Disturbia is a workshop, a playground, or even a battlefield for actors/performers. The workshop explores the physical and the non physical of the actor. Warm up, explore body, explore sound, explore failure, then explore the discovery. The workshop attempts in studying an actors routine and rituals and the several routes that an actor can take to reach the character. To come out of the head and present it on the fore.

Info about the facilitators

Vijay Krishna is an actor-performer. Having worked with actors, performers, musicians, directors from variying cultures and thoughts through the last 9 years, his work tries to explore the body as a malleable source of expression, to tell stories, to paint pictures, to control time. His work is inspired by a wide array of forms like kalaripayattu, circus, panic theatre, koodiyattam, and much more. Using both academical and impulsive methodologies, his research starts with observing the body to eventually use it for a performer's flight. To move, is to find clarity. Clarity of space, of an idea, of an abstraction, of smell, of impulses and to follow these impulses where ever they may lead you. There's a pot full of gold behind the rainbow.

Stamatis Efstathiou, Arka Mukhopadhyay, Instabili Vaganti, Siddhanth Sundar are but a few creators he has had the pleasure of working with and stealing information from, stealing being the key-word. His work will look at movement being an aesthetic approach for expression. To find various different possibilities and methods to limber up the body to speak. Through the help of certain trigger mechanisms, finding and nurturing the possibililty of dialogues through one's own flesh.

Siddhanth Sundar, actor, director and musician, is an independent artist living in Bangalore. His plays and films continuously explore urban loneliness, sexuality, space and time, abuse, human conditioning, and most of all the humour or tragedy hidden in all of it. He runs LIGHTS OFF, a small theatre company which aims at finding stories in the most complex questions. He has facilitated several theatre workshops across the country meeting hundreds of actors, working extensively on the musicality of actors, magic realism, gibberish and the fear of vulnerability.

He has performed at the Swedish Improv Festival at Uppsala, where he learnt about making a scene out of nothing, the starting point to devising, he adds. His most fascinating collaboration though has been with his alma mater Indianostrum in Pondicherry, where his journey towards understanding the difference between a character and an actor started. Rituals and ploys, playing and finding, waiting and wondering, holding on to the silence and letting go off the noise, his recent play Padagu, has affirmed in him that, the joy of being vulnerable on stage, wIll create everything, while the actor just has to be present.