Apart from the conference, it is our great pleasure to invite two masters in documentary theatre, Mr Greg Pierotti (USA) and Mr Hans-Werner Kroesinger (Germany), to hold two three-hours master classes respectively. They are pioneers in contemporary documentary theatre making. In the master classes, they will share their creative approaches with the participants.

Due to the overwhelming response, all appications are full. Thank you for enthusiastic support!

An introduction to Moment Work- Greg Pierotti

Greg Pierotti will teach an introduction to Moment Work – the devising technique that he and his collaborators in Tectonic Theater Project have used to originate such documentary theater pieces as Gross Indecency: The Trials of Oscar Wilde, and The Laramie Project. This technique was developed for the creation of theatrical works using “non-theatrical source material” – archival documents, trial transcripts, interviews, letters, photographs etc. It can also be used to support the director in staging already written theatrical play texts. The first two and half hours of this master class will consist of a series of cumulative exercises to give students a taste of the most basic technique. The final half hour will be a conceptual overview of the technique as it is used by Tectonic to create a work from inception to production. If possible, bring to class a few interesting props/objects, costume pieces and a short non-theatrical text in English.

Date: 28.7.2017 (Fri)
Time: 14:00-17:00
Venue: Drama Blackbox, The Hong Kong Academy for Performing Arts
Language: English (No translation services)
Cost: $300

Greg Pierotti

Greg Pierotti is a writer, actor, and director. He is an assistant professor of theatrical devising at the University of Arizona, Tucson. He has also taught playwriting and devising in many undergraduate, graduate and professional programs throughout the United States and internationally since 2005. He is associate writer of The Laramie Project, which represents the story of the murder of Matthew Shepard, a gay University of Wyoming student in 1998. He is a co-writer of the teleplay of the same name. The play received a NY Drama Desk nomination. The teleplay for HBO received the Humanitas Prize and an Emmy nomination. He is head writer of The People’s Temple, which dramatizes the rise and fall of Jim Jones’s religious movement of the same name. For this play he and his collaborators received the Will Glickman Award for best New Play. He is also a co-author of Laramie: 10 Years Later. He has developed original work at Arena Stage, Hartford Stage, The Magic, The Atlantic Theatre Company, The Sundance Theatre Lab in Utah, New York Theatre Workshop, the NYTW summer writer’s lab at Dartmouth. His play in progress Apology, about the life and work of New York artist Allan Bridge, has been in development at Berkeley Repertory Theater, The Orchard Project, and Maison Dora Maar in Ménerbes, France where he was a Brown Fellow through the Houston Museum of Contemporary Art. He was a 2013 Alpert Award Nominee for outstanding contributions to the theater. As an actor he has performed his own work in numerous theaters in New York and around the United States including, The Union Square Theater, Minetta Lane, The Guthrie, Berkeley Rep, La Jolla Playhouse, Denver Center, and Arena Stage to name a few. He is currently devising a new work entitled B More about the death of Freddie Gray while in Baltimore City police custody.

German Documentary Theatre:
How to turn archives into public issue -Hans-Werner Kroesinger

“Hans-Werner Kroesinger has spent the last 20 years devising a type of documentary theatre that places him as one of the key figures in Germany. He has done more than 50 productions including Germany’s first genocide in colonial Namibia, the decision to erect the Berlin Wall, Rwanda, Lebanon, Darfur, Kosovo… Each takes him about 2000 pages and 10 months of intense research. Every word in his plays is verbatim from a text, from novels to archival materials to secondary scholarship. Kroesinger plays don’t re-enact historical episodes or bring people onstage to narrate their own stories. Kroesinger’s actors don’t act. They shower the audience with a mass of verbatim archival language, demonstrating how easy it is for straightforward narratives – as well as easy moral judgments – to fall apart over time. Whereas the previous generation of documentary theatremakers, like Peter Weiss and Rolf Hochhuth, used documents to convey a clear message, Kroesinger puts in an enormous amount of work in order to keep a neutral stance, even on heated topics.

While studying, Kroesinger worked with Heiner Müller and Robert Wilson. His insistence on the power of the fragmentary is straight-up Müller; the echoes of working with Wilson clear in the stagecraft. But Polish director (and Brecht’s student) Andrzej Wirth might have left the biggest mark: from him, Kroesinger learned to focus on situations more than scripts.” -Lily Keiting, Exberliner

In this workshop participants will learn more about the dramaturgy Kroesinger employs in his productions, and how to stitch the materials then contruct a dialectic through theatrical means.

Date: 29.7.2017 (Sat)
Time: 19:00-22:00
Venue: Drama Blackbox, The Hong Kong Academy for Performing Arts
Langauge: English (No translation services)
Cost: $300

Hans-Werner Kroesinger

Hans-Werner Kroesinger was born in Bonn in 1962. He studied drama, theatre and media from 1983 to 1988 under Andrzej Wirth and Hans-Thies Lehmann at the Institute for Applied Theatre Studies of the Justus Liebig University Gießen. In 1987, while he was still a student, Kroesinger began working as an assistant director and dramaturg for Robert Wilson, a position he held for two years. He was involved in Wilson’s productions of Hamletmachine in New York, Salome in Milan and The Forest in Berlin. In 1989, he was a member of the creative team for Heiner Müller’s production of Hamlet/Hamletmachine at the Deutsches Theater Berlin.

Since 1993, he has directed his own productions at prestigious municipal and state-funded theatres, such as the Berliner Ensemble, the Staatstheater Stuttgart, the Bayerisches Staatsschauspiel and the Maxim Gorki Theater Berlin, as well as on the independent scene, above all at the Hebbel am Ufer (HAU), the Sophiensaele, Radialsystem, the Staatsbank and Podewil in Berlin, the Forum Freies Theater (FFT) in Düsseldorf, the Festival Theatre at Dresden-Hellerau and the Theaterhaus Gessnerallee in Zürich.

Kroesinger has been invited to take his works to high-profile national and international festivals, including Politics in the Independent Theatre (Hamburg, 2003), Cultura Nova (Herleen, 2008) and Impulse (North Rhine-Westphalia, 2009).

In 2007, the director was awarded the Brothers Grimm Prize of the Land of Berlin for his Kindertransporte, a production for children and young people at the Theater an der Parkaue in Berlin. His work Stolpersteine Staatstheater was selected in 2016, to showcase at the most important german-speaking theatre festival, Theatertreffen at Berlin.


Enjoy $100 discount if apply 2 master classes at the same time, cost only $500!


50% off for full time student

*Only one of the above discounts could be enjoyed.

Application Method:

Please apply by entering information in www.art-mate.net on or before 12 July 2017, and confirmation will be received within 3 days. Limited quota on first-come- first-served basis.

Enquiry: 2419 9789 / info@pants.org.hk