1960 was a good year

1960 was a good year

Jumped right out of the book

"Jumped right out of the book"

Brasil 1970/71

Brasil 1970/71

Festival d'Automne, Paris 1973

Festival d'Automne, Paris 1973

Whisper sweet nothings..., Manorkill, Schoharie County, N.Y., 1975

"Whisper sweet nothings...", Manorkill, Schoharie County, N.Y., 1975

Drawing by Marlon Brando,  Paris, April 1972

Drawing by Marlon Brando, Paris, April 1972

Pan-Out, Amsterdam 1983

"Pan-Out", Amsterdam 1983

Shirley Clarke with friends at the opening of Ornette Made in America, Caravan of Dreams, Fort Worth, Tx. 1985

Shirley Clarke with friends at the opening of "Ornette Made in America", Caravan of Dreams, Fort Worth, Tx. 1985





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Hans Echnaton Schano, poet, actor, director, author, management-trainer, media-coach, member of the LIVING THEATRE (N.Y.) since 1966, 1972 also Director of European Communications of the UNIVERSAL MOVEMENT THEATRE REPERTORY, active member of UNESCO- sponsored INTERNATIONAL THEATRE INSTITUTE, founder and director of the ONE WORLD THEATRE (1983, Amsterdam, Dallas, N.Y.), participated in theatre-, film-, television- and radio-productions in altogether 17 countries, performing in 6 different languages (German, English, French, Italian, Spanish, Portuguese). He also held lectures, workshops and seminars at a number of renowned Universities and Colleges (Sorbonne-Paris, France, University of Sao Paulo, Brazil, UT-Austin, TX., UT-Dallas, TX.)

Hans Echnaton Schano draws his experience as actor, director and teacher from a multitude of different theatrical traditions. From the Anti-Modern and Post-Modern innovations in performance art, the theatre of the Off-Off Broadway, the collective creations of the Living Theatre, Grotowski, Artaud's "Athletes of the Heart", Meyerhold's Bio-Mechanics and from Stanislavski all the way to the classical and modern traditions of the Far East.

In his practical exercises designed to further creative breath, sensual awareness, immediate perception, reflex excitability, sensory feeling-tone in vocal and mimetic expression, visualization, rhythm and dynamics, sound- and movement coordination, differentiation of voluntary and involuntary processes, of individuality and persona and of natural, of ritualized and of original irreplaceable expressions, participants may gain a new and largely facilitated approach to the complex relationship between form, content and technique in performance and theatre.

Hans Echnaton Schano's seminars, workshops and lectures always bring people closer to themselves. His exercises for breath and voice encompass the widest range of human feelings and desires imaginable in a balanced state of body and mind, while his personal dynamics lead his students to a better understanding of the true range of their own potential and to a greater sensibility towards others.

Biographical Notes

To include all of Hans Echnaton Schano's works in detail here would be impossible, so a few of the stations will have to do. Mr. Schano began his career as performing artist at age 16 during his high-school years back in Vienna, Austria, where he organized a satirical comedy program which he and his colleagues then performed at Labor Union sponsored holiday camps for young workers. Although impressed by the poets of the Wiener Gruppe (Konrad Bayer, H.C. Artmann etc.) and the virile artistic scene around the "Aktionskünstler" there (Nitsch, Mühl etc.), he soon realized that the psychic climate of the Vienna of the early 60's was not favorable to his desire to attain the knowledge necessary to become effective in finding and creating alternatives to what he already as a child had considered an inhumane society.

Internationally he first became notable in 1966, as a member of the Living Theatre of New York, which he had met and joined in Italy in 1965. He was to remain with the company of Julian Beck and Judith Malina for many years. In a recommendation to Austria's Minister of the Interior, Julian Beck wrote in 1971: "Hans Schano, actor and artist, has been a member of the Living Theatre company since the spring of 1966. He has since become one of the leading members of the troupe and his contribution to the creation of some of our major productions is incalculable. Since 1966 he has been steadily employed by the company, appearing in Mysteries and Smaller Pieces, Frankenstein, Antigone and Paradise Now! He worked with the production ensemble of The Maids (Genet) and The Brig (Kenneth Brown). He has participated in over eight hundred performances. He is also a poet of great quality and a man with high humanitarian ideals who has made an enormous contribution to the culture of the day."

"Echnaton", as Hans Schano was known to his friends, also participated in the Living Theatre's cycle of productions "The Legacy of Cain" in Brazil, in "Seven Meditations on Political Sado - Masochism" in the U.S., in "Masse Mensch" in Italy and Spain and in "The Yellow Methusalem" in France and Austria.

During the creation of "Paradise Now" in early 1968, Echnaton took some time off to go on tour with composer Frederick Rzewski's Musica Electronica Viva and took part in the group's project of contemporary, improvised electronic music called "Spacecraft". He also participated in a collaboration of Musica Electronica Viva with France's foremost "Happening" artist Jean Jaques Lebel at the festival of Parma. In addition to his work with the Living Theatre in Brazil in 1970 and 1971, he collaborated with a group of students of architecture there, to transform an industrial neighborhood into a residential area for a low income population. This project was to win that group the Architectural Biennale of Sao Paulo and the success enabled the students to continue the liaison that the Living Theatre had started with the inhabitants of a Favella. A project to place sanitary installations at that Favella ensued.

Back in Europe, Hans Echnaton Schano worked as a motivational therapist in Vienna and co-founded the "Association Against Addiction". During the Festival d' Automne in 1973 in Paris, he collaborated and performed together with the well known performance artist Simone Forti and the composer Charlemaigne Palestine.

Up until today and continuing, Hans Echnaton Schano has lived and worked in seventeen countries, performed in six different languages and lectured at a considerable number of universities in North and South America and in Europe.

In the mid 1970's Mr. Schano took some time out from theatre to do some organic farming upstate New York. He also became a member of a group of poets in Woodstock, N.Y., whose work was compiled in the "Anthology of Woodstock Poets". Echnaton saw himself as a glee-man in the ancient bardic tradition and recited his works freely and without the use of written texts during his weekly poetry-readings.

After extensive travels through Central America, he spent a few years in California. In San Francisco he was initiated into the secrets of the "Talking Drum" by Ghana's master drummer Kwaku Dadey. In Los Angeles he dramatized a book of poems by David Austin and staged it under the title "Is Pride a Man" at the Kinsey Auditorium of the Museum of Science and Industrie. In collaboration with Guy the Cointet, the well known Belgium performance artist, he participated in Cointe's piece "Ramona" at the California Institute of Technology. During his time in Los Angeles he also worked as a German instructor for the NASA engineers at the Jet Propulsion Laboratories in Pasadena. He then went on to Austin, Texas, where he lectured on avant-garde theatre techniques of the sixties at the drama-department of the University of Texas, worked at K-UT (the local university radio station) and co-founded the University Employees Union, which later was to become a major part of the Texas State Employees Union. Then he returned to Europe and to the Living Theatre, which at that time was again residing in Rome, Italy.

All during the time with the Living Theatre and thereafter, Hans Echnaton Schano kept close contact to many renowned artists and scientists of the time. He was welcomed by Salvador Dali, attended workshops by Alan Watts, got to know R. Buckminster Fuller, talked with Ronald D. Laing, became good friends with Roy L. Walford, the eminent gerontologist, lived together with Jim Morrisson at the poet Michael McClure's house in San Francisco, spent some time on holiday together with Jimi Hendrix in Marocco, and with Marlon Brando during the making of "The Last Tango" in Paris, argued and loved to disagree with Tim Leary. This list could be extended beyond any reasonable limits and it's purpose would not be to namedrop all over the place, but to bear witness to a greater coming together of minds concerned with the problems of the world and the whole of humanity.

Mr. Schano's performance piece "Spheres", about the individual's attempt to break through the barriers set by one's own personality and dominating power structures, was performed in Paris in 1982 by his students there. Before that, George Whitman had invited Echnaton to read his own poetry at Shakespeare&Company in Paris. The same year he played Billy the Kid in Michael McClure's "The Beard" at the One World Poetry Festival in Amsterdam. A year later, at the same festival, his play "Pan Out" was given an enthusiastic reception by an international audience. "Pan Out", in Echnaton's own words, was "an attempt to arouse the unseen natural processes of increase through a quick dismantling of common illusions and by bringing together some of the extreme opposites of time, space, history and human relations in a contemporary play of essences."

After Paris and Amsterdam, he went back to Texas, but this time to the Dallas/Ft. Worth area. As guest of the "Caravan of Dreams" (formerly known as the "Theatre of all Possibilities", later to construct the "Biosphere" in Arizona) he took on the role of Dr. Faust in the Caravan of Dreams Theatre Company's adaptation of Goethe's "Faust, Part 1" and helped to initiate a poetry series at the Caravan of Dreams. Julian Beck and Judith Malina were readers in that series as well as William Burroughs, and a number of other well known poets. It was there, where Echnaton last saw his friend and teacher Julian Beck, who was to die later in 1985. In Dallas he also hosted a weekly event at the D'Jazz Club, called the "D'Jazz Theatre", where he and other poets performed their works to live, improvised Jazz. An art form that Mr. Schano still practices today.

In 1989, Echnaton returned to New York, this time as a guest of the Living Theatre and performed the one-man show "Many Shades of Fade", a play about a sociologist turned hobo, by the Texas author Frank Bradley, that showed how "The lonely live in such a violent world and the violent live in such a lonely world!"

A month as special guest lecturer at the department for "Musical und Operette" at the Conservatory of Vienna, marked his return to the country of his origin. Many other artistic endeavors and participations in different works were to follow. His perfomance "The Mysterious We" opened the 1. European Forum at the Montan-Universität, Leoben, in 1994, since 2005 he has also become a part of the Lalish Intercultural Dialogues at the Lalish Theaterlabor in Vienna, with his lecture-demonstrations "Fascination Living Theatre: The Breath of Life and the Doors to Reality", and "The Sound in Our Breath", and for the last years Mr. Schano has regularly staged a performance in remembrance of the victims of Hiroshima and Nagasaki at the Peace Pagoda of Vienna.

Mr. Schano is convinced that our own willingness to accept violence in certain situations facilitates the perpetuation of violence everywhere. He warns against letting our highest ideals to be bound by self-serving personal, economic, political or religious power structures, goes conform with H. W. Percival's thoughts on democracy being self-government and that feeling and desire ought to be balanced within the individual, before a whole society might succeed. He thinks that at a time where every three seconds one child dies of malnutrition in this world, endless discussions about aesthetics, politics, religion or philosophy should make place for immediate and constructive humanitarian action.

In Hans Echnaton Schano we encounter an artist who has devoted his life to heightening human awareness to the point of revelation in order to perceive of life as a challenge to fulfill one's duty to oneself and to others without sacrificing a certain margin of tolerance contained in the elements of play. He also sees the theatre and the arts altogether as a vehicle to invite people to participate in the discovery of how to reinitiate the involutionary and evolutionary processes necessary, to move towards a more humane society on the whole and he is certain that each person plays an equally important part in the creation of all of our individual and collective destinies.