We’re cutting onions, driving a motorcycle or building a sandcastle: But why do we keep on talking about what we're doing on stage, flooding the scene with unnecessary words? If we just do stuff instead of chatting about it, we save our voices to address what really matters to our characters and give our scenes more authenticity. In this workshop you’ll learn how to create beginnings of scenes without saying a word. Diego will work with you on fixed points, drawing spaces, pantomime, the different ways to evoke objects and how to simulate efforts, weight and dimensions. You will be able to create a new reality on the empty stage simply using your body. Delve into the dramatic truth that physical work brings over words.

Diego Ingold is an actor, improviser and plastic artist from Palma de Mallorca. For more than 10 years he has taught workshops on theatrical improvisation and physical theater tools, commedia dell'arte and theater of objects. For the last 5 years, he has been participating in impro festivals and training companies in different countries (Colombia, Argentina, Chile, Venezuela, Costa Rica, Philippines, Italy, Holland, South Africa, Germany and Spain).
Although much of the time he works alone, or with projects of the companies of the cities he visits, he is currently part of three companies.
- Theatrical impro: GLOBAL IMPRO, together with Feña Ortalli and Claudia Bernabé.
- Multidisciplinary impro: DAUS, with Aina Zanoguera (music) and Úrsula Urgeles (dance).
- Theater of Creation: Hermanas Picohueso, with Gala Peire and LLuki Portas.
He has also worked on the creation of different shows with Omar Argentino Galván (Buenos Aires / Madrid), VerbaVolant (Rome), TrampaTeatre (Palma), Carol Hernantez and Sergio Paris (Lima), David Moncada (Bogotá)…
For a long time, he has been researching tools to bring the plastic arts and theater closer to the world of improvisation, trying to blur the lines of the different artistic disciplines.

True power lies in the people who don't let you fall when you take that step in the unknown. It is the improvisers on stage, that strive to lift up others that shine the brightest. It is the ones, who master the art of letting go of their own ego, in order to serve and soar, that generate a safe and inviting space, where we feel loved, heard and called to play. Their cunning eye always noticing little twitches, nervousness of their coplayers and through unconditional support, they bring out the best of us.
During the workshop we will revisit the concepts of supporting on stage, we will devise supporting mechanisms and hopefully, discover new ones!
More than ever we need to remind ourselves of the fact, that an ensemble on stage is a (temporary) community. Alexandre Dumas said it best through his famous three musketeers: All for one, one for all!

Sara Šoukal is a well seasoned theatre artist with years of experience. As an actress and as a pedagogue she is most active in the field of theatrical improvisation, for which she says is her first love. She fell in love with impro when she was 9 years old and they have been together ever since. Her impro aesthetic is poetic, dream-like and full of details. Nothing escapes her eye.
Lately, she has been setting her foot in other performative fields with great joy and interest. She has been flirting with devised theater, contemporary dance and object theater.
She is one of the most active and prominent improvisers in Slovenia, working also abroad, in many impro collectives, theatres and associations. In Slovenia those are: Association Impro, Iglu theater, Improške, Impromobile, and others. Internationally, she is part of Ohana and Project Eve collectives respectively. Sara also teached and/ or performed in: Seattle, Uppsala, Copenhagen, Dublin, Budapest, Leuven, Paris, Strasbourg, Graz, Bydgoszcz, Wurzburg, etc.

Have you ever found yourself experiencing déjà-vu on stage, thinking «waiiiit a minute, I’ve done this scene before haven’t I»? And then it keeps on happening here and there, you can’t get out of the comfortable feeling, automatically using the same patterns, and you might be worried that your brain is playing tricks on you?
Good news is: it’s not your misbehaving mind. The scene you just did has actually happened many times before. Bad news is: when you’ve been improvising for a while, it’s inevitable (like Brad Pitts commercial for Chanel) that we face the same scenarios/relationships/themes/characters over and over again.
In this workshop, we’ll explore how to find variability on stage, play off of each other’s variety, and even how to vary your variability. We’ll also explore association and disassociation, and discover how to stay playful and inspired when the scene is going down that same old track.
Suitable for improvisers who have been improvising enough to have had a whiff of these thoughts - and Brad Pitt.

Camilla Frey has been playing improv since y2k started and has performed in Norway and internationally on a regular basis, as well as working as an actor in film/tv/theatre. Camilla is one of the founding members of Det Andre Teatret in Oslo, Norway, and has been improvising in a broad selection of shows; in known Keith Johnstone formats: Gorilla Theatre™, Life Game™, Maestro™ Impro, Theatresports™, various other shortform and musical formats and has been part of developing and performing longform formats like «When they met»(romcom) and «Almost Ibsen»(improvised Henrik Ibsen). Besides working as an actor and improvisor, Camilla is also a competitive equestrian rider, so whenever she’s not on stage, she’s most likely to be found on horseback. Or shovelling manure. Both useful skills that might come in handy in a scene, right? Who am I kidding, it’s totally me writing this. So this was a short blurb about me, but feel free to ask me anything when we meet, as I probably forgot something important! See you soon, and looking forward!

You want to know what makes a scene funny? Then you should definitely look into “the Game” – one of the foundations of great comedy, yet most elusive concepts in impro. In this 5-day intensive we will break down the mechanics of Game into individual components and practice each topic one by one. You’ll work on finding the unusual thing, playing the voice of reason, heightening the game, teleporting, weird worlds and more to elevate the dynamics of a scene. By the end of this workshop, you’ll be able to put all of them together to make your audience laugh their heads off.
Speaking of audiences: part of this workshop is applying the concept of “the Game” in a long form show. Inspired by David Mitchell's critically acclaimed novel, Aree developed the format “Cloud Atlas” – an epic comedic take on humanity in six eras. In the workshop, you’ll learn incredible group focus and support to play the format, using your newly developed skills in Game. Day 4 is the big day: you’ll present the show in front of a “real” audience as part of the program of the Würzburger Improtheaterfestival. The stage is yours!

Aree Witoelar is Norway-based impro teacher, director and performer from Indonesia who started improvising 15 years ago. He’s the founder and artistic director of Impro Neuf International, Norway’s most inclusive international improv community with over 1.000 members. He has taught in-person and online throughout the world, from Germany, the Netherlands, Finland, USA, Canada, the Philippines and India.

Blank is an improvised play about an imaginary place. After taking some specific inspirations from the audience, the tale of Blank unravels. From one scene to the next we discover the relationships, power dynamics, fears, dreams and challenges of the inhabitants. The people in this place and their humanity become the focus. Moment by moment their story gets written as the improvisers fill in the Blank.
In preparation of the Blank format, our workshop focuses on investigating and developing the dramatic arc of characters as well as the place itself. We’ll explore following a narrative by taking specific, focused actions. Performance honesty and commitment will be paramount. Also important are transitions, editing, finding and following tone, rhythm and energy, but also breaking them when needed. Over these five days we’ll strengthen our sense of ensemble, and discover a common plan and common pace for this (not so) common place.
The participants of the workshop will perform Blank at the festival on Saturday night.

Inbal Lori is a graduate of Jerusalem Art High School (1994) and Nissan Nativ acting studio (2000). Since then she has been writing and acting for television and theater and has won prizes and scholarships for her acting and writing. Inbal wrote dialogues for TV soap operas, theater pieces, children plays, a sketch show that ran weekly, one woman shows and more. She won the best performer award in the Israeli Fringe festival in 2008 for the one woman show she wrote and played “The woman I could have been”. Inbal started improvising in Tel Aviv in 2001 and ran an improvisation school in the city from 2013-2017. Her current Israel group is called 3FALLING.
In 2015 Inbal moved to Berlin and since then she has taught and performed all over the world in places like: USA, Canada, Australia, Colombia and Europe. Her performances include her solo show "Fragments of Life" and duo shows such as "CLICK" with Tim Orr (San Francisco), "The Lorilees" with Lee White (Canada), "The Fun Fatales" with Paula Galimberti (Spain) and "Playing with the Enemy" with Arab improviser Zaki Zikani. In Berlin she is working and coaching the groups “Die Gorillas” and “ImproBerlin”. For the last 2 years Inbal is also teaching her yearly Masterclass “Acting for improvisers” which is a wonderful opportunity for improvisers to grow as performers in a profound way.