From isolation to artistic connection: Anastasia’s experience in Reggio Emilia and Brussels

Through immersive workshops and collaborative performances, Anastasia Ignatova faced challenges, embraced new artistic methods, and discovered the power of collective creation.

As a young artist, I am constantly seeking new experiences and challenges. The Theatre in Palm adventure was a truly remarkable opportunity to connect with fellow artists and explore new creative dimensions at a time when I felt quite lost.

In 2023, I had just returned to Italy after nearly a decade abroad. I was eager to dive into new projects and opportunities to engage with different artistic realities. Theatre in Palm provided me with a wonderful platform to do just that.

The first phase of the project took place in Reggio Emilia, in collaboration with E35 Foundation and MaMiMò Teatro Piccolo Orologio. Our team was a vibrant mix of Italian creatives—actors, directors, costume designers, and choreographers—all guided by Fabio Banfo and Marco Oscar Maccieri. Together, we shared inspiring conversations and enriching artistic moments.

Beyond our Italian offline group, we were also connected with ETFI mentors and international artists who would later join us in Brussels. However, this remote interaction felt somewhat detached—almost like revisiting the isolation we’d experienced during the COVID era. Many of us were eager to create face-to-face in the present moment, which made this phase slightly challenging. Still, as artists, we adapted and made the most of it.

Each day, we participated in workshops and sharing sessions, often led by either the mentors or ourselves. I was particularly happy to lead one of these sessions, where I explored how various artistic stimuli—such as images, sounds, and poetry—can influence movement.

The second part of the project took place in Brussels, where we reunited with the international team. This time, we were mentored by ETFI professors Vladimir Boucher and Helen Ibra. Having studied at a Russian university of performing arts, their approach and vision appeared familiar, making me feel, in a way, at home. This phase was more intensive—we spent our mornings immersed in workshops and dedicated our afternoons to shaping our final performance.

That being said, it wasn’t always easy. We were a large group of artists from diverse backgrounds, each with different visions, methods, and creative standards. Additionally, there was no strict division of roles, so everyone contributed in their own way. It was a challenge—but one we ultimately overcame.

I wasn’t the only dancer and choreographer in the group; Alice was as well, and I believe we established a strong bond that allowed us to collaborate effectively on the movement aspects of the performance.

The central theme of our piece was Antigone, which we also had to intertwine with environmental impact. The complexity arose from the fact that the performance was not only live but also needed to be translated into an online format, involving collaboration with the Italian and Irish teams.

Our Antigone was a fusion of symbols, ideas, and interpretations. The process was anything but simple—we faced creative disagreements and moments of frustration—but we also experienced a wealth of inspiration, laughter, and artistic breakthroughs.

I deeply cherish this experience, though I do wish it had a continuation beyond its initial scope. Nevertheless, the connections I made remain, and I truly hope that one day, my fellow artists and I will create something remarkable together.

This journey opened the door to new possibilities, and for that I am incredibly grateful.