like breathing,
    is an essential need of every human being. The play represents a
    continuous DEVELOPMENT.

    is the art of the
    present – because the game requires presence – and allows
    continuous rediscovering of life through the present empirical

  • THEATRE is
    not and it should not be a privilege of theatre institutions only
    and professional troupes, but a research and creative expression
    tool of every individual or a group for the purpose of personal
    development and social engagement.

    Playful, unpredictable. There are no mistakes in it – but rather
    moments in which one constantly learns, grows. Fear of the unknown
    becomes a creative challenge. Cooperation and focus on another being
    triumph over competition and egocentricity. One should only want –
    dare – change.

  • Theatre
    is a
    The dialogue of all those being part of a theatrical event.
    Participants and spectators and social community alike… In order
    to achieve this, theatre should be free of institutions, box scene,
    repertoire policy, backstage manoeuvering…

  • Every
    is valuable and relevant enough to be used as a drama template for a
    stage, and every man is free and capable of conveying an emotion,
    message, beauty, struggle by using dramatic tools…

  • Between
    the social bottom and the social top, between repression on one side
    and cultural and artistic elite on the other, we demand FREEDOM

  • You
    do not have to go to the THEATRE,
    you can MAKE one
    your one

  • Young directors,
    playwrights, actors – stop loitering in theatre lobbies and cafes
    waiting for your chance to play and act. Wherever there are people,
    wherever life is, there is a CHANCE FOR THEATRE, more
    thrilling and true, crueler and gentler than any drama.
    Psychologists, pedagogues, social workers, teachers and all of you
    who did not give up on people and think that you can improve the
    existing practice by introducing new techniques – embark into

  • The mission of
    APSART is for the applied theatre to become a recognized and
    widely accepted practice, at least as much as it is the case in
    other countries worldwide in working with various social groups.

  • Our Aristotles of
    the new age are Augusto Boal, Keith Johnstone, prof. James Thоmpson,
    Dorothy Heathcote, Viola Spolin, Sue Jannings, Chris Johnston, Geese
    Theatre, Jacques Lecoq and many other industrious theatre
    missionaries belonging to various walks of life

  • And finally, i.e.
    primarily, all this is for the sake of humanity, love
    and Truth.