On the 17th of February 2016 at the University of Zimbabwe Beit Hall, Almasi presented Tumaini, a physical theatre lab performance led by Lloyd Nyikadzino. The performance was a culmination of a 7 day investigation process with 10 actors; a mixed pool of experienced actors and University of Zimbabwe Students. Centered around the character development process, Tumaini saw the facilitator and the actors exploring issues of displacement, transition and migration, and how these affect the human being. Tumaini drew participants from the pool of actors who participated in a physical theatre training intensive and lab led by Tafadzwa Bob Mutumbi in September last year. This physical theatre lab is part of The Capacity Building of Dramatic Artists Project supported by The Culture Fund of Zimbabwe Trust in partnership with Sida and Danida.



Everson Ndlovu
Brighton Ndlovu
Tawanda Mutumbu
Tabeth Kamumvuri
Privilledge Gwaba
Memory Zikhali
Rumbidzai Karize
Patrick Chakaingeni
Nyasha Mukombero
Privilledge Gwaba

Facilitator | Lloyd Nyikadzino
Stage Manager | Prudence Kalipinde
Operations | Kudakwashe Kanembirira
Associate Artistic Director | Elizabeth Zaza Muchemwa
Managing Director | Mushamisi Kahari






Tumaini: A Great Experience

My passion lies in primarily telling stories through the body. My desire is to see the body profoundly communicate that which we are sometimes shy or afraid to speak. I was honored to have been selected by Almasi Collaborative Arts to lead a seven-day physical theatre lab, an exploration focusing on character creation and development. During the lab, I invited the actors to walk with me in exploring this world, and in the process help them awaken the same imagination and magic that is associated in the character investigation process. I wanted them to become inspired to find and share their own voices and influence an understanding of the impact of their bodies in space. The character development process was designed to address challenges in creating new works, with a special focus dedicated to being present and truthful in space. The analysis also dealt with kinesthetic awareness and maintaining vulnerability in creating a believable theatrical character. I provoked the actors to create breathing and living entities in space and time. It was an intriguing process of deconstruction, self-discovery, and embodying the other, as well as inhabiting the proposed space or circumstance. An investigation where darlings/self were discarded in order for the other to come to life. It was about letting go and discovering new worlds through the body. Imagination had to precede analysis. I provoked the actor to not hold on to something precious or discoveries for too long because in the character creation journey, they will meet interesting dynamic dimensions to continue exploring. Everything had to boil back down to the core of their physicality, movement, intention and focus; how they inhibit space and fully live in the other. It was paramount that the actor discover the other. They had to put effort in everything the character does, as the stakes continued to rise. They had to risk what they wanted as actors, to pay attention to what the character desires, and to satisfy the character’s appetite. When they let go of the actor and allowed the character to manifest, the momentum escalated and all was pleasurable | CONTINUE READING