Residency of Georgia Tsangaraki hosted by Buzau International Arts Festival in partnership with Festival Antivaro
The first ever Buzau International Arts Festival (BIAF) long-term artistic residency happened in 2024, and the festival decided to introduce Georgia Tsangaraki’s work to the Romanian public and our international guests. It was a thrill and delight to have Georgia work with our mix of professional and amateur artists and we will be happy to continue this beautiful endeavor each year.
Thank you, EFFEA, for being a part of this and a big thank you to our artist in residence, Georgia, for making it memorable!
You can watch the story here:
Below is Georgia’s experience, as she recounted it.
“The first part of the residency took place in Buzău, Romania, during August and September 2024. I was invited by the BIAF Festival to work with actors and young amateurs on a play I wrote, titled Hotel Nemesis. It is a cabaret comedy set in the 1920s that combines elements of music, dance, and theatre. During the residency, we focused on the educational method I created, called The Spiral Effect.
The Spiral Effect is an acting method rooted in choral work and ensemble performance, inspired by the Greek chorus—a convention found in ancient Greek tragedies. Having worked for many years as an actor, director, and theatre educator in Greece and abroad, my desire to decode and interpret this genre led me to develop and formalize this method.
The method centres on body and voice exercises, text analysis, and, most importantly, the concept of ensemble work. It emphasizes the importance of belonging and collective sharing, while also allowing individuals to shine as unique performers. A core technique in the method is Peripheral Vision, which unites the group’s energy and elevates the significance of the main action on stage. This approach offers participants the freedom to simply be on stage, creating a safe space for emotional exploration and supporting both personal and artistic growth. My background in Dramatherapy has also played a key role in shaping my gentle, open-minded approach to each artist I work with.
©Theodor Tudose, Andreea Iordache, Elena Sampetru
During the residency, I had the joy of working primarily with very young people, many of whom were just beginning to articulate their needs and dreams. Respect for each person’s rhythm, mutual understanding, discipline, availability, creativity, and a non-judgmental attitude formed the foundation of the “contract” we established in order to work together. This workshop became a platform for their personal development. We created a devised piece inspired by the original play but enriched with their lived experiences. I believe this process helped them connect with themselves and one another, while also fostering a beautiful sense of community.
I remember how difficult it was for them at first to concentrate, stay present, and express their thoughts and emotions. As the parent of a teenage daughter myself, I felt a deep curiosity and decided to approach them with a direct and open question: “Why are you here, and what do you expect from this collaboration?”
I can't recall the exact day it happened, but suddenly, I had a strong, professional group of young artists who were rehearsing all day—and asking for more!
The theatre has always had therapeutic qualities, dating back to ancient Greece. The Asclepieia—healing centres located near theatres and stadiums—embodied the connection between body and soul, and the theatre was seen as a form of healing. This workshop gently and safely introduced the participants to the art of theatre-making, allowing them to discover new facets of themselves.
The final performance was titled The Cursed Circus and served as a prequel to Hotel Nemesis. It featured dancing, singing, original texts written by the participants, as well as scenes from the original play.
©Theodor Tudose, Andreea Iordache, Elena Sampetru
A few months later, I travelled to Crete to work with the Antivaro Theatre Group as part of a collaboration with Manolis Seiragakis and his festival - Antivaro Festival. The three-day workshop was based on Jean Genet’s Le Funambule. The text’s scenic qualities, explored open dialogue with the Spiral Effect method, offered the group tools to enhance both their collective and individual interpretive abilities. The circus conventions and the hidden humour of the cabaret world were essential elements in the creative process we shared during my stay in Crete.
Overall, my experience during this residency was eye-opening, fulfilling, and inspiring. My love for working with people and creating safe theatrical communities—while exploring new forms of scenic expression—has only grown. It has given me the energy and courage to continue. I am filled with gratitude for this priceless opportunity.”