-CIRPA reviews the ‘masks’ of mythical and historical women in theatre by researching the interaction between the ethics and values in the atmosphere of a society (e.g. the dynasty- climate- environment- religion-catastrophies- influence of other civilizations and the parameters of its art;

-CIRPA is a ProductionLab for writers and performers, translates and produces plays by new, engaged female writers: because they deserve to be heard;

-Today’s theatre must not only review women of the past, because the past repeats itself and everything can be found in the collective unconscious: our dreams, past lives memories, traumas, all things that surface in our lives to-day, while we know they come from the past

‘Women are the largest untapped reservoir of talent in the world. Hillary Clinton’

-working from: ‘CRACKS IN THE SOUL’ * we may develop new perspectives for making theatre that is given in by the depths of the soul….

Writers of the past based their plays on myths that were orally passed on over a long period of time and their metaphors were influenced by the ethics and values in their society; the first historical accounts come from the Greek, but their view on reality was different from ours: they did not distinguish between the remote and recent past and the author was free to remove or add details to render his story more probable or colourful; this inevitably led to various versions of a myth, depending on the personal preferences and imagination of the author: so we need new myths because our mythology is too confined to describe the expanding societies, not by eliminating what already exists, but by reviewing mythology and history, including facts, ideas, cultures and people formerly excluded….

Myths are narratives that describe the journey of the soul (psyche). They all come from one fund of mythological motifs -selected, organized, interpreted and ritualized according to local need-. They are metaphors that are given in by the dominant ethics and values and the environment of a society….

Spirits in myths were the capricious, eccentric and perverse messengers that envisaged the archetypal masks of the gods and goddesses, heroes and heroines, creatures, dragons, serpents and slayers: they loved to watch the conflicts they created on earth, gathered the news of the world and brought it back to their home in Hades.

Spirits are morphic units that vibrate, wiggle, wobble and undulate in rhythmic patterns through and across time and space, that can appear again physically in other times and places, containing a memory of their previous physical existences: their traces can still be found in our collective unconscious;

to-day, in our expanding societies, we witness all events happening everywhere: the influence of the media creates reactions of  freeze/flight/or fight, leading to aggrandizement of the ego (selfies)/fugitives/wars and terror….


CIRPA also intiates theatre-projects that may empower  women and girls in underdeveloped countries, in collaboration with the THEATRE EMBASSY, (founder and artistic director: Berith Danse), an organization with an enormous expertise in making theatre in other cultures.

CIRPA develops a new matrix for working, called:

                                                 *CRACKS IN THE SOUL

-a writer or translator must use atmospheric writing and look deeply into the soul of his/her characters;
-a performer who wants to create a strong character on stage, must uncover her personal essence and let go of the ego, be vulnerable and embrace the shadow-aspects, eccentricity, deviations, paradoxes and find the bizarre, capricious peculiarities of her/his imagination; we must find what triggered us through time and space by making a time-line of our soul’s journey, work with affiliations for times and places we never visited and recognise inner images that keep surfacing in our dreams;
-theatricality resides in the lower organs of our belly: the place for grounding-centering-intuition-physical sensations-body memory: the place of gut-feelings-dreams-archetypal images- past lives memories;
-body- psyche/soul and mind are enveloped by an inseperable continuum of morphic energy-
layers that hold 7 main energy-points that define our physical and mental well-being: these energy-
points (chakra’s) can be accessed through the gate-ways of the 7 senses: smell-taste-sight-touch-
these gate-ways lead to: e.g.
smell: memory-corporeality-intention-interactivity-exchange-energy;
taste: aesthetics-jouissance-culture-flavours-context-training;
sight: reception-space-movement-scenography-focus-witnessing;
touch: emotion-character-risk-fear-physicality-actions;
hearing: listening-musicality-soundscape-poetry-silence-psychosis;
intuition: presence-instinct-habitus-impulse-magic-danger;
spirituality: light-mystery-ways of looking/seeing-stillness- perceptivity;
there is no present, or future, only the past, happening over and over again’
Eugene O’Neill – A Moon for the Misbegotten
Sources: Anne Bogart, Charles L. Mee, Marilyn French, Carl Jung, Joseph Campbell, Rupert Sheldrake, Center for Performance Research
This concept is developed by Coney van Manen, actress, teacher, writer, translator of plays by and about women, director and innovator; founder and for 23 years artistic director of the largest non-profit theatre-school (De Trap) in the Netherlands/Amsterdam
























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