Methodology

Every human being possesses creative potential, but for various reasons it is mostly being lost or suppressed.

In Baltzar pedagogics, emotional intelligence, self-knowledge and interactional skills, missing from current educational systems, are being thought by drama-based experiential methods.

As an ongoing activity, Drom Association offers young people education in which they get contact with their own creativity. In the context of Integration Theatre Baltzar, they have a chance to do this while preparing theatrical performances.

Experiences

"Baltzar’s work is intuitive, he leaves the participants freedom and space to discover themselves. He is able to describe their state of mind with a few words, he proposes them a way and gives them faith so that they will be able to go through it."

Lenka Nemeckova, Sny – international theatre workshop, Prague’s National Theatre, Czech Republic, 2012
"Before our workshop had started, I felt a lot of fear, and afterwards - a lot of gratitude. I learned that I am able to do more than I believe. As a teacher/director, Veijo Baltzar is very intuitive and improvisative – he is able to “acclimatize” to any conditions. He never lets the actor in peace, has him to make new and new steps in his way to the role – he changes conditions and arrangements in order to provoke creativity in the actor. His way of making theatre is very “Gipsy” - improvisative, flexible and oriented to process rather than results – which I find very inspiring."

Jan Tosovsky, Sny – international theatre workshop, Prague’s National Theatre, Czech Republic, 2012

Sny – a final work of international theatre workshop, Prague’s National Theatre, Czech Republic, 2012.

”In Theatre Baltzar theatre is done differently than elsewhere. At first, I was confused. But as time passed, I realized that here technique does not come first, but
the individual is in the center of everything, the expression that stems from his/her inner self. Baltzar concentrates on the person first and only later he applies technical demands on him/her. Which means that you can grow and develop as a human being first, you don’t have to be ready so soon. You are given time and space to develop yourself. That’s the best thing.”

Lilian Luo, cabaret play “Sin”, 2016

”In this theatre, I have learned to concentrate on expression and what I want to say, not HOW I want to do it. Veijo directs in a different way than others. The question is about inner growth, which takes time, to find your own identity. In the beginning of this production I was lost, because I performed things technically and was afraid of doing something wrong. Later I understood that the first thing I am supposed to learn here is accepting myself. To build one’s own basis, as Veijo says. After this realization I how gone a long road upwards, and never have I felt myself so strong and confident.”

Peppina Sillasto, cabaret play “Sin”, 2016
”This is what everybody should get a chance to do. All people, even those who would never do this, they really shoud. I’ve noticed that all these young people in our group, they have the potential, all others have it too. It’s up to your own thinking, which path you will choose, weather you will have the courage to try. Baltzar’s teaching and directing definitely encourages to dare and to try.”

Participant, cabaret play “Sin”, 2016

”Veijo brings forth such elements in people which you yourself aren’t even aware of. Veijo sees that we all are talented. In ballet, teachers clearly put their energy into those pupils that they perceive as the most talented and leave those who are not without attention. Here, again, one never feels that kind of feeling, because everybody have a chance to try and to test things. Veijo sees the potential which needs to be fostered.”

Participant, cabaret play “Sin”, 2016