GDIF2014 Photo Ambassador – Dave Flynn

GDIF is very excited to have Dave Flynn, winner of last year’s photo competition, as this year’s photo ambassador for 2014. Make sure to follow our blog for photo updates from Dave during this year’s festival!


I am Dave Flynn, I became interested in digital photography in 2010 after being made redundant from a 15 year retail career.  Since then I’ve achieved several photographic distinctions ranging from gold awards and highly commended achievements with the society of wedding and portrait photographers (SWPP).  My highest accolade was winning Nature & Wildlife Photographer of the Year 2012, again with ‘the societies’.

I lived in Greenwich for 15 years and I attended the GDIF festival for the first time last year.  I just went along for the photo opportunities and ended up staying there for most of the first day of the festival. The atmosphere was fantastic when I arrived and the  buzz continued to grow throughout the day.  I remember it rained on and off but that didn’t dampen anyone’s spirits!

There were huge crowds and loads of fun.  Wherever you looked there was loads going on. The beached whale was a highlight and attracted plenty of onlookers.  The Orblys (huge eyeballs) on stilts were my personal favourites, they entertained everyone and the kids were excited and scared of them.  I also loved the interaction between the performers and crowd which added to the amazing atmosphere.  I’m excited to shoot this years festival and looking forward to capturing the atmosphere once again.  I can’t pinpoint who I’m looking forward to seeing the most but I’m exited to catch the highlights of the opening and closing ceremonies as those artists are there for one performance only.

Come rain or shine, I’m sure this year’s event will be the best yet and personally I’m delighted to be a part of it officially.

GDIF2013 - Credit Dave Flynn

GDIF2013 – Credit Dave Flynn

Safe House – A place to call home

By Andy Cooper, Director at Draw & Code

After premiering to a crowd in excess of 5000 in Brighton, Safe House will be travelling to the Greenwich+Docklands International Festival on June 21st. The show is a large-scale, outdoor theatre event that explores our relation to the home – which is ironic considering just how little time the cast and crew have spent in our own homes recently!

With projection-mapped animations that feature during every one of the 45 minutes of the show’s duration, the ‘Draw’ side of Draw & Code were kept very busy indeed in the run-up to this fantastic outdoor theatre event. We were required on site during rehearsals to tailor our animation to the needs of the performers from Wired Aerial Theatre Company and the producers from Metro Boulot Dodo. While animation is always time-consuming, it doesn’t often result in you travelling the country!


The rehearsals were staged in Leicester, Metro Boulot Dodo’s home town, where the disused Haymarket Theatre was about the only building we could find that was capable of fitting the giant set. This oversized creation stands a lot taller than a real house, which makes for quite a challenge for the dancers who are suspended from it.

When I set off to take up residence in Leicester I decided to take the office iMac with me on the train. After all, what if the laptop isn’t enough? If you’ve seen a photo of somebody with an iMac on a train and gone “really?” – it was probably me!


Rehearsals were draining, but a physically and logistically challenging production like this cannot leave any stone unturned. Thankfully it’s always fun working with the spectacular Wired Aerial performers. They are part athletes, part artists and we have enjoyed seeing them interact with our animations.

It hasn’t all been smooth sailing though; having upped sticks from our Liverpool sanctuary, for much of the time I was Draw & Code’s sole representative in the chilly theatre while they could all head back home to Liverpool. The rehearsals began during the tail-end of the winter – in a venue that had no heating. It’s fair to say that an abandoned theatre lacks a few creature comforts!


The contrast between the first day of rehearsals in a dingy abandoned building and the public premiere of Safe House in sunny Brighton was amazing. As we sat in amongst the barbecues on the grass of Hove Park it was the first time in a long time that I could relax, although the cast and crew will have been tense.

The show went without a hitch and the crowd loved it. We hope you can leave your own little castles for a few hours, wherever you are, and join us to watch Safe House!

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Safe House will be performed at Greenwich+Docklands International Festival 2014 on Saturday June 21st at 10PM in Mile End Park, Tower Hamlets.

Nuno Silva on ‘Soul of Fado’

Choreographer & Dancer
Soul of Fado – GDIF 2014 (June 20 & 21)
Soul of Fado is the sister show for A Darker Shade of Fado. Whereas the latter is more intimately poetic (for indoors), Soul of Fado is more explosive and dynamic (we’re also using fire to enhance the story visually).


When devising it I tried to concentrate mainly on the most important elements of the action: a love story filled with passion with a sinister twist, gorgeous contemporary dancing and live music (both the music and my singing are modern and original, inspired in traditional Fado).
A Darker Shade of Fado by Chris Nash

A Darker Shade of Fado by Chris Nash

When we started making the piece I dreamt a lot about it. And part of those dreams involved a portuguese poet (the wonderful Fernando Pessoa, now deceased), the Sandman comics, and a story about a forbidden love affair between a musician and a Moorish princess. Pessoa used to spend his nights writing standing up, creating heteronyms with the might of his pen. The Sandman inhabits the dreams of mere mortals, and the princess is transformed into a violin that her lover will play for all eternity.

A Darker Shade of Fado by Chris Nash

A Darker Shade of Fado by Chris Nash

I wanted to create a story filled with similar poetry, but this time instead of a pen, because I wanted to create a show about Fado, it would be a portuguese guitar. And inside the guitar a Spirit would reside (a malevolent and jealous Spirit of Fado!), coming out whenever the guitar is played.

A Darker Shade of Fado by Chris Nash

A Darker Shade of Fado by Chris Nash

I tried finding a portuguese guitarist here in the UK but it was proving a near impossible task (and although we had Arts Council funding, the thought of bringing a portuguese guitarist over from Lisbon was just a financial unrealistic dream because we were making a show from scratch, and their regular presence in rehearsals would be the ideal scenario) so I decided to get two (amazing) dancers who can also play the acoustic guitar. Little did I know that, half way through the rehearsal process, we all found out that they could also play the portuguese guitar (not as experts obviously, but enough for us to use the portuguese guitar instead of a normal acoustic one!). So now we have a show where dancers, apart from dancing, play the portuguese guitar and we have a fado singer who, apart from singing fado, also dances.
A Darker Shade of Fado by Chris Nash

A Darker Shade of Fado by Chris Nash

We’re poetically breaking traditions!

Q&A with Tiata Fahodzi Artistic Director Lucian Msamati and actors Ery Nzaramba and Anniwaa Buachie

Palessa Mokoena
Assistant Producer
Tiata Fahodzi

We’re so excited to be on tour this summer with our first outdoor performance The Legend of Hamba. I decided to ask some of the cast (Ery Nzaramba & Anniwaa Buachie) and our Artistic Director Lucian Msamati (also director of Hamba) a few questions about the process.

What really IS the main difference in performing outdoors vs indoors? Have a read below for some helpful hints and insight into the outdoor festival world, and some secrets to the Tiata Fahodzi creative process!

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 What’s been the key difference in preparing for outdoor performance and indoor performance?

Ery Nzaramba (Actor)
For me the challenge has been pushing my physicality past the norm; the over-the-top acting, and even the clown acting – telling a story without words, so precision is key. And because it’s an outdoor performance it has to be bigger than big. So it’s a physically taxing show.

Anniwaa Buachie (Actor)
Vocal energy! When performing outside you are not in a confined space and have to find ways to combat the city noises – Aeroplanes, police sirens, trains, traffic etc. So vocal energy is even more important. You need your voice to be rooted and free from tension to capture your audience’s attention.

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 What do you enjoy most about the process?

The challenge and opportunity to learn and grow as a performer.

The not knowing. Being able just to play and experiment. Every day is different, I discover different things each time I have performed Hamba.

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What did you find the most challenging/ enjoy the least about the process?

The sheer physicality of it – you have to learn to pace yourself and still give it your all.


Lucian Msamati (Artistic Director of Tiata Fahodzi and Director of The Legend of Hamba)
 The biggest blessing for me was also the biggest curse. There is a mixture of excitement and trepidation when creating a piece from scratch. You may spend a whole day working on a brilliant scene or moment only to discover when you put it all together that it is not serving the story or that it is not working!

Whether people love or hate it is out of your control; but you can control the quality and solidity of your story or approach. And that as I said is the most life-affirming, exciting, butt-clenchingly, terrifying thrill of the job.

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The Legend of Hamba is an abstract and physically demanding piece, what was the most demanding aspect of the preparation as an Actor / Director?

Letting go of my inhibitions. Accepting to make the fool of myself or look unflattering in front of others during the devising and improvisations in rehearsals. Then the idea of performing outdoors in front of people who maybe don’t care…

As an actor in my own right, I know that when slip-ups happen, or when the team has an ‘off-day’ etc. there are ‘running repairs’ you can fall back on/ kick in to, to keep things ticking over. 9.85 times out of 10, unless there is a glaring problem or issue, the audiences don’t know any better. As a director however, I find it excruciating watching the team do their job. When it comes down to it, for me it is like teaching your child to ride a bike. You run alongside, you encourage, you instruct, you comfort them when they fall off, build up their confidence and then… you let them go off and compete in the Tour de France! Once the signal comes to start, it’s all, all in their hands ( or feet). All you can do is sit back and hope to goodness you’ve given them enough to be the best.

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Your first performance at Brighton was very well received, what difference does an audience make to an outdoors performance?

The audience is the missing link, they make the show. In Brighton our main lesson was that what we’d devised “worked”. And all the fears I had about performing outdoors – the idea of performing in front of people who don’t care revolts me, and the idea of begging for their attention revolts me even more – vanished. If your show is interesting, you won’t have to beg for attention. So it’s all about the quality of the show, not its location.

When performing in a theatre, it is clear where the audience will be sitting. But with an outdoor performance, audiences can be sitting  anywhere! You could also be performing for audience members who happen to be peaking through their curtains!

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How did the unpredictable British weather affect your performance?

Brighton was very windy…except in the Royal Pavilion Gardens where we performed, and very rainy…except the times we were performing.

I think the unpredictable British whether adds to the mystique of the piece.

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 Lastly: give me one word to describe Hamba?


One word….mmmmm can I give to works instead? – COMPLEX


Check out The Legend of Hamba during Greenwich Fair and Global Streets!

Greenwich Fair, June 22
Global Streets, June 23-26

Sit Back, Hold Tight!

A blog written by Sarah Blanc, Artistic Director of Moxie Brawl, a fresh and currently all-female dance theatre company. ‘Sit Back’ evokes the spirit of the 1940’s through music, text and dance, this new dance theatre piece recalls the role of women at times of war.

photo by Bruno Rodrigues

I believe dance is for everyone so making and presenting work outdoors gives me a great opportunity to reach as wide and diverse an audience as possible.

Last year Moxie Brawl won the Gone In 20 Minutes 2013 Jury Prize following performances at over 5 festivals in the UK. Since then we have gained the support of Watermans, investment from Arts Council England and producing support from Candoco Dance Company (with whom I have been an Associate Artist for over 3 years).

Being part of GI20 was fantastic as we were able to learn how to adapt our work for the outdoors in a supportive way, gaining feedback along the tour. It was such an invaluable experience. I am excited that this year we have been able to develop the piece further with the help of all partners and festival presenters.

We used our 2 weeks of development time in the studio to go into more detail for certain sections of choreography and revisit costume, props and even the British Trollyebus Museum as part of our research.IMG_8473a

We worked with Mark Smith of Deaf Men Dancing to help make the piece more accessible for Deaf audiences and those with hearing impairments.

We have just returned from our first performances at Fetes Tour de la Blanche in Issoudoun, France and it is exciting to see audience reactions to our work and seeing it all come to life!

As a choreographer I have been so privileged to work with some gorgeous performers for Sit Back. First up is Lucy Starkey whose character Alice during the piece gets accepted to the Women’s Volunteer Service. Katie Cambridge, new to the moxie line up, plays Agatha whose fiancé is away at war and constantly dreams of his return. Josephine played by Kimberley Harvey is the most maternal of all the characters, constantly looking after everyone but during the piece she receives some devastating news. Winnie, played by Jenny Reeves, is younger more innocent and with her Dad being away in the war working as a doctor, she wants to follow his footsteps and study medicine.

It has been such a great few weeks and we are more than buzzing to get this show on the road. Looking forward to seeing you along the way at GDIF and hope for you to meet Alice, Agatha, Josephine and Winnie- four trolley bus clippies working in London of 1942.

Hold Tight Please!


Show time:

Sat 21 June 14:05, 17:10
Sun 22 June 13:15, 15:00
Old Royal Naval College, Greenwich, SE10
FREE (Runs approx. 20 mins)

Click here to watch the highlights of Sit Back at Gone In 20 Minutes.

Explore love relationship with HURyCAN

Spanish company HURyCAN’s stunning duet Te Odiero represents the meeting point between love and exasperation, which boost love relationships and lead to sentimental ups and downs. A place where movements and desires clash with the clumsiness of the bodies they inhabit. Confrontation and union merge and the performers embark upon a dazzling dance that is both volatile and uniting.

We asked ourselves what does our fantasies look like when we live them out? We decided to experiment who we are, to search for the particularities, specific features that could bring us to actions and expressiveness.

How to build a concrete and physical language able to communicate with humor and emotion? We tried to draw our experience, as a living journey through love relation : different, similar, learned and invented. The unstable balance of an evolution process – a process of life.

te odiero 4

Burning our feet on a fiery blazing floor at midday, sinking under rain’s waterfalls at dusk, chock and caress, sometime nobody, sometimes not even a space left…  caching the attention of empty squares, bringing people almost from their homes, across their windows and balconies… or inventing a space to perform, between legs, shopping bags, pets and willchairs, when the thick crowd covers the hole stage.

Te Odiero is a place to coexist, a place where we cling to each other to survive, it is not always easy or pleasant, it is what it is : potential, limits, passion, exasperation, uncontrollable life.

Sat 21 June 15:50, 18:10
Sun 22 June 14:10, 17:25
Old Royal Naval College, Greenwich, SE10
FREE (Runs approx. 20 mins)

GDIF2014 Artist-In-Residence: Inua Ellams

‘Introvert and show-off; literary geek and hip-hop scenester – Ellams looks set for a long career mining his rich stock of internal contradictions.’ – Fest Magazaine

Born in Nigeria, Inua Ellams is an award winning poet, playwright and performer. His style is influenced by both classical literature and hip hop. Following is an article written by Inua himself, telling how GDIF helped him to overcome the fear performing in an open space and his return this year with more interactive activities with the audience.

Inua Ellams (credit Blake Ezra Cole)-small


The first time I went to the Greenwich+Docklands International Festival, I went as a theatre maker/playwright telling Knight Watch – a story about the destruction of a city by the four elements: earth, wind, fire and water. The story was divided into four sections and told in three different styles. The first in mellifluous prose, the second in classic poetic ballad form, the third in intense loose rhyme – closer to hip-hop than to any poetic form – and the last style was the first’s. The story was scored by Akinori Fujimoto on percussion and Mikey Fitzpatrick on flute, and was performed outdoors as is customary of the festival. Years before embarking on the project, following a disastrous Glastonbury festival where all the elements conspired against my poems, I swore never to perform outdoors. It was the reason I began to work in theatre, to share intricately written stories with audiences who’d want to hear them, in spaces where I could even control the smell should I wish.

Performing at G&D was in a sense, facing up to my greatest fears – to say I was terrified as the audience filed into the basketball court, took their seats patiently as Akinori struck the drums and Mikey began to blow, is an understatement. There were artistic and personal demons to wrestle with. The show happened in a blur; I wasn’t sure if the message embedded in the tale was understood, if the audience had stayed with me, if anything had worked. Days later, Kate McGrath of Fuel who produce my theatre work explained that not only had her twelve year old daughter understood the story, she had gotten the subtext; that the forest raised the young protagonist from the dead because he had been kind to the trees, and to survive, we have to rebuild our world in harmony with nature and the elements. Greenwich+Docklands Festival made me believe again. It taught me that if you respect the world and the spaces in which you live and create art that responds to it, the audience will walk with you to the liminal place where art exists, they will cross the line into that realm and follow you through to the other side.

It is said that in the in-between places (where the ocean meets the shore, in doorways when you are neither in nor out, in twilight when it isn’t dark or light) the fabric of the world is thin and ideas come into being; things materialise and dematerialise – magic happens, and is gone. The festival taps into this unquenchable of sources with the River Thames flowing to lap against the land, the mouths of streets that become theatres and disappear with applause, and at night when the acrobats and aerialists dive in and out of flood lights, existing and vanishing from one moment to the next, the world, our senses and our selves within it become fluid and this year, I will be attempting to document as much of this as possible.  I am incredibly excited to be returning to the festival not as a playwright but as the festival’s poet in residence. Over the weekend, I will be looking and listening out for glimmers of those liminal moments. I will run interactive poetry workshops from my twitter account for audiences at the festival, comment on shows and the general happenings, employing my visual arts background, I will also draw and sketch as the action unfolds, and finally I will write a poem inspired by the event to read at the close of the festival. The 2014 programme suggests this year’s festival will be just as magnificent as the years before and I hope you will join me in crossing the line, in following the performers on their journeys into the various realms, and through to the other side.

During the weekend of the festival, Inua will be running short interactive poetry workshops and writing an original composition to be performed on Sunday at 17:45.

More about Inua:

Behind-the-Scenes with Light the Fuse Theatre Co.

Full Stop Blog
By Light the Fuse Theatre Co.

Travelling around on buses is part of being a Londoner. Whether it’s the night bus at 2am with half a box of chips and the music still ringing in your ears or a desperate dash to grab the bus to avoid being late for work at 8.48am – we all have bus stories to tell. And that was where we started at Light the Fuse in thinking about stories for Full Stop. We soon realised that the star of this show was the bus stop itself. It’s an incredible place for people watching, random encounters and strange occurrences. The huge diversity of people that frequent a bus stop in a twenty-four hour period is mind-boggling.

Did you know that there are 19,500 bus stops in London and 90% of Londoners live within 400 yards of one!

So we decided to make a show about that. In twenty minutes. No pressure.

With three performers and a lot of running about we jump from the midnight revellers to the warring Mums, laden down with shopping and gunslinger fantasies, ticking off each hour until midnight returns again. We meet the little old lady who visits the bus stop every day, not to get on the bus, but to appease her murderous whims. There are the teenage dinosaurs, all screeching and antagonistic, the ultra competitive office workers and the couple that could have been. 


The bus stop is an incredible crucible for human emotion: the frustration of time, the pressure of city life and the possibility of romance all in one identifiable location. It is archetypal. This meant getting the look of the bus stop right was key, so we went to the experts. Theatre Royal Plymouth create sets for productions across the UK and the world. Recent shows have included Book of Mormon, Miss Saigon, The Full Monty and obviously Full Stop

Although petrol buses have been used in London since 1904 bus stops didn’t appear till after the First World War.


We wanted the set to look as much like a real London bus stop as possible (with a few cleverly hidden extras). When the audience spots it by the Cutty Sark, in the middle of a town square, halfway up a field, we want them to double-take and for a moment question why there would be a bus stop out there. It’s such an iconic symbol that we take for granted every day, but move it from its natural location and suddenly it becomes a space full of potential.

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Full Stop is not just about the reality of waiting at a bus stop, its about the fantasies and dreams we all have while we wait. The moment of getting eye contact with a fit looking stranger, sheltering under it when there is a downpour, vying for the bench. All these moments spark a surreal journey based around a real London landmark.

Full Stop (web resize)

Mimbre Joint Artistic Director Lina Johansson on ‘Bench’

Lina Johansson – joint Artistic Director for Mimbre, shares a little window into the process of creating Mimbre’s new performance Bench, coming to Greenwich+Docklands International Festival in London on 21-22 and 24th of June.

Photo by Mimbre

Photo by Mimbre


The idea for Bench started like a small simple idea – a set made as a park bench – allowing us to plant the show in the reality of where it is performed; in a park, a street or a square and use the theatre of our public spaces to inspire us for a series of sketches.

Photo by Marco Berardi

Photo by Marco Berardi

I knew I wanted it to reflect on the way we are among other people, and the way other people view you when in public. What assumptions do you make if you see a woman sitting on a bench on her own – do you assume she is waiting for someone? Do you think she is lonely? Who do we meet if we allow ourselves to be friendly to strangers? What do you see if you allow yourself to sit down on a bench and watch the spectacle of the street playing out in front of you?

Photo by Marco Berardi

Photo by Marco Berardi

Working with physical choreographies and using a devising process means that you don’t know from the start exactly which story it is that will carry through and have a resonance with an audience. The beauty is that stories starts to emerge that I didn’t even know myself that I wanted to tell.

Photo by Mimbre

Photo by Mimbre

Alcina Mendes created a beautifully, warm main character and Rebecka and Silvia explored a charade of different personae; flowing choreographies, dreamy fantasies and some very silly characters bringing some laughter and lightness.

Photo by Mimbre

Alcina Mendes; Photo by Mimbre


The acrobatic training is as of course always a big part of Mimbre’s rehearsals, with an hour long warm-up and strengthening session each morning and time for practising the acrobatics tricks both in the rehearsals and in the weeks in-between rehearsals; to find new tricks and to keep existing ones safe. For Bench our acrobatics coach Adrian Porter and my joint Artistic Director Silvia Fratelli trained up our 2 new Mimbre members; Alcina Mendes and Rebecka Nord. Finding trust, safety and confidence with the new tricks is time-consuming but is part of the physical language we use for our shows and I am as always enjoying the exploration of the ins and outs of where the physicality meet the theatre, the thrill versus the story, the physical versus the emotive impressions.

Photo by Marcos Avlonitis

Photo by Marcos Avlonitis

Through Alcina’s careful exploration of the main character the first rough run-through held a lot of loneliness and sadness. Impressions of how being surrounded by other people can sometimes make you feel more lonely then if you’re just on your own. Which led us to look for scenes of belonging, of happiness and celebration, to compliment without taking away from the atmosphere found. This led us to discuss friendships and belongings, what it is that drew us into circus and performance and what that world symbolises for us, and we used some of these conversations as inspiration for our celebratory and warmer finale choreography. As part of the rehearsal process we did several informal sharings where we invited friends and colleagues to see the material we had created so far and we also did a preview/premiere of the shows at the Crossing the Creek event at Laban Theatre and Greenwich Dance – who commissioned the show – in April.

Photo by Marcos Avlonitis

Photo by Marcos Avlonitis

Everything changes as soon as you put it in front of an audience and it helps me as a director to see it through other eyes (I normally watch the audience more than the performers at these occasions). Seeing the audiences reaction, hearing people’s feedback and get a little bit of distance to the rehearsal room gives a clearer view of what work is still needed or any structural changes to how the show hangs together.

Photo by Mimbre

Photo by Mimbre

From this we have decided on some dramatical changes and Bench is now getting ready to go off on a tour in it’s appropriate setting – around various outdoor theatre festivals around UK and Europe and of course coming to Greenwich+Docklands International Festival in London in June. I am very excited about allowing the show to take on it’s own life and paths, for me a show only really exists once audiences have had their chance to start to influence the shape of the performance and the energy of the performers and I am looking forward to see how it will be further influenced by the lovely audience at GDIF.

Photo by Mimbre

Photo by Mimbre

Last but not least a big thank you to the great artistic team who helped to make Bench; guest choreographers Natasha Khamjani and Anna Llombart who brought some fresh and different flavours to our movement. Michalis Kokkoladis for designing a genuinely old and knackered looking Bench that in reality is super sturdy and can be flatpacked! Ted Barnes who as always have woven a stunning musical score for us, binding all the different paces and atmospheres together. Last but not least, designer Kasper Hansen and maker Sophie Bellin who sourced 20 costumes for the different characters that the performers are changing between through the show….

Photo by Mimbre

Photo by Mimbre

Tombs Creatius at GDIF2014

tombscreatius_logoby Peppe Cannata
International Manager of Tombs Creatius Company
Facebook: Companyia-Tombs-Creatius
Twitter: @tombscreatius
Colors de Monstre at GDIF2014

I met Toni from Tombs Creatius company,a few years ago and really liked his installations and his work. Since 2010, I have had the pleasure of being part of this great team

5990717884_667a82623b_oThis year at GDIF we will show our first project called “Monster Colours”, several participatory installations for audiences of all ages. The idea for this project came about in 2008 when Tombs Creatius was commissioned to build a collection of games for the “Festival Internacional de las Artes” (FIA) in Costa Rica.


“Colors de Monstre” is a collection of 25 games built in wood and designed for all ages. With colorful illustrations, we create an expressive and exciting atmosphere in the streets and plazas.


We challenge the public to play, using their mind, body, wit and immagination, with a bit of strategy as they figure out how to play each game. The public touch, interact whilst playing with our installations.The public is our protagonist, our games are the “atrezzo”,the tools, for the people playing.