Great community event in Holstebro: Ageless Giants




Documentation and Evaluation of the Community Work and of the Talks and Lectures in Holstebro, Denmark

April-July 2012

The community work done by Nordisk Teaterlaboratorium (Odin Teatret and The Jasonites) in the framework of the EU Caravan Project – Artists on the Road in preparation for the performance to go on tour with the Caravan around the theme “Crisis and Renaissance” was realised at different stages in 2012 from April to September. At the same time talks and lectures were held at Odin Teatret, Holstebro, Denmark, on the question of community theatre within a theatre laboratory.

  1. Two one month long workshops were held at Odin Teatret, with the title Crossing 1 and Crossing 2, in dates 15th April – 15th May 2012 and 23rd June – 23rd July, for a total of 25 participants. The Jasonites, Julia Varley of Odin Teatret and Deborah Hunt were the teachers. During these workshops improvisations and scenes were developed around the theme of “Crisis and  Renaissance” in view of contributing to the creation of the Caravan performance which will go on tour in 2013. The theme was not confronted directly, as fitting to our artistic process, but in reference to the titles: “Seeking in the jungle” e “Tales and tails”.

The participants worked 4 hours a day with Deborah Hunt on the construction of masks and puppets and then on their manipulation; then they worked 4 hours a day with The Jasonites on training, construction of scenes and a percussion orchestra. The scenes were then assembled with the masks and puppets and music to be presented in the different communities to be visited in Holstebro and the region. Each participant was responsible for one community intervention, so as to learn all the steps of a theatrical community activity, from the first contact to the place, the planning of the event and the last minute decisions to be taken during the realisation. Deborah Hunt helped participants build masks and puppets of different sizes and then led sessions to give life to these particular objects and build dialogues and scenes with them. The Jasonites led the participants in physical training and composition, sessions of percussion and music, and elements of actor’s dramaturgy. Deborah Hunt and The Jasonites collaborated for the creation of performance sequences which were then presented in schools and old people’s homes in Holstebro to complete the pedagogical experience with the rigour demanded by the meeting with the spectator and the concrete intervention in the community. Julia Varley (Odin Teatret) gave inputs to the workshop, meetings were held with Odin Teatret’s director Eugenio Barba and historical and theoretical lectures were given by the staff of OTA (Odin Teatret Archives) with films and videos from the archives. Examples of other experiences of theatre as interference will be given by Kai Bredholt and Tage Larsen. Odin Teatret performed its latest production, The Chronic Life, and it was possible for the participants to attend the performance several times.  

For more information concerning the workshops see annex 1 and 2 at the end of the document:

Annex 1 Programme Crossing 1 and Programme Crossing 2

Annex 2 Participant lists

  1. A total of 12 community events (barters) and workshops were held in Holstebro and the region  visiting schools, old people’s homes, peripheral neighbourhoods, using the practice of barters as exchanges between the local community and The Jasonites and Crossing participants. Each barter and event was prepared by a participant under the guidance of Odin Teatret, to give each of them the experience of all the necessary preliminary preparation and contact making which results in a meaningful activity for the community. Such events      should leave traces that remain in the collective awareness of the inhabitants, resisting the spirit of the time and having an effect that goes far beyond the day of activity itself. In this sense “renaissance” has to do with creating networks of relationships, rather than a declaration of intentions in a performance. The barters and events underlined the capacity of initiative in North West Jutland, Denmark, a region which is regarded to be on the outskirts, and where hospitals, schools and airports are being closed down. Here people make their living far away from the centres of power and economy: renaissance from crisis is shown by this capacity of stimulating local initiative through artistic      means.

The contact with the local communities was facilitated by Odin Teatret. After deciding the date of the barter, the local community would prepare something to welcome the visitors with: songs, scenes, drawings… The Crossing 1 and 2 participants arrived in parade, presented their scenes, then sat amongst the spectators to see what the community itself had prepared. In the case of schools The Jasonites worked with the children beforehand.

For more information concerning the community events (barters) see annex 3 to 6 at the end of the document:

Annex 3 Barters programme Crossing 1 and Barters programme Crossing 2

Annex 4 Article by Aefrich Bianchi

Annex 5 Planning of event by Pablo López

Annex 6 Description of Crossing 2 visit to the Cemetery


  1. 19 workshops for local scout groups, about 600 children in total, were held by The Jasonites in preparation of a theatrical participation in the international jamboree which took place in Holstebro in July 2012 gathering about 35.000 young people from all over Europe. During these workshops the everyday activities of the scouts were theatricalised adding songs and rhythms to the existing forms of expression of the scouts and combining some creative disorder to their structures. The workshops were held in their locations and at Odin Teatret. The Jasonites worked with the children in collaboration with the adult scout guides teaching them Brazilian and Italian songs and putting rhythms to Danish songs. The scouts prepared banners with colours and images to spell out “Welcome to Holstebro”. The idea behind the workshops was that the scouts from Holstebro and the region should welcome the scouts coming from the rest of Denmark and Europe by showing the particularity of collaborating with other groups and institutions from the community to theatricalise and give visibility to what normally happens in a town.

For more information concerning the scout workshops see annex 7 at the end of the document:

Annex 7 Workshop programme schedules

  1. A stilt workshop was held  by Tage Larsen, assisted by Donad Kitt and Sofía Monsalve, at Odin Teatret, Holstebro, in dates 15-23 July 2012. The workshop was called “International Stilt Council” and its aim was to develop street theatre skills which are necessary in all those situations in which theatre should conquer the terrain where theatre is not usual. 15 participants took part, coming from Italy, USA and Colombia. The stilters exchanged techniques and artistic results which were presented in parade and dance forms in the Holstebro walking street and at the European meeting of 35.000 scouts in Holstebro, Denmark. Special costumes with long sticks were made to amplify the stilt figures. The work included acrobatic elements on stilts.

For more information concerning the stilt workshop see annex 8 at the end of the document:

Annex 8 Participant list

  1. During the tour in Denmark of the Spanish partner Atalaya’s Caravan performance, Odin Teatret arranged for the performance on the Caravan to be shown at the international scout jamboree, so that about 35.000 people could see parts of the performance as they marched into the field to find their places.

During the preparation of the Jamboree, Odin Teatret convinced the organisers of the importance of presenting the Caravan performance placing the vehicle at one of the entrances of the flux of scouts arriving to the field where the opening show would be presented. This meant that the Spanish group selected some scenes from the performance which were especially visual and suitable to an audience that would not stop as they performed. Agreements were also made so that a part of the performance would be televised and shown on the big screens.

  1. Odin Teatret, The Jasonites, Deborah Hunt, Crossing 1 and 2 participants, International Stilt Council participants and Teatro Atalaya performed at the opening show of the International Scout Jamboree in Holstebro. Beyond the 35.000 scouts the audience included about 10.000 locals. An intense period of work was done to prepare, rehearse and finally perform at the opening. The rehearsals were on the fields outside Odin Teatret and also at the field where builders, tractors and bulldozers were busy preparing a second town, bigger than Holstebro itself. The themes developed for the scouts were: ”I develop”, “We meet”, “We change the world”. These became another  contribution to the general interpretation of the theme of “Renaissance”. The performance took the form of three parades coming together in front of the main stage, using escapades to make personal contact with the young spectators along the way. The parades were visible to the multitude of spectators thanks to the six “giant” puppets constructed during the Crossing 1 and 2 workshops, the quantity of masks, the stilts, the banners, the Caravan vehicle with Atalaya, the musical instruments and Odin Teatret’s polar bear Otto riding a horse. The local scouts created an enthusiastic group of children running, jumping, falling, singing and clapping under the guidance of The Jasonites. The day was very windy, so it was not easy to control the big figures and banners. Also the rivers of scouts entering the field quickly filled the spaces in which the parades were supposed to advance. But we managed to maintain the agreed timing by the second, so that some parts of the intervention could be televised and at the same time we could break the structure to surprise the children and speak with them directly with the theatre figures.

For more information concerning the opening show of the international scout jamboree see annex 9 and 10 at the end of the document:

Annex 9 Maps of the scout camp and stage

Annex 10 Letter sent by Julia Varley, 8.6.2012 for the organisation of the scout performance


  1. Regular workshop sessions for the elderly were held by Kai Bredholt of Odin Teatret at Sønderland Dagcenter, Holstebro, in May, June and July 2012. Kai Bredholt focussed the work on the lifetime songs with which the elderly remembered particularly important phases in their lives. This work was gathered into scenes to become a performance in 2013. This performance cannot tour as the Caravan because the age of the actors does not allow them to leave Holstebro. But The Jasonites and Crossing 1 and 2 participants were able to experience the life joy these people, in ages from 70 to 93, express in their work with theatre. Although they are amateur actors, they do not lack imagination and will to play. In the scenes developed from the songs, they represent young sailors going to work, couples meeting, children waiting for their parents to come home.
  1. Talks, lectures and demonstrations were held at Odin Teatret during the Crossing workshops, allowing participants to come into contact with the techniques and principles of community theatre work. In particular Tage Larsen presented his experience with community performances involving many institutions and Kai Bredholt his experience in involving a whole town in a performance collaborating with priests, school teachers and citizen associations. Odin Teatret’s experience was explained touching on themes such as the Festuge (Festive Week) which is held every three years in Holstebro; the history of barters starting from 1974 in Southern Italy with a presentation of films; the transformances in which a whole town participates to create a performance situation which can last several days.

For more information concerning all the above letters from participants are in annex 11 at the end of the document:

Annex 11 Letters from participants

Most of these community events do not have official announcements and count on the mouth to mouth communication to disseminate information. The real transmission happens through a memory which is rooted in the emotion provoked by the events, rather than by producing paper documents. A video documentation is available with images and interviews from all the above interventions. The Crossing 1 and 2 workshops were directed to theatre practitioners and cultural animators who recognise in their craft the capacity to interfere in the different cultures of the social texture of a community. Theatre is a technique which establishes relationships to oneself, to the past and present, to space and to the community, to the other. Differently from the traditional practice for which the performance is central, theatrical insight can be applied to intervene and revitalise a particular milieu. Odin Teatret’s experience as a theatre laboratory is rooted in the artistic quality of its performances, but theatre today requires that practitioners are experts in asking pertinent questions and solving concrete tasks (pure and applied research); in passing on technical knowledge (pedagogy); in being cultural operators who are active in the local community as a means of stimulation and integration, promoting artistic transformances and intercultural/intergenerational dialogue and social exchange – or barter – seeking to enliven the relationship between culturally distant individuals and subgroups. Thus theatre, aiming at exchange and social interference, becomes a means to activate a potential cultural energy, displaying anomalous and exceptional experiences. Theatre becomes the art of putting into relation that which is different, making it visible and allowing a communication based on a living contact of empathy and reciprocity. Going beyond its artistic objectives, theatre becomes a cultural motor which infuses equal dignity to the different forms of expression in a community. Often events are placed on the background of the architecture of the town or village, giving back an aesthetic value also to the buildings, streets, fields, markets, prisons, churches, post-offices… allowing the inhabitants to rediscover their homes with different eyes. Since 1989 Odin Teatret organises ‘interference’ projects of various kind. One of these is the Festuge (Festive Week) in its hometown Holstebro. Since 2005 workshops are realised in connection with the Festuge to give participants worldwide the experience of intervening in the community with theatrical interactions that transform everyday life by framing it, making it visible and extraordinary, establishing unexpected links and paradoxical situations. A chosen theme is the creative starting point for collaborations throughout the texture of the town with the participation of all local organisations, associations, institutions, schools, churches, barracks, old people homes, sport clubs… During the workshops, participants work together part of the day to receive basic elements of physical and vocal training. Then they create performance material which is then assembled in performative sequences presented during the Festuge at the same as they prepare special events for the town. The Crossing 1 and 2 workshops organised as part of the EU Caravan Project – Artists on the Road took inspiration from the Festuge workshops and from other ‘interference’ activities carried out in Europe and Latin America, to offer a programme for participants wanting to learn how to deal with theatre in its multifaceted possibilities. The programme of workshops was accompanied by participation of other Odin Teatret actors, meetings with Eugenio Barba and vision of Odin Teatret’s and visiting guest’s performances and work demonstrations.

Workshops in preparation for the Odin Teatret performance >> watch the video   International Scout Meeting >> watch the video

Annex 1
23 June - 23 July 2012
TEMPORARY PROGRAMME extra activities 23-06 / 23-07
23-06  arrival at Odin Teatret (Særkærparken 144 – 7500 Holstebro, Denmark Tel: +45 9742 4777), visit of the theatre and the area
h 20.30 welcome supper at the Library
24-06 h. 20.00 Quasi Orpheus, work demonstration with Jan Ferslev
25-06 The Conquest of Difference, a film about Odin Teatret edited by Erik Exe Christoffersen’
26-06  Meeting with Iben Nagel Rasmussen or White as Jasmine
27-06 h 16.30-18.30 Her var engang puppet presentation in Borbjerg
09-07  h 08.00-12.30 seminar with Roberta Carreri
17-07  h 20.00-21.00 The Echo of Silence, work demonstration with Julia Varley

18-07  h 20.00-21.00 The Dead Brother, work demonstration with Julia Varley

Annex 2
List of participants workshops Crossing 1 and 2
Alessia Gennari (Italy, 1982), Alessia de Salis (UK, 1985), Amalia Rodríguez (Spain, 1985), Aaron Hoose (Russia/USA, 1981), 
Cristina Secareanu (Rumania, 1969), Diana Giampiccolo (USA/Belgium, 1977), Eli Timm (USA, 1990), Gaia Gulizia (Italy, 1978),  
Geneviève Tremblay (Canada, 1974), Giovanni di Lonardo (Italy, 1981), Ilaria Solari (Italy, 1987), Kataryna Chojecka (Poland, 1985), 
Liliana Benini (Italy, 1991), Malgorzata Tomczak (Poland, 1989), Markus Karekallas (Finland, 1975), Mario Gualandi (Italy, 1985), 
Maud Orain Segura (Belgium, 1978), Meysam Khoei (Iran, 1981), Miguel Jerez López (Spain, 1989), Nicolas Hanny (France, 1983), 
Otakar Blaha (Czech Rapublic, 1981), Pablo López (Spain, 1978), Paul Baffier (France, 1987), Priscilla Lai (China, 1982), 
Victor Figueroa Infante (Rumania, 1990)

Annex 3
Barters programme Crossing 1
06.05 Performance for Giro d’Italia, Holstebro
08.05 Barter at the Rolf Krake Skole
09-05 Barter at Birkelund Skole
10-05 Barter at Borbjerg Skole
11-05 Barter at Norreland Skole

Barter programme Crossing 2
02.07 Parade - åbning af sommeren i Trekantsområdet
15.07 Byttehandel på Holstebro Kunstmuseum
16.07 Byttehandel i Asagården (Holstebro)
17.07 Byttehandel Train Station
18.07 Byttehandel på Holstebro Biblioteket
19.07 Byttehandel på Holstebro Kunstmuseum
20.07 DAYTIME PARADE IN DOWNTOWN HOLSTEBRO + 14.30 Byttehandel i Plejeboligerne Mellemtoft (Holstebro)

Annex 4
Article by Aelfrich Bianchi about the participation of Crossing 1 in the Giro d’Italia passing through Holstebro 
the 6th of May 2012
A Holstebro la primavera tarda ad arrivare. È una mattinata fredda e grigia, quella del 6 maggio, 
che non pare discostarsi significativamente da quante l´hanno preceduta. Flagellata da un impetuoso gelido vento, 
spietata nel suo negare persino la parvenza dell’illusione di una miracolosa epifania di un timido sole. 
Eppure, animata da un tangibile misterioso fremito di entusiasmo, così dissonante dalla pigra sonnolenza alla quale 
l’infausto clima sembrerebbe invitare. A disvelare l’arcano ossimoro è la notizia dell’imminente passaggio del Giro d’Italia 
entro gli angusti confini della cittadina danese: un evento a lungo atteso e sospirato, agognato con la trepidazione genuina 
di un popolo che con il ciclismo ha un rapporto pressoché simbiotico e totalizzante, vissuto con passione incondizionata e 
persino “barbarica”. Nell’attesa che il sogno alfine si materializzi, è tuttavia un’altra variabile – ancor più sorprendente 
perché improvvisa e inaspettata – a scuotere il tradizionale torpore domenicale della comunità. Una macchia di sgargianti 
colori irrompe con allegra violenza nel monocromatico paesaggio del centro cittadino. Accompagnata da ritmi e musiche 
contagiosi e irresistibili, un’ordinata schiera di straordinari policromi animali sfila per le vie con insospettabile e 
armonica disciplina. La scanzonata legione, composta da promettenti giovani aspiranti attori che indossano con agile 
disinvoltura le straordinarie maschere create sotto la supervisione della geniale Deborah Hunt (una vera e propria artista, 
non già una mera valente artigiana), è guidata e comandata da un trio di condottieri d’eccezione: Isadora, Alberto e Marcelo, 
ossia i Jasonites, che annoverano inoltre, nelle vesti di quarto moschettiere, la “scheggia impazzita” Giuseppe, 
un incontenibile folletto che, con potente vis comica, innesta il caos nel composto e perfetto cosmos dello happening. 
La marcia delle creature “impossibili” (ibridi prodigiosi, fantasiose e fantastiche rivisitazioni di fiere e belve reali), 
interrotta occasionalmente da numeri teatrali di differente matrice (spettacoli di burattini e marionette, danze, canti, 
quadretti comici), suscita e accende gli entusiasmi di un pubblico da sempre giudicato, in maniera aprioristica e sovente 
troppo sbrigativa, freddo e distaccato. I maestri cerimonieri contribuiscono in maniera imprescindibile al pieno successo 
della manifestazione, che indirizzano e incanalano nella direzione auspicata con sapiente magistero, conquistando e irretendo 
gli spettatori adulti e bambini. A sorprendere sono peraltro anche la concentrazione e la spontaneità “costruita” degli 
interpreti: dimentichi delle inevitabili incertezze palesate durante le prove, riescono nella non sempre agevole impresa di 
trionfare sulle piccole ma così spesso altrettanto pericolose avversità, sui minuscoli ostacoli determinati da situazioni 
impreviste che una performance – e una “prima” in particolare – per sua stessa natura comporta. E alla fine, come nella migliore 
tradizione delle fiabe, il durissimo allenamento al quale essi si sono sottoposti (un ferreo training fisico e mentale ideato 
e guidato dai Jasonites, una creazione originalissima nata dalla “contaminazione” di tecniche di diversa natura e provenienza) 
si risolve in autentico trionfo: orde multicolori di bimbi estasiati (accompagnati da genitori e nonni non meno compiaciuti) 
si avventano festanti sugli “eroi”, sommergendoli con il loro fanciullesco affetto.

Annex 5
Planning of Crossing 1 Giro d’Italia intervention by Pablo López
The time for the performance the 6th of May has to be framed in between 10:00 and 11:00 am.
The “Crossing” group will arrive at 09:00. (In case of rain the parade with masks would be not possible and 
the activities will be perform in the entrance of the building of the Library, including the giants)
Link to the map of the site:,+Dinamarca&hl=es&ll=56.3595,8.616006&spn=0.001958,0.002983&sll=37.0625,
parking in Kirkepladsen (is supposed to be empty)
1º part of the performance, itinerant (approx. 10 minutes):
- Parade with masks and percussion (batucada) beginning from the parking passing by Kirkestraede street, 
crossing through the market until the parade arrives to the door of the Kommune building.
once arrived to the last step of the parade:
2º part of the performance, in the same place (approx. 15 minutes):
-   Giuseppe bike lazzi. (Presentation of the group)
-   Physical score for three couples and one trio. (in black costume)
-   “Liona” The dance of the Finnish hunter. (With masks, singing a Finnish child song)
-   Giant dance (With music of the Jasonites)
-   “The plane crash” (Puppet act, bunraku stile, three puppets, 6 puppeteers)
-   Talking heads. (in the same table used for the puppets, singing improvisation)
-   Jasonites intermezzo.
-   Giant dance. (With music of the Jasonites)
-   “The drama of the Finnish hunter”. (With masks, act based on a Finnish child song)
-   “Gathering with the Polish Mama”. (With music of the Jasonites, singing and choreography of a polish child song)
-   Parade (the group (with masks) and the Jasonites all with instruments will leave the space in a musical parade 
to the parking traveling the same path previously made.
Total 25 minutes approx.
This schedule is subject to change depending on the situation of the public in the square, making it possible to adapt 
to the space created by the crowd as long as we can respect the above steps.
Annex 6
Description of Crossing 2 visit to Cemetery

We will enter the cemetery silently, holding our small puppets. As we are a group of 15 people from all over the world, from various cultures, believes and religions, we just want to honour the dead, everyone in its own manner. We would use our puppets (which are just white human puppets to be controlled by sticks) and come close to various graves, everyone to a specific grave, to care about flowers, clean the grave stones and maybe some short performance about sleeping, dying and reawakening of the dead persons, regarding to Christian beliefs. We also may use some soft instruments and songs in various languages which are for respecting and honouring the dead. And also we would make some calm still compositions related to life and death, of course in a respectful manner. Lastly we would gather and will go towards Torgeir Wethal’s grave. We wish to tell him that he still is one of us, and that his memory is alive for each one of us. We want to honour him in our own theatrical manner.

Annex 7
Schedule of Jasonites scout workshops 
24-6-2012 10 to 16 General rehearsals with about 500 scouts at Odin Teatret
Group name
Date 1
Date 2
DGP – Holstebro
Tot 20 ragazzi
18.00 - 19.15
18.4. 2012
9.5 .2012
KFUM Ellebæk
Tot 70   ragazzi dai 6 ai 16 anni
18.40 - 20.00
LangeMette vej
16.4 .2012
7.5 .2012
DGP – Borbjerg
18.00 - 19.15
KFUM Borbjerg
KFUM Idom-Råsted
18.00 - 20.00
Ringkøbingvej 32
7.5 .2012
KFUM Mejrup
30/40 ragazzi   dai 6 ai 14 anni
17.30 - 20.30
Storåvej 3 Mejrup
12.4. 2012
KFUM   Malte-Sehested (Ryde)
50 ragazzi
19.00 -20.30
Vindelevgård 271
11.4. .2012
KFUM Sevel
Età 12-14
40 ragazzi
19.00 - 20.30
2.5. 2012
KFUM Ulfborg
34 ragazzi
18.30 - 20.30
Søparken 10
16.4. 2012
15.5 .2012
KFUM Vinderup
Età 12-14   anni
30 ragazzi
19.00 -20.30
Vindelevgård 271
11.4. .2012
KFUM Wosborg
DDS Birkegruppen
19.00 - 21.00
Bethovens Vej 5
DDS Tambourkorps
DDS Holstebro
18.00 - 20.00
Niels   Kjeldsens Vej 15
Prins   Burisvej 2b
18.4. 2012
9.5 .2012
DDS Storå
Insieme al gruppo   sopra sono in 60 ragazzi
18.00 - 19.30
Prins Burisvej 2b
18.4 .2012
30.4. 2012
DDS Vinderup
KFUM Prins Buris
20 ragazzi
18.30 - 20.00
Nørrelandskirken , Døesvej
FDF Holstebro   1.
19.15 - 20.45
Svinget 8B
Data da cambiare
FDF Holstebro Vest

Annex 8
Participant list International Stilt Council
Aldo Nicolas Cifuentes  (Colombia, 1979), Camila Andrea  Sanchez (Colombia, 1985), Maria Fernanda (Colombia, 1988), 
Maria Frepoli (Italy, 1970), Michael Franz (Usa, 1980), Zita Nyarady (Canada, 1983), Michael McGuigan (Usa, 1958), 
Teresa Ruggeri (Italy, 1965), Chiara Fischione (Italy, 1978), Jay Ruby (Usa, 1976), Helen Aldrich (Gb, 1982), 
Alicia Gerstein (Usa, 1983), Helen Goodrum (Usa, 1976), Joshua Sindel (Usa, 1984).
Annex 9
Annex 10
Letter sent by Julia Varley, 8.6.2012 for the organisation of the scout performance
We met Simon Calmar Petersen, responsible for back stage and Kenneth responsible for what happens before the show 
Christoffer is responsible for stage show). We have the more recent maps and we went to the field. The stage is 12x20, 
but we cannot use it, and beside are 2 big screens beside which will show information, commercials and will also film our work 
(5 or 6 times of 5 minutes, we have to tell them exactly when and what to film, Pierangelo if you can keep track of this,
we will decide when I arrive in Holstebro 16th), Nathalie sends links to clips from Odin Teatret that they can eventually 
put on screen, but in principle they show only things related to the scouts.
There are 3 security corridors in between 4 fields of spectators, each divided in 3.
People sit on the ground (grass, rough! Stilts…). The corridors are marked by ropes with balloons that will go up just before 
the beginning of the stage show, but seems that there is no problem to pass from corridors to spaces where scouts sit.
The security people (beredskab) organize the entrance of the 35.000-40.000 scouts, they reckon 1 to 2 hours, starting at 18.00. 
We finish at 19.40, to give the time for our 600 scouts to get back to their places. The show starts precisely 20.00 and 
from 19.50 everything has to be still and quiet.
Isadora you need to talk with local scouts to come early (they live quite close, Knobstrup, to the stage place) 
so that they can get to the front. Only a few places are reserved to scouts they have made interviews with. They have to be in 
front so it is easy to get them to the place to do the scene, and back to their places at the end as quick as possible.
So our programme more or less:
18.00 stilts and giant masks and puppets start parades and scenes
18.00 Caravan performance starts
19.20 tractor and horse and flamenco scene in front of stage
19.30 local scout scene starts moving to front of stage
19.40 local scouts finish and back to places

In July we can divide the stilts and giants and puppets to cover the time between us. I have said we will do some parts of parade,
some scenes and then stop for the children to see giants and masks. We can’t place tables for stilts to rest, so we need to 
think how the stilts rest. But the field looks to me much smaller than I expected, so one can see quite well from one end to the 
other, but of course while it is empty… Tage and Kai we can talk in Norway and Malta! We have to send (Nathalie) a list of 
vehicles and of people that will need to enter the back stage place. We have to think of what we do with the giants if it rains 
(Deborah) big plastic sheets? A sun umbrella for each? We can rehearse in the morning and afternoon of the day itself. 
Except 12.00-13.00 which is when they rehearse stage show. There will be one journalist with camera following us, one journalist 
with red carpet making interviews and one going round doing other things.
Simon and Kenneth come to Holstebro Thursday 19th..
The Caravan stage will be opposite to stage, near a road so it is easier to get to, because it can’t drive away quickly. 
Claudio Coloberti and Chiara Crupi will be with us to film.
All for now… Ju
Annex 11 - Letters from participants
Annex Letter from Aaron Hoose (participant in Crossing 2 workshop)
Dear Julia, Deborah, Isadora, Giuseppe, Marcelo, and Alberto,
Hello from St. Petersburg, Russia.  I hope you are all well. Below are some of my thoughts and reflections about the Crossing 2 
journey. If I had to sum up my overall experience at Odin with in one word it would be generosity.
I experienced this generosity in the form of pedagogy in the trainings with the Jasonites; in the warmth and assistance 
I received from Nathalie, Anne, and other staff at Odin; in the sometimes brief but meaningful interactions with Odin actors 
Frans, Roberta, Jan, Tage, and Donald; in the expertise and relentless commitment to work Deborah shared with us; 
in the raging sea of books and journals lining the walls of the theatre; in the hours of sleep I willingly traded for time to 
study the video archives; in the work demonstrations and pearls of wisdom that seemed to flow endlessly from Julia as she led us 
to our final theatrical encounter with the 35,000 scouts; in the new relationships that were allowed to take root because of all 
of the above; and finally, in the conversations, melodies, sensations, and images that will remain with me in memory for years to
come. left Holstebro on July 23rd feeling that I had grown as an artist, a professional, and a human being.   
The Training. I was very pleased that we were exposed to a variety of training principles, dance styles, music and vocal training,
the construction and work with puppets and masks, rhythm and percussion, and physical scores. As I leaf through my notes, I am 
stunned by the sheer volume and diversity of the work Deborah, the Jasonites, and Julia managed to offer us in just one month.  
For me, this breadth is a strength of the program.  Although, on one hand it is possible to say that with breadth we sacrificed 
depth.  For example, our work with Orixas and Latin American dance with Giuseppe and Alberto simply did not allow me personally 
(or the group as far as I could tell) the time and practice necessary to internalize the principles very deeply or arrive at level
of technical precision worthy of "the stage".  At times this frustrated me because I could see potential in the group and yet our
limits were painfully visible.  On the other hand, one month is a sufficient amount of time to get a healthy taste of a variety 
of techniques and principles. In this sense, the program was highly successful. I discovered many new tools that I will begin to 
see in my theatre work with my students in St. Petersburg.
The Barters
Perhaps the most constructive part of the program was week of barters and interventions in Holstebro. Performing as many times 
as we did gave us momentum leading up to the meeting with the scouts. It also forced us to construct our identities as individuals
and as a group each time we met new spectators in new performance situations. The different obstacles we encountered at each 
barter (new space, new audience, different proximity, different organization of material) allowed us to explore our material 
in new contexts and discover new relationships within our group and with spectators. Adapting to each new situation was personally
challenging yet rewarding.
For me, performing with the Jasonites during these barters was not only delightful to see, but I learned a great deal from them 
by observing how they inhabited the different performance situations and encountered the various spectators. In some situations 
they acted as our guides and cleared a path for us to travel and find our own identities in the performance, while in other 
situations the Jasonites became more autonomous and performed along side us but separately. The moments when the Jasonites 
broke away from us completely and performed more as a separate group were some of the most instructive moments in the course of 
the barters.
I thought it was great that the participants had the opportunity to organize barters and choose from the bank of materials. 
It gave us more ownership of the performances and allowed us to synthesize what we had learned in the trainings.
Masks and Puppets
Working with Deborah on the masks and puppets always felt like we were in the hands of a master.  Her expertise and confidence
made it seem like the masks and puppets were impossible to do incorrectly.  She had a solution for everything.  
Deborah was always very clear with her instructions about what needed to be done and by when and why.  When she led us in 
the devising of the puppet scene she let it develop organically, taking many suggestions from the group and weaving them together.  The environment Deborah creates is one in which work happens.  I always felt very productive after the work on puppets or masks.   Deborah's sense of humour kept us going and made the longer sessions a pleasure.
Not the End
If there is one word to describe how I feel now about my time at Odin, it is gratitude.  I am grateful not only for what I 
received this summer, but for everything in the future that will happen as a result of coming to Odin.  I have an overwhelming 
feeling that I want to give something back to Odin.  I sincerely hope to return to Holstebro to work again. I am certain that 
many of the relationships that began this month will flower into professional and creative collaborations. I am eagerly awaiting 
the English version of Deborah's book. I deeply want to see The Chronic Life. I hope to see more of the Jasonites work in the 
For everything,Julia, Deborah, Giuseppe, Isadora, Marcelo, Alberto: Thank you from the bottom of my heart!

Letter from Alessia Gennari (participant in Crossing 2 workshop) 
Carissimi tutti, 
come richiesto da Alberto sono felice di inviarvi la mia mail di feedback, sperando possa essere utile per voi e per me per fare il punto dell'esperienza del Crossing. Scrivo in italiano per essere certa di esprimermi nel modo migliore (sorry to Deborah, hope you can understand, differently I'll be happy to translate for you!). Innanzitutto ancora grazie per l'esperienza unica che ci avete offerto: ho ancora negli occhi e nel cuore il mese passato, che mi ha arricchito profondamente dal punto di vista professionale e personale. Per quanto riguarda un bilancio, ecco alcuni punti: -training con i Jasonites: apprezzatissimo, ricco, stimolante. Ho sofferto, però, nell'ultima settimana, la sua assenza e avrei voluto mantenere sempre, anche in occasione dei barters e delle prove per le performances, una parte di training e riscaldamento vocale\fisico importante perché permette di continuare il percorso di apprendimento e crescita che viene proposto dall'inizio.
- lavoro con le maschere e con i puppets: apprezzatissimo e mirabilmente condotto. Ho però sofferto la mancanza di un tempo più lungo per fare training con le maschere e i puppets, per un lavoro non fosse finalizzato alla preparazione di materiale per le performance. Avrei fatto un mese di training solo per capire come usare la mia maschera!
Di qui, la mia considerazione principale: il Crossing era ricchissimo di materiali, si potrebbero addirittura fare 2 seminari indipendenti, uno Deborah\uno Jasonites, oppure prendere un tempo ancora più lungo per lavorare con entrambi? Ho sofferto l'assenza di un tempo più grande per esplorare il lavoro. 
-barters, fondamentali e stimolanti. A volte ho avuto l'impressione fossero troppi (?) o magari troppo ravvicinati tra loro? Forse si potrebbero dilazionare di più sull'intero mese?
Di qui, la mia seconda considerazione, che esprime l'unica critica, spero costruttiva, nel lavoro, relativa all'organizzazione dell'ultima settimana: ho patito, nell'ultima settimana, il prevalere netto dell'aspetto performance\prove e la scomparsa del training. La performance degli scouts è stata un'esperienza importante, ma ha fagocitato la nostra settimana lasciando talvolta la frustrazione di non poter più approfondire altri aspetti del lavoro (vocal e physical score personali, lavori di gruppo, lavoro creativo con puppets e maschere). Per questo suggerirei, in un'eventuale ripresa del format Crossing, di integrare la fase di training anche nella settimana conclusiva.
Inoltre, sono stati fondamentali e ricchissimi i momenti di incontro con la storia dell'Odin e con i suoi protagonisti: il lavoro con Julia, le sue work demonstrations, il workshop con Roberta, i momenti musicali con Frans sono senza dubbio speciali e i consigli, le critiche, gli spunti che in particolare Julia ci ha offerto sono materiale di riflessione e per questo sappiate che più momenti di incontro con l'Odin organizzerete in un eventuale altro Crossing più i partecipanti saranno entusiasti e felici!
Spero che questo feedback possa esservi utile e colgo l'occasione per ringraziare ancora tutti voi e l'Odin per la fantastica esperienza. 
Un abbraccio 

Letter from Amalia Radriguez (participant in Crossing 2 workshop)
Dear Julia,
First of all I would like to apologize myself for this late late feedback. After the workshop I´ve been through some changes in my life and now I´m just trying to organize everything in order to have a few things clear.
For me, the month I spend at The Odin was full of life and a great energy. I was dreaming awake. It was a month of sharing, of knowledge of magic. During the first weeks after the workshop I was feeling really strange, kind of a revolution started in my mind. I was thinking how can I use all the information in my common life, in my work as an actress...I still working on that. That month at the Odin ha dejado una semilla de inquietud en mi que espero no deje de germinar. 
For all that I want to thank you, to thank Deborah and the Jasonites and all the people who work to made this possible.
For the feedback:
The Barters: 
Change me the way to see the performance and the approach to the people. I think is a great thing to do. Its a way to see our work of three weeks and the feeling of share something is beautiful. As you told us once there is no school who will teach how you have to perform you just learn during the process and practice. The barters are a big window that help to see all the details. 
The mask and puppet work:
Working with Deborah was a great experience. Is really interesting when you can pass through all the process of building and then the playing. 
I enjoy the moment we were training with the mask and learn different exercises in order to understand the important of precision. And for that I have to say that I was missing some more time doing that kind of work. The work of exploring the mask and the movements without masks. 
The Jasonites and the training:
I think they were doing a great work. Is interesting to learn with four different persons who made part of the same group. You get different elements and ways to get into a common point.
In terms of the organization I just have to say that sometimes I was the feeling of doing the same training exercises in the same day, like repeating. And also I was missing a little bit more of the working precision, more deeper. But maybe is just a matter of time.
Each week was full of surprise. And the last week before leaving was also a kind of fresh air that changes a little bit the rhythm of the previous days, introducing the barters, the working demonstrations, the work in progress, the stilts and in general the atmosphere was full of life.
This are my feelings and my thoughts regarding the crossing 2 workshop. 
Once again thank all of you for everything.
Amalia Rodríguez

Letter from Maitham Khoei (participant in Crossing 2 workshop)
People of Crossings,
Please accept my best greetings for upcoming New Year from Tehran. Actually our traditional [and official] year in Iran renews on March 21st annually; when it comes the spring. However, it was my most pleasant experience in 2012 being in Odin, getting acquainted with you all, living, working, training and performing together.
As a matter of fact I believe in theatre, and passing such a workshop in Odin being associated with you strengthened my beliefs. I am neither good lecturer nor wisher or invocator or something like that, since I’m not so hopeful human. But I wish you the year 2013 to be full of peace, [warmth, light,] joy, music and theatre. Happy New Year! And hope to see you all very soon. Regards, and hugs, Maitham
Letter from Gaia Gulizia (Crossing 1 participant)
Buongiorno Julia,
ti scrivo in italiano, sapendo che lo parli molto bene, perché usando la propria lingua è più facile usare le sfumature necessarie. Scrivo con un po' di ritardo, perché ho avuto bisogno di lasciar sedimentare l'esperienza del lungo mese passato ad Holstebro.
Per me è stato un mese molto intenso, ma anche molto faticoso. Assistere alle vostre dimostrazioni di lavoro, lavorare un po' con voi, è stato illuminante, ma anche in qualche modo "frustrante": sì, perché mentre vi guardavo, mi accorgevo nel contempo che il mio corpo non mi "rispondeva" più come prima, e dopo un po', mi sono resa conto che probabilmente il mio era un problema di calo di energia.
E' stato come ricominciare  dall'abc, facendo tabula rasa di tutto quello che avevo studiato in tutti questi anni: danza, musica, lavoro di traduzione del mio immaginario interiore in espressività corporea e vocale.
Nonostante questo, l'esperienza di lavoro nelle scuole mi ha donato tante emozioni, tante ricche immagini, nate anche dal lavoro collettivo, che resteranno per sempre nel mio bagaglio di vita, non solo artistico, ma innanzitutto umano (del resto i due termini sono inscindibili).
Nei momenti in cui ho distolto l'attenzione dal timore di sbagliare, lasciando cantare il corpo, il più delle volte ho sentito tornare dentro me lo spirito del teatro "vivo", quello che riconosco sia la caratteristica del vostro lavoro. Ora torna a tratti la voglia di ripartire da ciò che avevo deciso di mettere fra parentesi per un po', per lasciare tempo all'ascolto: il mio lavoro di creazione, però, risente della solitudine nel quale è rimasto immerso per troppo tempo, senza un occhio esterno. E, lo ammetto, anche delle difficoltà pratiche oggettive di lavorare in ambito artistico e culturale in un contesto come quello italiano.
Vorrei porti un interrogativo che per me è da sempre molto importante: come può un attore, o anche un altro genere di creatore che lavora da solo, riuscire a crearsi un training personale e quotidiano?
Per ultimo, una richiesta: mi piacerebbe poter intervistare te e i tuoi compagni di lavoro sul vostro percorso personale attraverso il teatro come via di conoscenza di sé, per poter sviluppare la mia tesi di laurea, che verteva sulla teatralizzazione delle emozioni, e sul percorso artistico come via di autoguarigione, sciamanicamente intesa. E, soprattutto, per trovare nuovi spunti per il mio personale viaggio.
Ho usato molte parole, ma spero che riuscirai ad afferrare ciò che volevo comunicarti, cogliendo l'occasione del tuo generoso invito alla condivisione. Attendo tua risposta.
Un saluto, e grazie per tutto ciò che ci hai saputo e voluto donare.

Letter from Cristina Secareanu (Crossing 1 participant)
Dear Julia,
It's hard to "close" in the stiffness of words the richness of experiences and strong feelings, sometimes controversial but always of great vitality!
Odin Teatret means to me, a living legend, a cultural institution and in the same time a phenomenon.
A beautiful "story" about how to live through art, about generosity, sacrifice and love
Thank you Julia for this wonderful lesson!
Ps. If you come in Cluj Napoca this autumn, please let me know; I would be so glad to meet you again!

Letter from Markus Karekallas (Crossing 1 participant)
Hi Julia,
and sorry that it took so long for me to write about workshops at Odin. When I came there my expectations were totally different from that what happened to me. I have to go back to autumn 2011 when was in a point that I decided that I wouldn’t act anymore. I was disappointed of my work as an actor, I decided that I would only direct, make puppets and design lights. So when I came to Odin I was only coming to learn stuff from Deborah. After working a few days in the workshop I started to find myself again and to remember why I love to act and do theatre. I felt like home again for a very long time. Of course I fell in love with the group I was working with but also the way of working at Odin.
The way Deborah is a full professional and a very good pedagogue I don’t have so much to say about her but that I love the way she works. The Jasonites are a very good group of professionals but I could still feel that they are young group and there is a difference between them as individuals, of course. There was some times this kind of uncertainty what we are doing, in what order and why. I think that it will go when they get do these kind of workshops so they come more certain. Over all I liked to work with them and I'm very excited to work with them next summer.
Lots of love,