Perfoming Arts World Meeting (Encontro Mundial de Artes Cênicas - ECUM)

Photograph: Ronlin Foreman performs at ECUM; Teatro Sesiminas, March 21, 2008
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Summary Info Festival Story Not AvailableFestival Events Not AvailableOther SourcesPractical Info Not Available

Country and Region BrazilMinas Gerais
Type of Festival Dance, Drama, Music
Location of Festival Belo Horizonte, Minas Gerais; Sao Paulo, São Paulo, Brazil
Festival Contact Information

Encontro Mundial de Artes Cênicas - ECUM
ECUM Central de Produção Ltda
Rua Tomé de Souza, 1.418
Belo Horizonte - MG Cep 30140-131 Brazil
Phone: (31) 335-0018
Email:, or

Festival Dates October 24 - 28, 2011
Festival Links

Other Sources:

Review 2008:
  • By Joan Schirle of Dell’Arte, Blue Lake, California, USA
    Overall, this was a great festival—unusual in its emphasis on dialogue, not performance. The Encontro Mundial des Artes Cenicas, or ECUM, took place in late March in Belo Horizonte and in Sao Paulo, Brasil. The festival was celebrating its 10th anniversary of international dialogues about theatre, and its theme for 2008 was “Dialogues with the Future.” ECUM is not a performance festival exactly, in that most of the events took place in the daytime, and though there were performance elements in many of the presentations, the goal was the sharing of information, conversation, and workshops. There were several Brasilian curators, and each had invited three or four artists or groups of artists to make presentations on a particular theme during a single day. The whole thing was repeated in two cities. The days on which we participated (myself—Joan Schirle, Founding Artistic Director and School Director of Dell’Arte International—and Ronlin Foreman, Director of Pedagogical Research), were invited by curator Carlos Simioni of Brasil’s Lume Teatro. Carlos invited us to do performance technical demonstrations on the training work of the 30 year-old Dell’Arte International School of Physical Theatre, as part of his day’s theme: Dialogues with the Actor of the Future. Our theme day also included the work of a Teatr Roeskilde, a Danish school; the fusion of N. Brasil folk-drama “Carvalho-Marinha” with physical actor training, and a discussion with founder and artistic director Villiam Docolomansky of Czech Repulic’s theatre, Farm In The Cave, who presented DVD’s of his company’s work and methodology (his company was performing in Bogota). The themes for the other days included Brasil’s longstanding connection with Japan—complete with histories of Butoh, traditional Japanese dance, fusion dance; dialogues on Afro-Brasilian influences, and many more fascinating things than I can relate on topics from “Traditions and Transmission in the Emerging Theatre,” which included a live video conference with Richard Schechner. A complete list of presentations and workshops is on the ECUM website, as well as a history of the festival and the many international presenters who have taken part over the last 10 years. We were treated beautifully at this festival—better than most I have participated in—with generous people to translate for us so that we didn’t miss any of the presentations; all of our meals taken care of, assistance with sight-seeing, and a terrific festival staff. All of this after a lot of hassle getting the work visas to get into Brasil, but once we were on our way, we forgot about that and enjoyed the many artists we met, the students who were curious about our work, and the pleasures of Easter holiday week in a busy city. We were the first US performers to be invited to this festival and one person said to us, “Your presentation was refreshing—we have a view of Americans that comes to us through your movies and TV. It’s good to see there is another side of America.” The way in which ECUM emphasized dialogue and exchange between artists has given us some excellent ideas for next summer’s national Network of Ensemble Theatres Festival, to be held in Blue Lake in summer ‘09. To not only see work, but to talk about process, history, the future, the high and the low, the meta- and the para-, the sacred and the profane, the necessary and the frivolous—it’s fuel to us all.
    —Joan Schirle, Dell’Arte
  • For additional information on Dell’Arte visit


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