more than 70 men, between 1890 - 1940, died in the uncontrolable forces of the cold and vicious sea.

Just come to the reception in the restaurant house pick up a map, headphones and a MP3 player , the walk goes to the big harbour of Skillinge, past the smaller saail boats harbour and the further into the narrow streets of the old Skillinge village.
Duration: approx 50 minutes Language: English

More info to come... stay tuned!

Get a taste of how the Six Viewpoints and experiential anatomy can wake up your senses and bring your whole self into the room. We’ll move, pause, and play with space, shape, and time — loosening old habits and opening up fresh pathways for presence and connection. Come as you are, step in for a moment of shared exploration, and leave a little more alive to your body and the world around you.

Let’s make your smartphone less familiar. Let’s look at it as a site for drama. Screens offer us means of expression and connection, responding to our needs and desires. They are also designed to conceal the deep material violence that makes them possible. How can we use the smartphones we have in our hands to show this hidden life? In this class Emma Bexell shares her practice of site specific “video walks” and introduces them as a way to playfully and critically use the technology to perform the struggle with technology.

This is a story from the woods.
A story of animals—
and Felicia.
She arrives, settles on the edge,
where the trees thin and the whispers thicken.
The animals are worried.
She’s ugly—
She’s dirty—
Wicked witch!
Stealing joy with her strange hands,
tilting the forest’s balance.
Something must be done. Now.

All the animals agree.
... Or do they?
This is the story of a problem—
a spark struck from fear, blown into flame.
But watch:
a conflict bends,
becomes a bridge.
What if the problem
was never the problem at all?

Dive into the vibrant world of Embodied Presence in Motion and experience the essence of this masterclass that brings the magic of sensorial exploration, movement, mindfulness, and play together. Let your senses lead the way as you connect deeply with your body and surroundings.

This unique set-up with Pia "del Norte" Pohjakallio takes the participant on a journey to different parts of one's presence, aiding centering, energy and calm through the use of Qigong, flamenco and yoga.

Marcelo Milchberg, recorder and bagpipes - François Tillerot, chromatic accordion

With their instruments, they have brought along music gathered from various landscapes, from South America to Eastern Europe, tunes drawn from their roots, and melodies of their own composition. The program features a rich variety of musical styles, including forró and choro from Brazil, tango and zamba from Argentina, klezmer airs and dances, Irish jigs, and a touch of repertoire from Northern European countries to honor our hosting country, along with many more surprises.

A suggestive sound journey that stimulates the body and mind with deep frequencies and rhythms. Dissolves emotions and muscle tension.

Who can come? Everyone. You don't need to have any experience with meditation or yoga. You don't have to believe in anything in particular. It is enough that you are curious about what sound can do for you.

Led by: Kristian Eliasson – sound artist and musician.

Let’s make your smartphone less familiar. Let’s look at it as a site for drama. Screens offer us means of expression and connection, responding to our needs and desires. They are also designed to conceal the deep material violence that makes them possible. How can we use the smartphones we have in our hands to show this hidden life? In this class Emma Bexell shares her practice of site specific “video walks” and introduces them as a way to playfully and critically use the technology to perform the struggle with technology.
Together we create a work for the location we are at, using only our own smart phones.

Step into the studio and wake up your whole system. This workshop weaves Mary Overlie’s Six Viewpoints with experiential anatomy as an ur-training for the performer’s nervous system — rooting presence, agility, and deep listening in the body. Through movement, stillness, and shared space, we’ll loosen old habits and invite the body to think, sense, and imagine in new ways. Together we’ll ask: How do space, shape, time, emotion, movement, and story move through us, not just from us? Come ready to sweat, notice, and be surprised.

An ongoing open-ended conversation/ceremony hosted by poet/gardener/elder Ylva Gislén (formerly performance art critic, professor in artistic practice etc), throughout the festival. Situated on the upper floor of the restaurant the conversation/ceremony is happening whenever Ylva is there, in the presence of seeds, stories, entanglements and relationship of and with plants.

More about ylva at www.ylvagislen.se.

Please not that this event is located in the second floor of Restaurant!

We try to abstract EGO as a subject and want to find a balance of seriousness and comedy in our storytelling technique’, the duo says about the work. ’With a hope of coming out of this process and conveying to others an inspiration to be a little more selfless. The substance of the idea is largely based on our own journeys around egoism and macho culture.

This engaging master class given by Maisa Perk (the director of Beneath the Skin) invites participants of all backgrounds to explore the power of being fully present in the moment. Combining the joy of exploration and play , mindfulness practices, expressive dance, and sensorial exercises, the session encourages participants to connect deeply with their bodies and surroundings. Through playful exploration and sensory practices, you'll learn to navigate changing abilities and external circumstances with openness and spontaneity, turning everyday moments into authentic and mindful experiences.

The past couple of years I have been hosting a 3 h masterclass combining 30 min qigong, 60 min flamencodance and 60 min yinyoga.

This unique set-up takes the participant on a journey in different parts of one's presence, aiding centering, energy and calm. Qigong creates a rooted presence in the body and the group, dancing together in the encouraging and powerful flamencobodies brings out both sweat, listening and laughter, and the yinyoga calms the system and listens inward.

This class is open to all!
Do wear comfortable clothes and bring an extra sweater for the yinyoga.
The flamenco-part of the class is in a soft-shoe manner/barefoot.

Welcome!

A conversation with experts about the dynamic between body and space, physical theatre as a way of expression, the body as the center of storytelling and a way to connect to nature and the ecosystem.

We will also try to understand the relation between the object on stage, the influence in the dramaturgy and the understanding of the world around us, through the object and body

Both physical and object theater should answer to the questions of ecological art in stage performance, in theater education, in theater and politics to embrace the concept of : Art-ctivisme.

The theater & circus performance WHAT? is a tragicomic performance about the time we live in right now. A time where the future feels uncertain and no one really knows what to do about the situation.

Two old ladies are stuck at the end of the road and don't know what to do. They are waiting for someone to come and save them, but they don't know who this someone is.

WHAT? is a satire aimed at young adults/an adult audience and which, in a humorous way using circus as a tool, twists and turns the big questions of our time. What kind of future are we facing and is there anyone out there who will save us? Some kind of Godot that we are all waiting for…

Master class – "Commedia and the Actor", By Ole Brekke, Founder of The Commedia School in Copenhagen. This class will be an active insight into the pedagogy of Carlo Mazzone-Clementi who was together with Ole during 15 years at The Commedia School. This class will focus on spontaneity and the preparation of the actor through the exercises we call “the showers.” The participants will be introduced to the metaphysical mask, the training mask invented by Carlo and developed further at The Commedia School. From this basis we will explore melodrama as a style especially well-suited to take on today’s critical environmental issues.

What do we refer to when we ask each other to listen. What do I mean when I say - "It is about 'it' not about 'your self'."
Michael Norlind developed his artistic training from Sören Larsson who, after his years with Jerzy Grotowski in Wroclaw, continued to work with physical theatre under the name Kroppens poesi. He runs Scenstudion Gerlesborg - a meeting place and platform for exploring the expressions and possibilities of theatre. He is the artistic director of Gerlesborg's theatre laboratory, which, through the method 'The Craftsmanship and Poetry of the Performing Arts', focuses on creating the conditions for poetry to emerge. As a lecturer at the School of Drama and Music, University of Gothenburg, he focus on physical gestataltung.

Irse is a stage performance of visual poetry, movement, and sound that explores the different dynamics that arise when the human body is separated (or not) from a situation, place, objects, and memories. In the play, a woman encounters fragments and versions of herself, as she goes through boxes in a basement. Memories, friends, and treasures from all over the world merge in a place that becomes all places.
This is a devised piece in mixed languages (Spanish and English) that tells a familiar story: the story of a traveler. How do we face the sweet sorrow of farewell? Is it possible to untangle the memories of lost objects, people? What does it take to leave and enjoy the flight?

Memory Lab - a participatory dance performance explores how memories of dance can become embodied by the members of the audience.

You become part of a unique dance history, an almost overlooked dance solo piece made for the Swedish based Indian dancer Lilavati created by the father of ""dansteater"" Kurt Jooss.

Premiered in 2019 and has since toured to Fest en fest London, Ear eye festivalen Malmö, My wild flag sthlm, Dansens Hus Sthlm.

A suggestive sound journey that stimulates the body and mind with deep frequencies and rhythms. Dissolves emotions and muscle tension.

Who can come? Everyone. You don't need to have any experience with meditation or yoga. You don't have to believe in anything in particular. It is enough that you are curious about what sound can do for you.

Led by: Kristian Eliasson – sound artist and musician.

An ongoing open-ended conversation/ceremony hosted by poet/gardener/elder Ylva Gislén (formerly performance art critic, professor in artistic practice etc), throughout the festival. Situated on the upper floor of the restaurant the conversation/ceremony is happening whenever Ylva is there, in the presence of seeds, stories, entanglements and relationship of and with plants.

More about ylva at www.ylvagislen.se.

Please not that this event is located in the second floor of Restaurant!

I will be focusing on strong physical and dynamic phrases with the use of gravity and floor work and will be constantly challenging the body, working on the edge of what’s possible.

The workshop includes elements of improvisation, acting, physical theatre, contemporary dance and contact improvisation, with an emphasis on flow, flexibility and team-working. we will be working with specific themes and physical tasks as motivation for movements and emotions.

Viewpoints / Dynamic Listening
Viewpoints is a movement-based improvisation that breaks down the elements of Time and Space into a shared language, where movement becomes a conversation which allows performers to connect and compose in the moment. This workshop dives into that language, exploring how dynamic listening and physical precision can forge a truly visceral ensemble. Train your body like a musical instrument, sharpen your improvisation, and build a deeply connected, spontaneous ensemble.

Participants build and animate their own life-size paper puppets and are taken through an emergent process that evokes material imagination, experiential solidarity, and an ecology of becoming. Welcome to a ritual of emergent kinship, a space of relational encounter, a philosophy of embodied responsiveness. Deep Puppetry is an applied puppetry approach in which engaging with a puppet as an autonomous partner uncovers new ways of relating that challenge systems of exclusion and domination while providing a rehearsal ground for imagining and enacting new futures. Through material embodiment in aesthetic space, we foster an orientation in which "otherness" is not a threat but a source of connection and learning.

A conversation with theatre experts on how to explore the relationship between physicality and object theater and ways of connecting and approaching communities and art.

How can physical theater or body expression be a part of a community?

How can a city or the village be involved in the creation process?

How does object theater/physical theater impact our environment in today's climate crisis?

It is a completely improvised dance form where we will tap into the physical awareness of our own bodies as a starting point for exchanging with others. Physical touch will be a further exploration that expands into directions such as sharing of weight, giving and receiving impulses and offering the surfaces of our body as a ground for another person. Through the expanded awareness of our physical possibilities and a playful approach, it seems to be possible to slow down or speed up time as well as uncovering a reality that is characterized by interconnectedness a

This workshop invites participants to explore the mimodynamics of materials like plastic, rubber, and packaging materials which remain on Earth for hundreds to thousands of years due to their slow degradability. Together, we will build a tragic chorus that transposes the movement of these materials, then explore voice and text through their dynamics.
This creative journey encourages curious minds and bodies to connect with the tragedy of materials through movement.
Participation: Please wear comfortable clothing that allows for easy movement. Maximum of 16 participants.

For this “PracticeFerence”, a talk that mixes a traditional lecture with simple, hands-on exercises, you’ll get to actively try out techniques related to the topic. I will rely on an article by Gaspard Allens in the magazine Reporterre, titled Facing a Suffocating World: An Ecology of Breath.

I quote: ”What connects the murder of African-American George Floyd, suffocated by the police in 2020, and the megafires? The pandemic and air pollution ? Breathing /.../ Never has the atmosphere seemed so unbreathable and the very act of breathing has become a political gesture.

Actor, director, choreographer, and writer, Alan Boone holds a Research Master degree in “Theatre and Other Arts”; from the Sorbonne Nouvelle University.

How is the human-animal body still associated with the natural world? What are the fundamental tools of awareness in our bodily practices? Is dance a vibration, a manifestation of the connections with the natural environment?

Through guidance and durational practice, the atelier aims to illuminate our empirical facts through bodily senses and deepen our inherent skills by exploring the artificial or natural content in which we operate daily. The atelier approached the significant occurrence, as Merleau-Ponty highlighted that all artistic practices pass through the human-animal body. This specific class is merely oriented towards the senses of hearing and touch. We welcome all practitioners from all artistic and environmental fields.

"The Somatic and the Social" is a three hour masterclass designed for pre-professional/professional performers seeking to deepen their understanding of the relationship between voice, movement, and embodied memory. Drawing on her background in voice and dance practices, as well as her keen fascination for the staging of expression, Alice will share an amalgamation of impressions, influences, and tools she has collected thus far.

Alice invites participants to appreciate the serenity of tuning into their embodied experiences, while poking fun at the absurdities of social behavioural norms. Together, we will explore the entanglements of the social and somatic in all its glorious nonsense!

The Revolutions Promise is a documentary performance highlighting censorship and attacks on palestinian artists.

The main story is about the rise of The Freedom Theatre of Jenin in the aftermath of the second intifada. Flanked by stories from Gaza, Jerusalem and 48.

'The Revolution's Promise makes sure our voice is still heard internationally, whilst putting pressure on Israel to stop the attacks on artists'

AHMED TOBASI

'Art penetrates borders, physical and intellectual barriers,
opens doors to find solutions,
and create human connection'

DAREEN TATOUR

Since the bombing, we have held several performances on the rubble.

ALI ABU YASSIN

Supported by FFUK & the Norwegian Ministry of Forreign Affairs/PAHN

QUASAR

This solo performance is a unique , physically acrobatic, and musical experience drawing on Kasper Ravnhøjs last 25 years as a dancer, performer, and prominent figure on the experimental Danish performing arts free scene in a highly personal and intimate exploration of the core themes and inspirations that sparked the fire of the QUASAR concept.

The solo insists on the fire that burns in every movement: not just a dance, but a sacrifice; an insistence on life and the moment confronting emptiness, drawing meaning from the shadow and reminding us that in a universe created to consume, we choose to create, to shine.

Created by: Mute Comp.Physical Theatre /Klaus Hildebrandt Frederiksen, Kiss Lavin and Kasper Ravnhøj

Dancer: Ka

Participants: Platform HIT, Norwegian artists + European guests.
Moderator: Karin Johansson-Mex, Artistic Director of Skillinge Theatre
With invited panel guests: Vanessa Poole/Jana Pulkrabek from HIT and others.

A description of the work creating, moving and delivering innovative , female-supporting international English-language theatre to Malmö, Hamburg and Copenhagen, created by https://www.hit-theatre.com/.

Founder Jana Pulkrabek and brand associate Vanessa Poole discuss the challenges, triumphs and excitement of bringing new and iconic plays to life , across borders and creating work for professionals on stage and off in 3 countries in the Öresund region.

The brand aims to develop and support international cultural ties, particularly in theatre, with an extra focus on a region covering, though not exclusively so, Malmö, Copenhagen and Hamburg.

Connecting stories from his life to the operas he was playing at the time, Faingersh plays us through a comedic crash course in finding operatic (and personal) meaning, as he recounts his decision to leave a coveted position at the Metropolitan Opera. This story is about the choices faced by most people — whether to pursue comfort and security or follow their dreams.

Faingersh’s musical style is unique. He taps, blows and sings into the brass, adroitly flipping it to use a microphone mounted on the back for operatic vocals and hitting foot pedals to loop sound effects. Combining music, comedy and candor, this show is a peek into a composer’s mind.

Best solo show musical - Orlando Fringe 2018
Grand Prix - Reykjavik Fringe Festival 2021

As a backround for the artistic choises, and contextualisation, some selected poems by palestinian poets are presented accompanied by double bass.

Poets like the national poets Mahmoud Darwish and the poet Dareen Tatour that is presented in the play

The work involves a unique set of custom-made masks, carved by Strasbourg-based mask maker, Etienne Champion (www.etiennechampion-sculpteurdemasques.com/masques).

Training was undertaken with Marc Proulx and Irineu Nogueira. This work originally formed part of Eliot’s practice-based PhD research, culminated in a London performance in 2018 with the title ‘The doors are open but no one’s at home – a parliament of fools’.

A suggestive sound journey that stimulates the body and mind with deep frequencies and rhythms. Dissolves emotions and muscle tension.

Who can come? Everyone. You don't need to have any experience with meditation or yoga. You don't have to believe in anything in particular. It is enough that you are curious about what sound can do for you.

Led by: Kristian Eliasson – sound artist and musician.

We will be start by using everyday objects as score, learning to listen to them, the method is influenced by the book Deep Listening by Pauline Olivieros. Moving on to giving the objects agency through a score of questions to the object, ending with an object choreography. 10-15 people.

An ongoing open-ended conversation/ceremony hosted by poet/gardener/elder Ylva Gislén (formerly performance art critic, professor in artistic practice etc), throughout the festival. Situated on the upper floor of the restaurant the conversation/ceremony is happening whenever Ylva is there, in the presence of seeds, stories, entanglements and relationship of and with plants.

More about ylva at www.ylvagislen.se.

Please not that this event is located in the second floor of Restaurant!

Here, a responsive communication takes place where the participants communicate via known and never before known materials. It’s a form of sensory experience where we communicate with each other through different materials and let it take time.

Sensuality and participation
Significant for Kollaborativet [the Collaborative] is that we create sensual performing art, continuously carry out co-creative collaborative processes with children and young people with functional variations and their educators, and have an ongoing dialogue with a number of researchers.

The workshop is led by Lisbeth Hagerman, one of the founders of Kollaborativet, trained in dance and choreography.

Description: Stage art and technology often refers to the integration of technological tools and innovations into live performance and stage design to enhance storytelling, aesthetics, and audience engagement. This interdisciplinary field blends traditional stagecraft with modern advancements. Panel discussion led by Karin Johansson-Mex, Artistic Director of Skillinge Theatre With invited guests.

Actress and playwright Eva Ekengren portrays five generations of women in her own family. A deeply personal, humorous, and moving performance about family trauma, a culture of silence, and the desire to break the cycle. The play was supported by Riksteatern Syd and has received glowing audience feedback.

Knocked out by yesterday's premiere of the performance "The Matriline". So moving, genuine, intimate — with love, perspective, and humor. It raised many questions about my own lineage and how important it is to see and heal your whole story. Go see it!
— Cicki D

(Performed in English)

The goal of the Conference-Dance is to explore how various dance forms can be adapted to these diverse musical styles. From couple dances to circle dances, collective dances, and quadrilles, they will demonstrate how the bodily expression of dancers and the interaction between dancers and musicians can vary. We will delve into the choreography, the feeling of swing, and the synchrony in circle dances.

Sharing the history of some dances and showing how they have adapted different music to them, "On rangera plus tard !" will invite participants to join in trying out these adaptations, making this an interactive and engaging experience.

Don't miss this opportunity to immerse yourself in a world of music and dance!

Closing ceremony starting at the Theater and finishing in the Harbor with the In-Balance method directed by Mariana Araoz and Chanting session with Karin Johansson-Mex.

“The Tempest” by Shakespeare in the adaptation created by the iconic, world-renowned British director Peter Brook is one of the most famous adaptations worldwide of this classic tale. The Tempest is an enigma, a fable where nothing can be taken literally, because, if we stay on the surface of the play, its inner quality escapes us. For the actors, as well as for the audience, it is a play that reveals itself by playing it. It’s like Music.

Peter Brook was born in London in 1925. Throughout his career, he distinguished himself in various genres: theatre, opera, cinema and writing. He directed his first play there in 1943. He then went on to direct over 70 productions in London, Paris and New York.