2015-2017 - EUPIN

European partnership for working with people at risk of social exclusion. The project focuses on the main issues, contained in the guidelines of Europe 2020 - inclusive growth in the economy, which is characterized by a high level of employment and providing economic, social and territorial cohesion; the fight against poverty and social exclusion.

The project includes the following goals:
• Development of cooperation and exchange of experience between professionals, working with people, at risk of social exclusion: senior citizens, people with disabilities and drug addicts;
• Improving their professional qualification;
• Acquisition of new skills and improvement of existing psychological ones, interpersonal and methodological ones, necessary for working with mentees;
• Dissemination of modern art-therapeutic methods of work among employees, working with people at risk of marginalization and people, working for these communities;
• Creating more opportunities for personal development of teachers, participating in the project,
• Increase their self-esteem and reduce the risk of burnout willpower
Target groups:
• pedagogues, working with people, at risk of marginalization;
• people, related to these educators, who will join the project and
• people, who work on behalf of the communities, at risk of marginalization.
These groups will participate in trainings, which will show effective methods of work. Participants will be both trainers and learners; disseminators of information about the project at local and international level. Teachers are trained differently in the partner countries, as well as working with individuals, with different prerequisites, putting them at risk of social exclusion.
A connecting factor is the common desire in the European Union to enable most people to return to active life in society..
International cooperation gives each partner a great opportunity to get acquainted with programs and methods, which will ensure the acquisition of more complete and richer knowledge.
About 1500 people will be involved in the project.
First organizational meeting – 19.10.2015 21.10.2015, Sofia, Bulgaria
Host organizations: BAUR and Flower Theater


23-29.11.2015, SOFIA
Host organizations BAUR and Theatre Tsvete
Venue: Vitosha Blvd. 61

24 November, Tuesday
10:00-12:00 - Tourist tour of Sofia

14:00 – 18:00 - Workshop by Jadviga Konopachka: "How to work with people, victims of domestic violence with the help of fairy tales "; Feedback, discussion on methods and means; exchange of experience, related to this topic

25 November, Wednesday
10.00 – 13.00 - forum-theatrical performance with masks in Sofia school of the actors of Theatre Tsvete. Discussion and feedback

14:00 – 18:00 - Workshop on Hanna Jastrebzska-Gzela"Introduction to the world of darkness"– theater with the visually impaired. Feedback, discussion on methods and means, exchange of experience, related to this area

26 from November, Thursday
10.00-13.00 - puppet forum theatrical performance of Theatre Tsvete in a Sofia school

14.00 -18.00 - Workshop on Anna Dąbrovic: "Occupational therapy for adults".
Feedback, discussion on methods and means, to exchange experiences in this field

27 from November, Friday
11.00-13.00 - Workshop on Ekaterina Kazakova "Paper dolls and possible applications". Feedback, discussion.
14:00 – 18:00 - Workshop on Violina Vasileva-Alexandrova "To revive inanimate nature". Feedback, discussion.

28 from November, Saturday
10:00 -12: 00 - Workshop on Theatre Tsvete Documentary Theater
14:00 – 16:00 – Theatre Tsvete presents results of work with minority theater
14:00 – 18:00 - Assessment - BAUR


21.02.2016 – 23.02.2016

Host organization: National Council for gender equality
Held in
Save Club, Skopje, Macedonia

- Introduction to methods and tools for the daily work of Macedonian colleagues for gender equality and prevention of domestic violence, to eliminate all forms of discrimination against women and the situation of women in the labor market in Macedonia.
- How to motivate girls and women, to join political parties, as one way to access decision making and thus counteracting the marginalization of women and protection of gender-based violence; reintegration of women.
- Getting acquainted with some of the state social assistance programs in Slovakia and the condition of women shelters to Austria
- Getting to know a successful project "Hidden stories


29.03.2016 – 04.04.2016, Skopje, Macedonia

Host organization: National Council for gender equality
Held in
Save Club, Skopje, Macedonia


06.06.2016 – 10.06.2016, Lodz, Poland
Host organization: Poleski Center of Art

Theatre Tsvete was invited to participate in XII International Biennial "Therapy and Theater" – 06.06 – 08.06, 2016, Lodz, Poland, to present his experience of working with children with SOP and to present two forum-theatrical performances for the prevention of school violence "And what would you do??“

The actors also joined with interest in:

Monday, 06 June
Academic Center for Art Initiatives (THAT'S RIGHT)

09:00 -11: 00 h - Panel 1: Theater for the Disabled in Slovakia, Bulgaria and Ireland
Irena Jajte-Lewkowicz from the University of Łód., Ph.D Maria Chaloupkova from Bratislava, Tsvete Yaneva from Sofia and Katarzyna Ojrzyńska from the University of Łód.

11:15 h - 13:00 - Panel 2: Theater behind bars
Dr. Magdalena Hasiuk from the Polish Academy of Sciences, Виолина Janiszewska (cooperation with the Penitentiary Institution in Novogard) and Agnieszka Piasecka (cooperation with the Penitentiary in Grudziądz)

Exhibition of drawings by Monika Kuriata - portraits of actors with disabilities
Poster exhibition - Superheroes by Dr. Michal Bałdyga

Nowy Theater, big stage
Review of creative activity of people with disabilities

Lobby on Nowy Theater, 1-you floor
Lesson One. About: Recognition by touch, exhibition of touch graphics from Katarzyna Jagodzińska from the Academy of Fine Arts in Łód.

16:30-18:30 Nowy Theater, big stage
Theater-dance seminars, conducted by Jmad Baeyens, SET6 theater, Belgium

Tuesday, 07 June

12:00 and 15:00 Academic Center for Art Initiatives
“And what would you do??”Theatre Tsvete, Bulgaria

19:30 Nowy Theater, big stage
Unicorn, dir. Jeroen Baeyens, Move6 theater, Belgium

Wednesday, 08 June

Short performances without text or with very little Polish text by people with disabilities

16 -18.30 Meeting of the partners in the office of the hosts from Poleski Center of Art, Krzemieniecka 2а

Thursday, 09 June,

Poleski Center of Art,Krzemieniecka 2а

10:00 o'clock. -11: 00 Anna Лалковска: Situation of the single mother in Bulgaria - social assistant; programs
11.00-12.00 participation in a computer workshop for adults
12 -13 SOZM - integrating workshop ‘Makedonski bean
13-14,30 Lunch (tasting of dishes)
14:30 – 17 craft workshops
17-18 Evaluation of the day, organizational questions
Friday, 10-you June
10: 00-12.30 Visit to the textile museum
12.30 – 14:00 Lunch at the museum
15 00 Meeting in Art Center Poleski
16:00 – 17.00 dance session of the Center for AdultsKarolew (branch of the organization)
17-18 Summarizing discussions, score on the meeting


connection with the strong interest in the presented at XII Toto International Biennial "Therapy and Theater"– 06.06 – 08.06, 2016, Lodz, Poland, we publish the following article by Violina Vasileva-Alexandrova

Forum theater as an aspect of non-formal education

Violina Vasileva-Alexandrova

Resume: The characteristics and priorities of non-formal education are considered, which coincide with the current priorities of the Forum Theater. The development outlines the basic principles of the Forum Theater, its goals and objectives as an aspect of the informal education. The advantages of the Forum Theater as a good practice in the field of non-formal education when working with adolescents and young people are widely represented..

Non-formal education has developed at an extraordinary pace in recent years throughout the European Union as well as in the new member states. The development is conditioned by the new socio-economic conditions in our countries and by the development of the civil society.

In the most popular publications, non-formal education is defined as a set of processes, funds and institutions, specially and specifically developed for the needs of training and education, which, however, are not directly aimed at giving a degree. Its characteristics are:

1.It is an innovation, which is called to give a solution to certain social problems.

  1. It is deliberate and purposeful, but is not oriented towards a specific certification procedure.
  2. Rather, it covers the contemporary efforts of the participants to solve specific problems, than learning and mastering certain academic disciplines or subjects.
  3. It can help to initiate a program or project after a certain experimental stage.
  4. It is flexible and centered in the learner.
  5. It is rather practical, than theoretically.
  6. Non-formal education programs are independent and less susceptible to external scrutiny.
  7. It is more economical, as it uses all kinds of spaces and means for educational purposes.
  8. It is a continuous process, accompanying lifelong learning.
  9. Non-formal education is based on mutual trust and respect, which encourages questioning and reflection.(Innovation in Literacy and Non Formal Education. –In; Literacy Watch BULLETIN, January 2001-N17)

In essence, non-formal education is an approach, which can be used with adults, young people or children, in the classroom or outside. It is focused on the needs of learners. Uses the learner's resource, drawing on their experience, respecting their personality, dignity, honor and belonging.

In recent years, it has been observed on the one hand, distinguishing the parameters and importance of formal and non-formal education, but on the other hand new bridges and canals were created between them, as well as uniting the efforts of institutions and organizations, carrying out both types of education, and the growing number of trainers find professional realization in both areas.

Recently, research on human beings, as individuals and as part of society they have developed. When we talk about quantitative changes, even when correlated with other changes, as physical, intellectual and personal, we mean those relating to the attitude, structure and personal organization. The wider the range of information, educational and alternative services for all categories of the population, the more upward the personal and social development.

In this context, at European level, the participatory arts have become valuable alternative methods for lifelong learning and personal development. They are an integral part of non-formal education in our country as well. The contemporary arts include a series of interactive methods, such as Forum Theater, whose roots are as in education, and in the theater. Contemporary Arts and Forum Theater, in particular, work with emotional intelligence and provide a secure space, where professionals - educators, psychologists, social workers and artists meet people on an equal footing, to work together. Due to its flexibility, these methods can be successfully applied in working with groups from different socio-economic conditions and educational levels, from young people, confronted with violence or risk, to groups of people with special needs, facing educational, adaptive and behavioral problems.

A significant contribution to the development of the contemporary arts belongs to the Brazilian director Augosto Boal, founder of the "Theater of the Oppressed". Augusto Boal is influenced by Brazilian educator Paolo Freire and his social view of non-formal education. The two met while working together on a literacy project in Peru.

The name of Paolo Freire and his "Pedagogy of the Oppressed" is associated with the ideas and practice of progressive pedagogy. According to Freire, formal and public education are subject to the principles of dialogicity. Education is a collaboration, based on respect, and is not a one-sided influence. He calls traditional education "banking", because it seems to be ready, pre-prepared outside deposits in the student, and does not help him to develop fully and independently. For him, practice is an informed action, related to certain values, through which everyone can participate in the creation of life and the world. Therefore, alternative education is closely linked to the community. He insists that educational activities be naturally included in people's life experiences and be based on conscious choices and decisions. (Nikolaeva, 2008).

Education is a product and reconstruction of knowledge. It is conscious, rather than imaginary accumulation. Augusto Boal assembles Freire's didactic device and the artistic devices of conventional theater and thus obtains a triple result - an aesthetic project with an educational and social effect.

There are three main versions of Augusto Boal's Theater of the Oppressed, which could overlap and interact, and the choice of one or the other of the three types depends on the situation, in which the work is performed and for the purpose of the theatrical and educational process. These three types are:

  1. Image theater (Image theatre)
  2. Invisible theater (Invisible theatre)
  3. Forum theatre (Forum theatre)

Fundamental for all three types is the participation of people with and without theatrical experience, no age restrictions, floor, race, social and cultural affiliation. Exceptional democracy, accessibility and the wide range of means of expression makes the Theater of the Oppressed an influential means of discussion, polemics and ultimately an attempt to resolve personal, social and human problems, in a word, everything, which worries and excites people in their lives.

The theater of the image is a series of exercises and games, which puts participants face to face with truths about society, the family and between human relationships, without use, at least at the beginning of the speech. Participants make still images of their events on the topic, feelings, experiences or attitudes towards something, generally cases of oppression of one nature or another. The group suggests a title or topic, which are then depicted as sculptors of the same name, using their own or other bodies as "clay". The image does not remain static, and as in other forms of "Theater of the Oppressed", the frozen picture is a vital factor in this type of work. The group of participants sees pictures of different types and meanings in most cases with a surprising connection between them, often things, which the sculptors themselves did not realize. The images are independent of language and cultural barriers and as Boal shows, they often reveal unexpectedly universal truths. In addition, working with images is more democratic and does not privilege people with a better verbal culture.

The pictorial theater can be used in preparation for the Invisible Theater or the Forum Theater and is fundamental to some forms of therapeutic work reflected in Boal's book. (1995).

The invisible theater engages the audience as participants without even knowing it. They are both spectators and participants in a dramatic scene, but while it is happening (and usually even after it) they do not know, that it's just theater, and not "real reality". Of course, this is also real life as long as the people and reactions are real enough during the event. This is a theater, which does not take place in a theater hall or any other theatrical space, and in public places, which we would not associate with a game or a performance - the subway, the restaurant, store. Several actors prepare the stage, which is then played out in a public place and usually involves unusual "out of the ordinary" behavior in a given social environment. Eyewitnesses are involved in an argument, usually supported by actors - provocateurs mixed with the audience and expressing two opposite reactions to this, which happens.

Invisible theater is a way to stimulate discussion, involving people in problems, in the form of a public forum. It can be compared to an "agitated" street theater, so, that the audience is free to take any position and offer any way out of the situation, without having the feeling, that she was taught. This is another principle in the "Theater of the Oppressed" - never be didactic with your audience, but to emphasize the process of mutual learning.

Forum theater is an effective means of personal intervention, socially, political, educational level and to a lesser extent at the psychotherapeutic level. The method is based on the use of theatrical language and aesthetic space, in order to stimulate active public intervention, and to facilitate interactive reactions between actors and audiences. The latter becomes spectator-actors, united in the effort to explore, analyze and rethink problems, encountered by the group, to which they belong.

Forum Theatre is a theatrical play, in which the problem is shown in an unresolved form. The audience (active "observers") is encouraged to focus on a specific problem or topic, to understand it, to understand it better and to try different possible solutions. The problem is always a symptom of oppression and usually involves a visible form of such oppression and the protagonist (protagonist), who is his victim. In its purest form and the actors, and the participating spectators are victims of such oppression. That is why they are able to offer different solutions as they are personally familiar with this type of oppression. After a show on stage, called "model", it is shown again in a hasty form, following the same order of events, until a member of the audience says : "Stop!”. He then takes the place of the protagonist and tries to overcome the oppression, tries to cause a positive change in the situation of the victim by changing his behavior in a way he thinks is appropriate.

This is an interactive form of competition between the participating spectators, who are trying to lead the stage (or the play) to a different end, in which the vicious circle of oppression is broken and the actors, who are visibly making efforts to bring the play to its original finale, in which the protagonist is defeated, and the oppressor triumphs.

(victim) → character → actor → public ← society

In place, where the actor meets the audience, in the theatrical space, society faces the scapegoat with a double degree of removal. Individuals, which make up the audience, They "leave" society and "stay" in the theater, where they play the role of society and react more as a group, than as individuals. The actor plays the character, behind whom stands the victim.

The host of this game is called "joker" and its function is to ensure the main course of the game and to train and guide the audience according to the rules., namely, to seek real solutions to real problems. It helps viewers discover a different way of thinking, to be critical of it, which they hear, see or feel. The role of the "joker" is reminiscent of the role of the trainer - not necessary, does not criticize, respects the suggestions of the participants, without choosing the direction. The Joker clarifies the messages, promotes the participation of all, gives free space for reflection and action. He is a trainer, someone who accompanies learners in the world of their knowledge, to the place, in which all participants change and learn, that they can change the world.

Through the Forum Theater we draw attention to the different possible variants of reaction in the same situation. Finding a solution as a starting point from the Forum Theater is not mandatory. It is more important to provoke a good debate, in which the maximum number of opinions can be heard. The discussion, the conflict between different ideas, arguments and counter-arguments must provoke, stimulate and improve the preparation of viewers for finding solutions in real life. Forum theater stimulates participants to take an active position in choosing behavior, increase coping skills in unexpected situations, providing an atmosphere of sincerity and trust and improving group interaction.

Brazilian director Augosto Boal develops and widely practices this theatrical technique, whose goal is to train and stimulate people to "play" an active role in their community. Thus, they can actively participate in social decision-making, economically, political and personal problems. Recognized by the United Nations through UNESCO as an official "tool for social change", The Forum Theater is extremely useful and useful for influencing the legislation and for creating an engaged and enlightened citizenship., respecting human rights and responsibilities.

Current priorities of non-formal education, which coincide with the priorities of the Forum Theater are:

  • Preventive education - AIDS and HIV, aggression and violence, coping in an intercultural environment, etc.;
  • Lifelong learning;
  • Development of creative possibilities and potential of people of all ages and groups;
  • Civic education.

In our country Forum Theater is applied when working with children and youth on projects in individual schools in Sofia and the country on topics mainly related to aggression and violence at school, domestic violence, sexual and reproductive health, when working for the prevention of human trafficking and drug addiction, etc.

Forum theater gives young people the opportunity:

  • To create a supportive, motivating and stimulating environment for development, in which participants share freely about things, through which they pass at this contradictory age;
  • To provide a long and sustainable space, with the opportunity to gain knowledge about themselves and others;
  • To provide a secure environment for testing different opinions and suggestions regarding a specific problem, to share experiences, for learning and fun;
  • To discover the positive qualities and talents in each participant, as well as to stimulate their expression in the world through activities and projects;
  • To enrich the participants by giving them the experience of working in a group, group dynamics and a sense of personal responsibility and position in the group;
  • Connect with young people from different social groups with a focus on sharing experiences and mutual enrichment;
  • To inspire young people to participate in various socially significant projects initiated by themselves and their friends;
  • To create a space for an intersection between the experience of adults and the energy of young people;
  • To help participants enter the world of adults with clarity and confidence;
  • To offer alternative education and training on topics, which are not widely covered in the curriculum as: SPIN and HIV, aggression and violence, coping in an intercultural environment, etc..

Working with young people is an inspiration and a challenge. Inspiration, because of the speed, with which they can also develop because of wisdom, which they carry - unencumbered by experience and marked by the genius of the new and different generation. And a challenge, because of the trepidation of whether you will attract their attention, will you be able to meet their needs and expectations, will you have an answer to all their questions.

Forum theater is an aspect of non-formal education because:

  • Gives the opportunity to solve certain, specific social problems;
  • It is aimed at the formation of specific social groups without the purpose of their certification;
  • It goes through an experimental stage and is more practical than theoretical;
  • Gives the opportunity to initiate programs and projects, which are relevant to the community;
  • It allows for its flexible application and is aimed at a specific group with a specific problem;
  • He is independent and uses all kinds of spaces and means for educational purposes;
  • Accompanies lifelong learning;
  • Encourages questioning and reflection based on mutual trust and respect.

Education today is not just a model of intergenerational continuity in learning and developing experience, nor is it merely a tool for personal development or professional training. Increasingly, it is also a model of recreational behavior or activity, compensatory development, type of information system, creative laboratory, option of social integration and identification, environment of self-improvement, self-affirmation and competition.


Nikolaeva,FROM.(2008) Informal education. Philosophy. Theories. Practices. EX-PRESS

Boal, A.(2005) The Aesthetics of the Oppressed

Innovation in Literacy and Non Formal Education. –In; Literacy Watch BULLETIN, January 2001-N17


Vienna; 15 – 16 January, 2017
Host organization: ARGE tell borders

Meeting place: IFF Faculty for Interdisciplinary Research and Training, University of Klagenfurt, Schottenfeldgasse 29, 1070 Vienna

14.01.2017 - Saturdayarrival

15.01.2017, Sunday

10:30 check in

11:00 – 13:00 Discussion of the preparation of an e-brochure with a description of the applied methods

13:00 – 14:00 Lunch

15:00 – 17:00 Discussions on the preparation and adoption of the interim report; conclusions

19:00 Dinner in Old Viennese inn Schilling, Burggasse 103 http://www.schilling-wirt.at/

16.01.2017, Monday

9:45 check in

10:00 – 13:00 What else do we need to achieve?? Training planning in Vienna

13:00 – 14:00 Lunch

14:00 – 18:00 Sustainability (website, Facebook), quality assurance and measures to improve the results of EUPIN

19:00 Dinner in Inn to the city of Krems, Zieglergasse 37 http://stadtkrems.steman.at/

17.01.2017, Tuesday departure

Stephansdom Belvedere - Klimt Tasks


18-24 February 2017 r.

Host organization of the event: ARGE tell borders

18 February, Saturday - day of arrival

19 February, Sunday

13.00 Welcome and presentation of the agenda

13.30 – 16.00 Seminar "Learn to set boundaries", Jadzia Konopacka (POS)

16.00 – 16.30 Coffee break

16.30 – 16.50 “To dance”, Chania Yastrebzhska-Gzhela (POS)

16.50 – 17.50 Shiatsu, Angelica Brechlemacher (ARGE)

17.50 – 18.00 Feedback

19:00 dinner at Schilling inn, Burggasse 103 http://www.schilling-wirt.at/

20 February, Monday

13.00 Integration project IGOR, Brigitte Gadnik-Jiskra and Monika (ARGE / POS)

13 – 14.30 lunch, pizza, invitation from ARGE

14.30 – 15.00 Dance (POS)

15.00 – 16.00 Paper workshop, Maria Khalupova (SLOVAKIA)

16.00 – 16.30 Discussion / feedback

21 February, Tuesday

14.00 – 16.00 Music therapy, Chania (POS)

16.00 – 16.30 Coffee break

16.30 – 18.30 Jewelry workshop, Anja (SOZM)

22 February, Wednesday

10.00 – 11.30 Bread workshop (video), Anna Lalkowska (BASD)

11.30 – 12.30 Interview with Christa Poster (ARGE)

12.30 – 14.00 Lunch (Vietnamese cuisine)

14.00 – 16.00 Creative seminar, Violina (T-R FLOWERS)

16.00 – 16.30 Coffee break

16.30 – 17.30 film and seminar "Thai, Marchin (POS)

17.30 – 18.00 Discussion and feedback

19:00 Dinner in Inn to the city of Krems, Zieglergasse 37 http://stadtkrems.steman.at/

23 February, Thursday

10.00 – 13.00 Study of the urban environment and lunch

13.00 – 14.00 Evaluation and discussion

14.00 – 15.30 Lunch

15.30 – 17.00 Rehearsal of a dance group

24 February, Friday - departure

MAP OF DREAMS (Creative seminar)

Leading: Violina Vasileva-Alexandrova;

22.02.2017; Vienna

Who can it serve?: To social workers with a target group of elderly people, mostly women

Number of participants: Unlimited

Necessary conditions: Tables and chairs for all participants
Prior notice, that to participate, they have to choose their photo, who also like small items with positive emotional value for them, Natural materials (list, midički et al.).

Large sheets of A2 cardboard
Sculpting tape
Magazines, newspapers, fliers
Pastels, colors, pens, markers;
Pieces of cloth, ribbons, Natural materials

Duration:120 min.

Against the background of quiet music, the presenter invites the participants to return mentally to their childhood, to remember what they loved to do, what they dreamed of.
Are these dreams related to specific individuals and objects?
How their dreams change over the years?
Do they still have some of their childhood dreams, who strive to achieve?
Have participants write their dreams on a piece of paper, related to at least 10 freely chosen by them, different areas of your life: health, faith, family, relationship, education, prosperity, glory, career, future, etc..
Each participant creates their own dream map, finds and decorates a special place for each of them.
It is good for each participant to send a positive message to the universe, or think of it together, write it on their cards and keep them close to your eyes, your hearts and minds.



under the direction of Felice Frank

Stephansdom (137 m) The dome is dedicated through 1147 r , at the very beginning of the entry of romance as a style in architecture. It is dedicated to St. Stefan, the first martyr, killed with stones in 31 AD, the time of the persecution of Christians in Jerusalem.
During World War II, the cathedral was saved from deliberate destruction by a captain Gerhard Klinkit, who disregards the orders of the city commander to “fire a hundred shells and leave only debris and ash “. On 12 April 1945 g., when the Soviet army entered the city, civilian robbers set fires to nearby shops. The winds spread the fire to the cathedral, the roof was badly damaged and collapsed. Fortunately, built protective brick arches around the pulpit, minimize damage to the most valuable works of art. Pummerin, the largest bell in Austria, was also damaged and many Austrian citizens made donations to a new bell and tiles.

Restoration of this Gothic jewel began immediately and the cathedral was partially rebuilt in 1948 r. and completely - 23 April 1952 r.
To the left and right of the main entrance you can see two stairs, who wear the genitals on top of both sexes, which is very unusual for the Roman Catholic Church. Some historians think so, that they were probably built by hired builders, who built them according to their traditions. The columns correspond to Boaz and Jachin, two copper, brass or bronze columns, which stand in the portal The Temple of Solomon, the first temple in Jerusalem.

On the left side of the main entrance you can see two iron bars, which are Viennese standard measures for bed linen and tapestries. This allows traders to comply with local regulations.

On the right side of the dome you can see the outline of the Chapel of Magdalene, built on the chapel of Virgil (13-you century, rediscovered in the 1970s, when the subway is being built).

St. Stevens Cathedral is reflected in the modern windows of Haas house (1990 g., by an architect Hans Holein).

Fun facts: The shops inside do no business, a specialist in Feng shui, from whom they sought advice, explain, that the building looks like a crooked picture of Picasso and the entrance, overhanging to the first floor, would not be too attractive to enter. So that, all small shops were closed and an international fashion company remodeled the entire interior and now customers use the side entrance.
Stick in the iron (stick in the iron) is the middle part of a tree trunk, called Nokteno, which hundreds of nails have knocked for luck since the Middle Ages.
The original spruce begins to grow around 1400 r. and split around 1440 r. Through 18 century was created Custom traveling blacksmiths and apprentices to knock nails in this tree for good luck.

Pestsäule 1697 after an epidemic of smallpox, The memory column was created in a period of about 20 years by various sculptors. The Holy Trinity Column is considered High Baroque and was copied throughout Austria.

The Holocaust Memorial „Judenplatz is an initiative of Simon Wiesenthal and was designed by the British artist Rachel Whitered. The memorial commemorates 65 000 killed Austrian Jews during the Holocaust and was found at 25 October 2000 r. „This monument does not have to be beautiful, should cause pain.
Crossing the narrow street of Haarhof, going through He nodded in the direction of the best neighborhood Kohlmarkt, we visit a famous confectionery shop Demel, where it was invented Sachertorte, to see how confectioners work.

Hofburg is the former imperial palace, residence of the Habsburg monarchs, today the building provides exhibition halls for a large number of museums (for example a museum Sisi), as venues for events (e.g.. Big balls) or as the Office of the Federal President.
Heldenplatz The fate of the sculptor Anton Dominik Fernkorn reflects the possibilities, but also the pressure, to which the artists of the "ring" of the rulers are subjected. The idea of ​​the Statue of the Archduke Charles as a horseman of Fernkorn is to make a static performance, for which he used monumental bronze for the first time. The figure has only two fulcrums.

Thanks to the huge success, Fernkorn was receiving a second order. For the second sculpture of Prince Eugene he must use the horse's tail for balance. He cannot bear the physical and psychological strain of the task: Before finishing the statue, he was placed under medical supervision, and eventually spend the rest of his life in a madhouse.
Maria Theresienplatz (born 1717) It is sovereign of Austria, Hungary, Croatia, Bohemia, Transylvania, Mantua, Milan, Lodomeria and Galicia, Austria, The Netherlands and Parma for forty years. She was the Duchess of Lorraine by marriage, Grand Duchess of Tuscany and the Holy Roman Empress. Franz Stefan was the husband of his wife. Despite her love for him and his position, Maria Theresa she never allowed her husband to decide state matters and was often rejected by council meetings, when they did not agree. Maria Theresa gave birth to sixteen children, thirteen of whom survived early childhood. She was so conservative in her management, as in religious, but carried out significant reforms to strengthen Austrian military power and bureaucratic efficiency. Introduced compulsory school attendance, elimination of torture in general, etc.. It doubled government revenues. The monument "Maria Theresia" is surrounded by the Natural History Museum, The Museum of Art History and the Museum Quarter. But we had other plans! We went to the tram stop, we changed the tram to the subway and finally got to the bus
Enjoy the beautiful view from the top of Kalenberg.


8 – 10 June 2017 g.-

Malatsky and Istipolis, Bratislava - Slovakia
Host organization of the event:
Slovak Association of the Physically Handicapped District Center Malacky

The most important topics:

1) Welcome from the Slovak partners
Mrs. Viera Znechkova welcomes all participants in the meeting.
The project team notes the separation with Maria Chalupova with a smart minute.
Ms. Renata Biksadska was elected as the new Slovak project manager.

2) Preparation of the online brochure

3) Preparation of the final report

4) Final meeting in Lodz: 27 – 29 July

5) Three new opportunities to apply for funding (reported by Anna Lalkowska)

All partners are reminded, that they must prepare their Euro-passes and send them to the coordinator.

7) Conclusions.
The coordinator thanked the Slovak partners for their hospitality and professional preparation of the meeting.. The next steps in the development of the project are presented. The Slovak partner handed out certificates.



27 -29 June, 2017 - Lodz, Poland


28 -29 September, 2017 - Sofia

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