Our Theatre transforms (us-you-all who witness it). It is a metaphor of

life, it transports and transforms our lives.
The Theatre we are talking about is not the theatre of ideas nor is it contained in the theatre of text, because these theatres have too often abandoned the Event of Theatre.
The Event of Theatre is as ancient and as permanent as the polis of Greece, and their resounding echoes heard to-day..
The Event of Theatre that we are making is political because it is for the community of peoples that needs it, to see itself and reflect upon itself – from the single protagonist to the whole chorus.
The theatre we are talking about looks to its roots to formulate its future,

for death lies in the past while life only lies ahead for us, as Seneca once said.

Our Theatre seeks to make the Event emerge from what we do, and to echo in the body and the soul of the next generation of Theatre makers.

(Like our own mothers and fathers of the craft have done for us.)

For the Event of Theatre that we are talking about is a metaphor for life in that it transports to a deeper, emergent life – whereas the ideas in the theatre make us stay where we are, which is to be trapped inside our head.
Our Theatre comes from the organic, the embodied, to reach the hidden, the emergent, the unexpected, the invisible, and more crucially. to the unfathomably true.
 
The Event of Theatre that we are talking about changes you not by being careful, but by always being caring.
 
The theatre we are talking about is necessarily embodied. The theatre we are talking about is necessarily happening here and now for real,

in the bodies of the makers.

Because it is happening at the same time the body of the audience – this is about empathy, this is about transport, this is about Emotion.
This is about Emotion because emotion is what creates movement at the same time as it moves  you.

We remember that the theatre of Greece is a theatre of music, of singing

We want to step aside from the confrontation between bipolar opposites, and explore the relationships between us and the world, between us and our most secret selves, and offer this sacrifice of empathy to our audience.  Fpr this is where our theatre lives.
All journeys in the Theatre are internal, and express the perfect relationship between the singular and the multiple, the private and the collective.
And if there is tension to be found, and narratives to be found-out, let them emerge, let them appear without us noticing or ever wanting. For let us be active passive – only our reactions will reveal ourselves, for the makers of our Theatre are re-actors, revealing their souls by re-acting to the world.
 
We should train our body and our soul  to never separate. For the ever-evolving relationships between all is what constitute us, and the world that is within is also outside.
We thrive to create our training so that it allows the continuum from rehearsals to the sacred moment of performance.
Therefore in our Theatre, all directing and all devising of work seek to make the actor alive and active during performance, and to stop them making a repeat in form of what has been prepared in rehearsals.
 
Our Theatre is a place for the art of the actor, into which all other art form subservient, not the other way around.
 
Our theatre is not a work on the form, it relies on a continuous practice and a relentless process.
 
Our Theatre looks beyond the emergence for the source, of all movement, of all interactions.

What is bred in the bone of each performer is the Emotion, that is necessarily the source of our Theatre.

For theatre that is thought is as dead as a love that is not made.
 

Originally an experiment in fusing cultures, languages, techniques and traditions, a then-untitled group of five people from three different countries stood in a room in Wroclaw, Poland in 2005 speaking text in a variety of languages, playing music and learning from scratch how to throw a ball to one another. This work, later titled Unreal City and featured as a conclusive case

study in Dr David Roesner’s, Musicality in Theatre (2014), fast became a base for Bred in the Bone’s practice, combining Eastern and Western European theatre traditions to expose musicality as the sole unifying agent of theatre performance.

listening in each moment of performance. Far from an aesthetic, musicality became an embodiment or physical manifestation of the fundamental human relationship.

Over the last decade, we have trained, led workshops, hosted residencies, and performed as a collective all over the world,from the Grotowski Institut in Wroclaw to the Chora Cultural Centre on Samothraki Island, Greece. We have worked most Centre on Samothraki Island, Greece. We have worked most regularly alongside Theatre De Menilmontant, Paris, and Rose Bruford College of Theatre and Performance, London, to present upwards of 30 pieces of work, from Shakespeare and T.S. Eliot, to new writing and music performances. We aim to restore the actor and ensemble to the centre of performance, using principles of coordination, musicality, impulse, and emotion-action to form our training and, organically, our performance.

we are and, fundamentally, how we relate to each other. Our roots in actor training are fundamental to our identity, underpinning our stand-point that aesthetics and techniques derive from a training, as opposed to the other way around. As such, we do not aim to develop a particular aesthetic or form, but to expose what is inherent, implicit and impulsive within each moment of performance – towards a collective sense of musicality.