You work intensively with the same group throughout the course: rehearsal, performance and acting practice, writing, lectures, screenings, and dialogue — treating practice as research and co-creation. The course is built as process-first and research-first work in dialogue between people and space. The arc moves toward a collective performative project shaped from the group’s material.
- DatesApril 15 — June 5
On-site, Yerevan - DeadlineApril 10
- Rhythm6 days per week
Sessions from 17:00
Up to 4 hours per day
Saturday off - LanguagesEnglish, Armenian, and Russian. Depending on the group’s language mix, simultaneous interpretation may be provided for lectures and workshops.
apply
This is a strong fit if you are ready to experiment, share experience, and commit to a sustained on-site process — as a theatre or performance practitioner, an interdisciplinary artist, a writer, curator, or researcher who wants to move ideas into the body, or someone from another field who needs to encounter art from the inside.
final show
The performance will be built on the principle of a mosaic and will consist of works created by the students during the process of the workshop. The project explores how theatre is changing, what remains alive, and what has become legacy in need of reassembly. The final performance will be included in the Chronofest 2026 program.
partner
Chronotope Temporary Association is a theater group the existence of which is based on the process of constant changes.
hosq has partnered with Chronotope to bring to Yerevan Chronofest — a week long festival of contemporary theatrical and performative art.
Read more about Chronotope:
https://temporary.am/
Read more about Chronofest:
https://fest.temporary.am/en#about
hosq has partnered with Chronotope to bring to Yerevan Chronofest — a week long festival of contemporary theatrical and performative art.
Read more about Chronotope:
https://temporary.am/
Read more about Chronofest:
https://fest.temporary.am/en#about
Chronotope Temporary Association is a theatre collective whose existence is grounded in constant change.
hosq partners with Chronotope to bring Chronofest — a week-long festival of contemporary theatre and performance — to Yerevan.
hosq partners with Chronotope to bring Chronofest — a week-long festival of contemporary theatre and performance — to Yerevan.
- Chronotope
- Chronofest
weekly structure
- Viewpoints3 times per week (1 hour)
- Yoga3 times per week (1 hour)
- Performance / rehearsal / acting + project lab6 times per week (3 hours)
- Writing lab2 times per week (90 minutes)
- Lectures2 times per week (90 minutes)
- Online masterclass1 time per week (90 minutes)
- Work-in-progress showing1 time per week (1 hour)
- Dialogue & feedback1 time per week (60–75 minutes)
tuition
Choose the contribution that honestly reflects your current capacity.
- Supporter — €1,500covers your place and funds a hosq scholarship for another participant.
- Standard — €750baseline tuition for the full two-month course.
- hosq scholarship — €0a full grant from the hosq foundation for applicants facing financial barriers. Limited places; applications are reviewed individually.
experts
Director, curator, and founder of the Chronotope Theatre Company and the Chronofest Festival.
Winner of the “Breakthrough” Award for the production The Trial of John Demjanjuk. Holocaust Cabaret.
Nominee for the “Golden Mask” Award for the production The Book of Disquiet.
Winner of the “Breakthrough” Award for the production The Trial of John Demjanjuk. Holocaust Cabaret.
Nominee for the “Golden Mask” Award for the production The Book of Disquiet.
Anahit is a writer, visual artist, and filmmaker who works across film, photography, and text. She is the author of three documentary-based theatre works that challenge dominant narratives through personal and archival material, and co-author of two books exploring how diary entries, online activity, and language shape our perception of reality. Her work engages with documentary material through processes of deconstruction and reimagining.
Constanza was born in Buenos Aires, where she studied Dance and Fashion. She continued her dance studies at the Merce Cunningham Studios in Amsterdam and New York.
In 2003 she founded the international dance and theatre company CONSTANZA MACRAS / DORKY PARK. In this company, Macras brings together actors, dancers, musicians and artists from a wide range of genres, backgrounds and countries. With more than 20 years history, the company has produced over 30 pieces, that toured worldwide to more than 115 cities and have been shown at the most important theater festivals of the world.
Macras received Goethe-Institut Award, Arts at MIT (Massachusetts Institute of Technology, the national German theatre award DER FAUST for best choreography, the B.Z. Kulturpreis, and also won the Tabori prize, Germany’s highest award for the free performing arts scene, for her work and artistic development.
Macras also works in film. She has created the iconic choreography for Yorgos Lanthimos’s multi-award-winning films The Favourite (2018) and Poor Things (2023), as well as for Edward Berger’s Ballad of a Small Player for Netflix.
In 2003 she founded the international dance and theatre company CONSTANZA MACRAS / DORKY PARK. In this company, Macras brings together actors, dancers, musicians and artists from a wide range of genres, backgrounds and countries. With more than 20 years history, the company has produced over 30 pieces, that toured worldwide to more than 115 cities and have been shown at the most important theater festivals of the world.
Macras received Goethe-Institut Award, Arts at MIT (Massachusetts Institute of Technology, the national German theatre award DER FAUST for best choreography, the B.Z. Kulturpreis, and also won the Tabori prize, Germany’s highest award for the free performing arts scene, for her work and artistic development.
Macras also works in film. She has created the iconic choreography for Yorgos Lanthimos’s multi-award-winning films The Favourite (2018) and Poor Things (2023), as well as for Edward Berger’s Ballad of a Small Player for Netflix.
She graduated from the Saint Petersburg Theatre Academy and completed training with SITI Company (Tadashi Suzuki, Anne Bogart).
She works with Viewpoints, contemporary dance, physical theatre, breathing and voice practices, and the method of Theodoros Terzopoulos.
She works with Viewpoints, contemporary dance, physical theatre, breathing and voice practices, and the method of Theodoros Terzopoulos.
Matija Ferlin is a croatian theatre director, ensemble dance piece choreographer and performer of his own one-man shows. Graduated from the School for New Dance Development in Amsterdam and subsequently lived and worked in Berlin and Toronto. After returning to his hometown Pula, where he was born in 1982, he focused on researching and rearticulating different concepts of stage performance, collaborating both with actors and dancers. Since 2023, he has been working as the Artistic Director of the Istrian National Theatre in Pula, Croatia.
Hadas Neuman is a filmmaker, theatre-maker, and performer working in personal documentary and interdisciplinary creation. She is a graduate of Sapir College and holds an M.A. from the Netherlands Film Academy.
Her films and stage works have been screened internationally and awarded. Among her works are 100 Men, a documentary-performance project developed for stage and film, and A Place to Live, both of which premiered at the Israel Festival 2024 and were nominated for the Golden Hedgehog Award 2025 (A Place to Live received the Ensemble Award).
Her film Two People Will Come, with Balloons (2021) won the NEXT! Award at Docaviv. She co-directed the documentary feature The European Grandma Project, screened and awarded across Europe.
Neuman is currently developing her debut fiction feature Neverland Forever (Rabinovich Foundation), alongside the documentary short The Docu-Witness (Negev Film Fund), and the documentary-theatrical project Dancing at Every Wedding, selected for Kundura DocLab 2025, Istanbul and Tzavta Short Festival 2025.
Her films and stage works have been screened internationally and awarded. Among her works are 100 Men, a documentary-performance project developed for stage and film, and A Place to Live, both of which premiered at the Israel Festival 2024 and were nominated for the Golden Hedgehog Award 2025 (A Place to Live received the Ensemble Award).
Her film Two People Will Come, with Balloons (2021) won the NEXT! Award at Docaviv. She co-directed the documentary feature The European Grandma Project, screened and awarded across Europe.
Neuman is currently developing her debut fiction feature Neverland Forever (Rabinovich Foundation), alongside the documentary short The Docu-Witness (Negev Film Fund), and the documentary-theatrical project Dancing at Every Wedding, selected for Kundura DocLab 2025, Istanbul and Tzavta Short Festival 2025.
She graduated from GITIS (workshop of A. V. Bartoshevich and V. Yu. Silyunas). She has taught at GITIS, the Moscow Art Theatre School, the Higher School of Performing Arts, and the Dadamyan School. Member of the expert council of the “Golden Mask” Award.
A specialist in European theatre of the 20th–21st centuries, contemporary directing, and theatre institutional structures.
A specialist in European theatre of the 20th–21st centuries, contemporary directing, and theatre institutional structures.
Columnist for Afisha, editor-in-chief of the I’m at the Theatre project, expert for the “Golden Mask” Award, and curator of Formafestival.
Founder of Mobile Art Theatre and editor-in-chief of Individuum Publishing.
He specializes in contemporary European theatre, documentary and hybrid forms, site-specific and performative practices.
Founder of Mobile Art Theatre and editor-in-chief of Individuum Publishing.
He specializes in contemporary European theatre, documentary and hybrid forms, site-specific and performative practices.
I am a certified yoga teacher with a 200-hour Yoga Teacher Training and a 50-hour Prenatal/Postnatal Yoga Teacher Training, with a teaching experience of 5 years.
I bring a holistic approach to wellness, movement, and mindfulness, guiding individuals and groups toward balance, presence, and self-awareness. Beyond yoga practice, I co-created and organized B’Arev, Armenia’s first and only transformational festival, blending conscious living, spiritual practices, music, and arts into immersive experiences.
I bring a holistic approach to wellness, movement, and mindfulness, guiding individuals and groups toward balance, presence, and self-awareness. Beyond yoga practice, I co-created and organized B’Arev, Armenia’s first and only transformational festival, blending conscious living, spiritual practices, music, and arts into immersive experiences.
He studied at VGIK (workshop of Rustam Ibragimbekov) and at the Higher School of Performing Arts (workshop of Kama Ginkas).
Participant in the longlists of the “Golden Mask” Award.
He works with documentary structures, verbatim theatre, experimental dramaturgy, hybrid forms, and performative writing.
Participant in the longlists of the “Golden Mask” Award.
He works with documentary structures, verbatim theatre, experimental dramaturgy, hybrid forms, and performative writing.
A nomadic theatre curator and Producer, Artem has worked at the international performing arts festivals Tochka Dostupa (Access Point) and New European Theatre (Russia), the On The Edge project (Estonia), and in the production department of the Théâtre Nouvelle Génération — CDN de Lyon (France). His practice centres on site-specific and socially engaged art, participatory performance, and international cultural relations.
A laureate of the PAUSE programme at the Collège de France. Participant of the Cifas and Kunstenfestivaldesarts Producing Academy, member of ITEM. Co-curator of Chronofest; since 2024, associated with Voices Berlin Festival (Germany), in 2024-2025 worked as dramaturgical consultant with Nydanskeren Jimbuts Kulturforening (Denmark).
His projects have been awarded and nominated multiple times for the Golden Mask Award, and he himself nominated for the Proryv (“Breakthrough”) Prize as Best Producer.
A laureate of the PAUSE programme at the Collège de France. Participant of the Cifas and Kunstenfestivaldesarts Producing Academy, member of ITEM. Co-curator of Chronofest; since 2024, associated with Voices Berlin Festival (Germany), in 2024-2025 worked as dramaturgical consultant with Nydanskeren Jimbuts Kulturforening (Denmark).
His projects have been awarded and nominated multiple times for the Golden Mask Award, and he himself nominated for the Proryv (“Breakthrough”) Prize as Best Producer.
Theatre director and performer working with documentary strategies, identity construction, and the exposure of theatrical conventions within contemporary performance.
Theatre director and founder of post-theatre, known for minimalist, conceptual works exploring temporality, attention, and the limits of theatrical action.
Theatre director and curator associated with experimental and interdisciplinary performance practices at the intersection of theatre, visual art, and research-based formats.
answers
Theater and performing arts practitioners
Actors, directors, performers, choreographers, and movement-based artists, as well as those who intend to connect their lives with performative practices — theatre, performance art, cinema, and related disciplines.
Those who are searching for ways to speak about themselves and the world; who are looking for their own language and are already in an ongoing artistic process.
————————————
Interdisciplinary artists
Artists and practitioners from related fields — visual arts, music, photography, design, architecture, research, media — who are drawn to performative forms, corporeality, space, and presence.
They come from different systems of coordinates in order to encounter new modes of expression and collective work.
————————————
Writers, curators, researchers
Dramaturgs, screenwriters, curators, critics, anthropologists, psychologists, and researchers who wish to translate analytical and textual practices into action.
Those who want to stop observing from a distance and start thinking through the body, testing their ideas within a living, collective process.
————————————
Newcomers and curious minds
Individuals from non-artistic backgrounds: IT, business, medicine, service, or any other field, who feel an inner necessity to encounter art from the inside.
Those who have never stepped onto a stage but are ready to challenge their daily routine and comfort zone.
————————————
Participants should be ready to experiment, perceive, share experience, and work collectively over an extended period of time.
————————————
Age
Up to 38 (recommended). Primarily based in Armenia.
————————————
This program may not be a good fit if:
Actors, directors, performers, choreographers, and movement-based artists, as well as those who intend to connect their lives with performative practices — theatre, performance art, cinema, and related disciplines.
Those who are searching for ways to speak about themselves and the world; who are looking for their own language and are already in an ongoing artistic process.
————————————
Interdisciplinary artists
Artists and practitioners from related fields — visual arts, music, photography, design, architecture, research, media — who are drawn to performative forms, corporeality, space, and presence.
They come from different systems of coordinates in order to encounter new modes of expression and collective work.
————————————
Writers, curators, researchers
Dramaturgs, screenwriters, curators, critics, anthropologists, psychologists, and researchers who wish to translate analytical and textual practices into action.
Those who want to stop observing from a distance and start thinking through the body, testing their ideas within a living, collective process.
————————————
Newcomers and curious minds
Individuals from non-artistic backgrounds: IT, business, medicine, service, or any other field, who feel an inner necessity to encounter art from the inside.
Those who have never stepped onto a stage but are ready to challenge their daily routine and comfort zone.
————————————
Participants should be ready to experiment, perceive, share experience, and work collectively over an extended period of time.
————————————
Age
Up to 38 (recommended). Primarily based in Armenia.
————————————
This program may not be a good fit if:
- you are not interested in questioning your own ways of making theatre
- you are seeking fixed answers, ready-made methods, or stable hierarchies
- you prefer predictability and predefined outcomes over experimentation
- you are unable to commit to an intensive, on-site process
Participants will develop capacity to:
————————————
Participation in the practicum offers entry into a broader artistic ecosystem and a range of possible trajectories beyond the program itself:
————————————
Participation in the practicum may also include:
- work within ensemble-based processes of co-research and co-creation, sustaining shared responsibility and collective authorship
- navigate contemporary theatre as a field, recognizing its key tensions, trajectories, and positions rather than fixed canons
- use presence, attention, and corporeality as primary performative material, not as expression but as compositional tools
- engage space as an active collaborator, transforming environments into dramaturgical and performative situations
- form, test, and articulate performative ideas through practice, moving from impulse toward structured propositions
- work with dramaturgy and performative writing as living material, integrating writing into action, rehearsal, and thinking-in-time
————————————
Participation in the practicum offers entry into a broader artistic ecosystem and a range of possible trajectories beyond the program itself:
- potential invitations to projects of the Chronotope Theatre Company.
- ongoing artistic development within both local and international contexts.
- access to a growing professional network of participants, artists, and collaborators.
————————————
Participation in the practicum may also include:
- a certificate of participation.
- possible letters of recommendation from the mentors.
- Art is an anthropological necessity of the human being.
- We work in a safe environment where thoughts can be expressed freely.
- Ethics and discipline matter — only insofar as they help us collectively navigate chaos.
- Chaos matters, because it is where ideas come from.
- We prioritize process over product; results are consequences of a living process, not ends in themselves.
- We value thinking over repetition and learn to think publicly rather than declaim with expression.
- Tradition in art is valuable only when it does not claim the present.
- We are able to move in any direction; an open field is closer to us than predefined paths.
- Mistakes, doubt, and uncertainty are essential parts of the work.
- We do not compete — we share.
- Engaging with art is a pleasure, and doing anything in love is better than doing it without love.
We work with the body, attention, and presence, while respecting personal boundaries. Any participant may opt out of an exercise.
The course may touch on personal and emotionally charged topics — we approach this with care. We do not encourage violence toward oneself or toward others.
The course may touch on personal and emotionally charged topics — we approach this with care. We do not encourage violence toward oneself or toward others.
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