ASSITEJ exists since 1965 to build the field of theatre and performing arts for young audiences in every country in the world. We believe that every person has the right to access the arts, as cultural citizens whose perspectives are vital to the understanding of the richness of cultural diversity. We believe that art for children and young people is a vital part of the arts ecology, and that it has tremendous significance and benefit in terms of the lifelong development of every human being. As a global association, ASSITEJ links members into national centers, regional and thematic networks, and into the wider ASSITEJ membership for international exchange. It provides opportunities for the field of performing arts of young audiences. The Global ASSITEJ community is made up of National Centers, Individual Members, and Networks, spread throughout more than 100 countries. ASSITEJ promotes an international exchange of knowledge and practice in theatre in order to increase creative cooperation and to deepen mutual understanding between all persons involved in the performing arts for young audience. WORLD DAY OF THEATRE FOR CHILDREN AND YOUNG PEOPLE Every March 20th ASSITEJ celebrates and promotes THE WORLD DAY of Theatre for Children and Young People with the campaign âTake a Child to the Theatre Todayâ and with World Day Messages, focusing on the cultural entitlement of children around the world. WORLD PERFORMANCE WEEK Celebrating the Power of the Performing Arts ASSITEJ proposes a unifying logo to enhance collaboration between international associations involved with different art forms related to live performance, which celebrate their World Days between March 20-27. These are UNIMA, ITI, IATC, and IDEA. FRIENDS OF ASSITEJ An opportunity for everyone to support the next generation of Theatre for Young Audiences practitioners, by contributing on a once or annual basis to the ASSITEJ Next Generation program.
ã¢ã·ããžïŒåœéå ç«¥éå°å¹Žèå°èžè¡åäŒïŒã¯ã1965 幎ã®èšç«ä»¥æ¥ãäžçååœã§å ç«¥éå°å¹Žã察象ãšããæŒåã»ããã©ãŒ ãã³ã°ã¢ãŒãã®åéãæããŠããŸããã誰ããè±ããªæåã®å€æ§æ§ã®ç解ã«äžå¯æ¬ ãªèŠç¹ãæã€æååžæ°ãšããŠã èžè¡ã«è§Šããæ©äŒãåŸãæš©å©ããããšç§ãã¡ã¯ä¿¡ããŠããŸããå ç«¥éå°å¹Žã®ããã®èžè¡ã¯ãèžè¡ãšã³ããžãŒã®æ¬ ã ã¹ããããäžéšã§ãããäžäººã²ãšãã®ç涯ã«ãããæé·ãšããç¹ã§ãéåžžã«å€§ããªæ矩ãšå©çãæãããšèããŸãã äžçèŠæš¡ã®çµç¹ã§ããã¢ã·ããžã¯ãåœããšã®ã»ã³ã¿ãŒãå°åå¥ã»ããŒãå¥ã®ãããã¯ãŒã¯ã®äŒå¡ãšãã€ãªããšãšã ã«ã ã¢ã·ããžäŒå¡ã®åœéçãªäº€æµãåºããæ©äŒãäœã£ãŠããŸããäžçã®ã¢ã·ããžã»ã³ãã¥ããã£ãŒã¯åœããšã®ã»ã³ã¿ãŒ ãšå人äŒå¡ãšãããã¯ãŒã¯ã§æ§æãããä»ã§ã¯ 100 ãåœä»¥äžã«åºãã£ãŠããŸãã å ç«¥éå°å¹Žã察象ãšããããã©ãŒãã³ã°ã¢ãŒãã«é¢ãããããã人ã ã®éã«ãåµé æ§ã®ããååãšæ·±ãçžäºç解ã å®çŸããããšãç®æšã«ãã¢ã·ããžã¯ãèå°èžè¡ã®ç¥èŠãšå®è·µã®åœéçãªäº€æã»å ±æãæšé²ããŠããŸãã åœéå ç«¥éå°å¹ŽæŒåã®æ¥ ã¢ã·ããžã¯ãæ¯å¹Ž 3 æ 20 æ¥ãåœéå ç«¥éå°å¹ŽæŒåã®æ¥ãã«ãããããä»æ¥ã¯åã©ããåå Žã«é£ããŠè¡ããïŒTake a Child to the Theatre TodayïŒããã£ã³ããŒã³ãå®æœããäžçã®åã©ããã¡ã®æåçæš©å©ã蚎ããã¡ãã»ãŒãžãçºä¿¡ ããŠããŸãã ã¯ãŒã«ãã»ããã©ãŒãã³ã¹ã»ãŠã£ãŒã¯ ãããã©ãŒãã³ã°ã¢ãŒãã®åã«ææãã ã¢ã·ããžãææ¡ããçµ±äžããŽã§ããæ§ã ãªåœ¢æ ã®ã©ã€ãããã©ãŒãã³ã¹ã«é¢ããåœéå£äœã®éã§ååãé²ããç® çããããŸãã3 æ 20 æ¥ãã 27 æ¥ã«èšå®ããŠãããïŒé±éããç¥è³ãããã¶ã€ã³ã«ãªã£ãŠãããUNIMAãITIã IATCãIDEA ã®åå£äœãåå ããŠããŸãã ã¢ã·ããžå奜äŒå¡ ãã¢ã·ããžæ¬¡äžä»£ããã°ã©ã ããžã®å¯ä»ïŒ1 åéãããŸãã¯å¹ŽïŒåïŒãã€ãããŠãã©ãªãã§ããå ç«¥éå°å¹Žèå°èžè¡ ã«æºãã次äžä»£ãå¿æŽããããšãã§ããŸãã
2 Beginning the Journey
ASSITEJ PROJECTS
THE ASSITEJ WORLD CONGRESS AND FESTIVAL Every 3 years ASSITEJ holds a World Congress and International Festival open to all involved in theatre for young audiences. Here the General Assembly of ASSITEJ members sets out the next 3 years of activity. ASSITEJ ARTISTIC GATHERINGS Every year between the triennial ASSITEJ World Congress, ASSITEJ holds an Artistic Gathering around an International Festival which brings together members from across the Globe. Each Gathering focuses on a particular theme and offers space for projects, network activities, and special events. NEXT GENERATION PROGRAM Next Generation Residencies are designed to bring together a group of young and emerging artists from all over the world for a special program at an international festival. Next Generation Placements enable individual artists to be hosted in different international settings through ASSITEJ member organizations offering diverse volunteer opportunities. ASSITEJ REGIONAL WORKSHOPS Practical skills-based workshops especially created in response to requests from regions according to particular needs. They draw on expertise within the ASSITEJ network to provide development opportunities for TYA artists. The first regional workshops took place in 2016 in Uruguay and Cameroon. ASSITEJ MAGAZINE An annual Magazine is produced with contributions from artists and writers from around the world working in the field of theatre for young audiences.
ASSITEJ NETWORKS
SMALL SIZE A network of artists and theatres active an interested in the field of theatre for the early years (0-4). www.smallsize.org
IIAN International inclusive Arts Network. Brings together artists who practice in the field of inclusive arts for young audiences. https://iian.online/ NEXT GENERATION An informal network and framework for young and emerging artists to continue to build on their experiences of participation in the Next Generation Program. https://www.facebook.com/groups/582142538574066/ YOUNG DANCE NETWORK Young Dance Network is a space for long-term networking and development which in time would provide choreographers, dancers and dramaturges working across the field with a strong platform from which they can work, develop and energize the field of contemporary dance for young audiences. https://www.facebook.com/groups/753902511459165/
AWARDS
ASSITEJ AWARD FOR ARTISTIC EXCELLENCE Awarded at every World Congress for outstanding contributions in the field of Theatre for Young Audiences over the previous three years. ASSITEJ APPLAUSE FOR LIFETIME ACHIEVEMENT This award recognizes the long, prominent, and in influential career of those who have played a distinctive and inspiring role in the world of Theatre for Young Audiences. ASSITEJ INSPIRATIONAL PLAYWRIGHTS AWARD Write Local Play Global gives up to three awards at the World Congress to playwrights from around the world who have inspired Theatre for Young Audiences in their city, country, region, or globally. THE GEESCHE WARTEMANN EMERGING SCHOLARS ITYARN AWARD Awarded to a young emerging scholar at the World Congress.
ITYARN International Theatre for Young Audiences Research Network. Promotes and disseminates research in Theatre for Young Audiences. Free membership. www.ityarn.wordpress.com WRITE LOCAL PLAY GLOBAL The ASSITEJ playwrightsâ network for anyone who values plays for young audiences. Free Membership. www.writelocalplayglobal.org
The Annual Magazine of ASSITEJ 2020 3
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ITYARN
åœéå ç«¥éå°å¹ŽæŒåç 究ãããã¯ãŒã¯ïŒInternational Theatre for Young Audiences Research NetworkïŒã®ç¥ç§°ãå ç«¥éå° å¹Žã芳客ãšããèå°èžè¡ã®ç 究ã®æšé²ã»æ®åãè¡ã£ãŠããŸãã å å ¥ã¯ç¡æã www.ityarn.wordpress.com
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4 Beginning the Journey
IIAN
åœéã€ã³ã¯ã«ãŒã·ãã»ã¢ãŒãã»ãããã¯ãŒã¯ïŒInternational inclusive Arts NetworkïŒãç¥ããŠãIIANããå ç«¥éå°å¹Žã察 象ãšããã€ã³ã¯ã«ãŒã·ãã»ã¢ãŒãã®åéã§æŽ»åããŠããã¢ãŒ ãã¹ããã€ãªããããã¯ãŒã¯ã§ãã https://iian.online/
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YOUNG DANCE NETWORK
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Contents 08 Welcome from the President Yvette Hardie (President of ASSITEJ)
10 Message for the Magazine
Katsunari Morita (President of ASSITEJ Japan)
12 Editorsâ Note 14 The Future: Itâs OK Not to Know Michael Judge (UK)
A Sketch of the Trip of Cultures Labâ A Draft of Our Futuristic 18 Vision of Mediations Designed with Young Audiences Camille MonmÚge-Geneste (France)
Involved! âOne Thousand Platformsâ: To Think and Act for 21 Get Childrenâs Cultures Mayako Morimoto (Japan)
24 Towards the (Un)Known â Sound. Silence. Respect. Milena Depolo (Serbia)
To Be Interested: I Cannot Be Interesting for Anybody Else, 28 Interest, If I Am Not Interested Too Roberto Frabetti (Italy)
Strategies Towards a More Sustainable Arts Practice: A 32 Five Perspective Flanders Institute (Belgium)
for Children in a State of Emergency: The Social Explosion 38 Performers in Chile, 2019 Maria Sepúlveda Balabán (Chile)
41 Bambu Bambá â A Diasporic Journey Towards the Unknown Viviane Juguero (Brazil)
44 TYA and Politics- Should We Collaborate? Kentaro Miyamoto (Japan)
46
The Habit of Freedom Donna Abela (Australia)
50 Remembering Childhood: Memory as Fuel for Future Stories Faye Kabali-Kagwa (South Africa)
54 The Asian TYA Network â Geographies of Hope Caleb Lee (Singapore)
58 Crossing Boundaries Sergey Kozlov (Russia)
64 Art for Every Child: Suggestions from Japan Keiko Fukuyama (Japan)
The Annual Magazine of ASSITEJ 2020 5
ç®æ¬¡ 08 æè¿ã¡ãã»ãŒãž ã€ãŽã§ãã · ããŒã㣠( åœéå ç«¥éå°å¹Žèå°èžè¡åäŒäŒé· ) 10 æè¿ã¡ãã»ãŒãž 森ç°åä¹ ( åœéå ç«¥éå°å¹Žèå°èžè¡åäŒæ¥æ¬ã»ã³ã¿ãŒäŒé· ) 12 ç·šéè åæžã 14 æªæ¥ã¯åãããªããŠãã ãã€ã±ã«ã»ãžã£ããžïŒã€ã®ãªã¹ïŒ 18 ã«ã«ãã£ãŒãºã»ã©ãã®æ ã®ã¹ã±ããïŒè¥ã芳客ãšå ±ã«æãæªæ¥ã®å±æã®èšèšå³ ã«ããŒã«ã»ã¢ã³ã¡ãžã¥ã»ãžã§ãã¹ãïŒãã©ã³ã¹ïŒ ã®ãã©ãããã©ãŒã ã 21 ãã€ãŸãïŒåã©ãã®æåãèããã1000 森æ¬çä¹åïŒæ¥æ¬ïŒ
24 ç¥ã»æªç¥ã«åããâé³ãéå¯ãå°æ¬ ãã¬ãã»ãããïŒã»ã«ãã¢ïŒ 28 èå³ãæããããé¢å¿ãæã€ïŒåãé¢å¿ãæããªããã°ã誰ã®èå³ãåŒãããšã¯ã§ããªã ããã«ãã»ãã©ãããã£ïŒã€ã¿ãªã¢ïŒ 5 ã€ã®æŠç¥ïŒäžèå¯ 32 ããæç¶å¯èœãªã¢ãŒãå®è·µã«åãã ãã©ã³ããŒã¹ã»ã¢ãŒãã»ã€ã³ã¹ãã£ãã¥ãŒãïŒãã«ã®ãŒïŒ 幎ãããªæŽåã 38 ç·æ¥äºæ ã«ãããåã©ãã®ããã®ããã©ãŒããŒãã¡ïŒ2019 ããªã¢ã»ã»ãã«ããã»ãã©ãã³ïŒããªïŒ
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58 å¢çãè¶ ã㊠ã»ã«ã²ã€ã»ã³ãºããïŒãã·ã¢ïŒ 64 ãã¹ãŠã®åã©ãã«èžè¡ãâæ¥æ¬ããã®æèš çŠå±±ååïŒæ¥æ¬ïŒ
6 Beginning the Journey
ASSITEJ Executive Committee
Design:
Yvette Hardie (South Africa)
Publications and Promotions Working Group
President
François Fogel (France)
Taeko Takano (Japan)
Louis Valente (Denmark)
Manon van de Water (ITYARN)
Secretary General
Tatiana Bobrova (Russia)
Translation:
Daniel Fernández (Argentina)
Seok-hong Kim (South Korea)
Atsuko Sekiya (Japan) Atsuko Nakabayashi (Japan)
Vice President François Fogel (France) Vice President Sue Giles (Australia) Vice President Roberto Frabetti (Italy) Treasurer Tatiana Bobrova (Russia) Stefan Fischer-Fels (Germany) Seok-hong Kim (South Korea) Cecilie Lundsholt (Norway) Ernie Nolan (United States) Kenjiro Otani (Japan) Bebê de Soares (Chile) Pamela Udoka (Nigeria) Manon van de Water (ITYARN)
Satomi Numakura (Japan)
ASSITEJ Magazine International Editors: Manon van de Water (ITYARN), Seok-hong Kim (South Korea)
Kentaro Miyamoto (Japan) Cover Picture: Hiroshi Ohdate (Japan)
Photo Editor: François Fogel (France) Japanese Editors: Kentaro Miyamoto (Japan), Keiko Fukuyama (Japan), Akane Kataya (Japan)
English Style Corrections: Manon van de Water (ITYARN)
Japanese Style Corrections: Kentaro Miyamoto (Japan)
Published by ASSITEJ Japan on behalf of ASSITEJ International ASSITEJ International Via Matteotti 16 40129 Bologna â Italy www.assitej-international.org
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The Annual Magazine of ASSITEJ 2020 7
President̢۪s Welcome Yvette Hardie When we developed the dramaturgy Towards the
The articles in the magazine all link in some way
Unknown for the three year term 2017-2020, we had
to how to begin the journey towards facing the
no idea that in 2020 we would be facing a world
unknown future, as it relates to theatre for chil-
where the live performing arts were directly under
dren and young people. They provide thoughts and
threat; where flights were being cancelled univer-
practical examples of approaches in areas as diverse
sally, where tourism and industries linked to global
as listening to the audience, respect, resistance,
supply chains were threatened, where major and
the power of networking, the habit of freedom,
minor events (including theatre productions and
the uses of technology, approaches to playwriting
festivals) were cancelled prolifically, where people
and thoughts about sustainability from diverse
were quarantined to their homes and where a sense
researchers, theatre makers and artists.
of trepidation about the very uncertain nature of the future has been heightened in surprising ways.
We invite you to read, reflect and respond to these ideas as part of your personal process of beginning
The future is always unpredictable, and the way
the journey into the future.
we deal with these challenges now will give us ideas for how to deal with a rapidly changing world
May they inspire us, as we navigate our way, one
ongoingly. While much of what is happening can
step at a time in our separate contexts, but still
make us uneasy, there is also tremendous opportu-
linked joyfully together as a global community,
nity in moments of change. There have been some
through the gifts the arts bring us. Until we meet
positive spin-offs to the last months, including the
again in real time and space, let us remain united in
visible reduction in air pollution and CO2 emissions
our common values, ingenuity and determination
in parts of the world, and the explosion of online
to protect and nurture the live performing arts for
ideas for how the arts can be shared virtually. Art
children and young people.
can still be the thing that binds us. Seeing Italian citizens joining together in song from their respective quarantined balconies, is a reminder of how a combination of creativity and community can revive our spirits and give us hope.
8Ä€€Ä€€Beginning the Journey
About the Author
Yvette Hardie is the President of ASSITEJ.
æè¿ã¡ãã»ãŒãž ã€ãŽã§ããã»ããŒã㣠ãæªç¥ã«åãã£ãŠããšãããã©ããã«ã®ãŒã 2017 幎ãã 2020 幎ã®ïŒå¹Žéã®ããã«äœã£ãæãç§ãã¡ã¯ã2020 幎㫠äžçã®åå°ã§ãã©ã€ãããã£ã³ã»ã«ããã芳å æ¥ãã°ããŒã ã«ãªäŸçµŠç¶²ã«ã€ãªããç£æ¥ãå±æ©ã«çŽé¢ãããã³ãã ãã æ°ã®å€§å°ã€ãã³ãïŒèå°èžè¡ããã§ã¹ãã£ãã«ãå«ãïŒãäž æ¢ããã人ã ã家ã§èªå·±éé¢ç掻ãéããå°æ¥ãžã®äžå®ã æ¥éã«é«ãŸããä»ã®ãã®äžçãå šãæ³åããŠããŸããã§ããã æªæ¥ã¯åžžã«äºæž¬äžå¯èœã§ããç§ãã¡ãä»ããããã®å°é£ ã«ããã«åãçµããã¯ãæ¥éã«å€åããäžçãžã®å¯ŸåŠæ¹æ³ ãã®ãã®ãžã®ã¢ã€ãã¢ãçŸåšé²è¡åœ¢ã§ç¥ãããŠãããã§ãã ããä»ãäžçã§èµ·ããŠããããšã®å€ãã¯ãç§ãã¡ãäžå®ã«ã ãããã®ã§ãããäžæ¹ã§éåžžã«å€§ããªå€åã®æ©äŒãçŸããŠã ãŸããããã€ãã®æçãªå¯ç£ç©ãéå»æ°ã¶æã®éã«èŠããŠã ãŸããã空æ°æ±æãšïŒ£ïŒ¯ïŒæåºéã®æžå°ãäžçåå°ã§é¡è ã«ãªã£ãŠããããšããããŒãã£ã«ãªåœ¢ã§ã¢ãŒããã·ã§ã¢ã§ãã æ¹æ³ãžã®ã¢ã€ãã¢ããããäžã§æ¥å¢ããŠããããšãªã©ã§ãã ã¢ãŒ ããç§ãã¡ãçµã³ä»ããŠãããããšã«å€ããã¯ãããŸããã〠ã¿ãªã¢ã§èªå·±éé¢äžã®äººã ãããããã®å®¶ã®ãã«ã³ããŒãã 声ãåãããŠå ±ã«æã姿ã¯ãåµé åãšã³ãã¥ããã£ãçµã³ä» ããããšããç§ãã¡ã®å¿ãããã«å æ°ã¥ããåžæãäžããŠã ãããã瀺ããŠããŸãã
ãã¬ãžã³ã«æ²èŒãããèšäºã¯å šãŠãäœããã®åœ¢ã§æªç¥ã® æªæ¥ã«åããæ ãã©ãå§ãããã«é¢ãããã®ã§ãããåã©ã ãšéå°å¹Žã®èå°èžè¡ã«ã€ããŠã®ãã®ã§ããããããã®åéã« ãããèå¯ãã¢ãããŒãã®å€æ§ãªå®è·µäŸãã芳客ã«è³ãåŸ ããããšãæ¬æãæãããšãæµæããããšããããã¯ãŒã¯ã®åã èªç±ã§ããç¿æ £ããã¯ãããžãŒã®æŽ»çšãåäœãžã®ã¢ãããŒãã ãããŠæç¶å¯èœæ§ã«ã€ããŠãªã©ãç 究è ãåå Žéå¶è ãã¢ãŒ ãã£ã¹ããªã©ã®å€æ§ãªèè ãæäŸããŠããŸãã ãã¬ãžã³ã®èšäºããã²æ¥œããã§ããã ããããããã®ã¢ã€ ãã¢ã«æããããããããšã§ãçããèªèº«ã®ãæªæ¥ãžã®æ ã® å§ãŸããã®äžå©ã«ããŠããã ããã°å¹žãã§ãã ãããã®èšäºãåºæ¿ãšãªããç§ãã¡ãããããã®ç¶æ³ã®äž ã§ãèªåã®éãäžæ©ãã€é²ãããšããããšåæã«ã°ããŒãã« ã³ãã¥ããã£ã«å ±ã«çãã人éãšããŠãã¢ãŒãããããèŽãç© ã«ãã£ãŠåã³ãšå ±ã«ã€ãªãã£ãŠããããšãé¡ã£ãŠããŸãã
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The Annual Magazine of ASSITEJ 2020 9
Tough Times are a Time for Change and a Source of Creativity Katsunari Morita âThe twenty-first century will be the century of the war between viruses and humankind.â Some scientists say, âthe first wave is Covid-19.â Certainly, it is an ominous sign covering the whole world. Human beings have abused nature which brings us convenience and abundance. And in our history, the power of prioritizing economic activities has prevailed over the power of seeking a culturally rich society. Human beings, a part of the ecosystem, who have ignored a rule of coexistence, have gone too far, and brought the disruption of the balance of the system. As a consequence of that, abnormal weather conditions occur frequently on a global scale and pandemics caused by new pathogens hit one after another. Now I believe we are standing on the precipice of whether or not we can put the brakes on the deteri-
reform the distorted so-called economy-first soci-
oration. People are hoping to have an effective med-
ety. The arts have the power to create the future for
icine for Covid-19, but we all notice it will not cure
our children. Human development based upon the
fundamentally. Some medicines will soothe some
balance between the economy and our culture will
symptoms but never resolve the root of the prob-
allow us to live together with potential pandemic
lem. The mission of those who live on the earth in
scenarios.
this century, is to revise and transform our human society in a way that affords, learning to deal with
The ASSITEJ World Congress and Festival, March
viruses and live in harmony with nature.
2021 in Tokyo and Nagano, will be the first step to making such a new world happen. Many people
Under such circumstances, the 20th ASSITEJ World
around the world will gather and interact there
Congress has been postponed. We are not going to
and generate the power of our culture and arts. In
take this as a step backwards, nor is this a disap-
March 2021 our âUnknown Futureâ will begin.
pointing thing, because we can use this opportunity to clarify the issues. We need to discuss how cultural arts should fit into the new society and what will be our future role in the performing arts for children. In March 2021, cultural and artistic people from all over the world will gather on behalf of children. This can empower us as we look to the future and the changing tomorrow. Culture and art can
10 Beginning the Journey
About the Author
Katsunari Morita is the President of ASSITEJ Japan
èŠå¢ãå€é©ã®æã§ããåµé åã®æºæ³ 森ç°åä¹ ãä»äžçŽã¯ãŠã€ã«ã¹ãšäººé¡ã®æŠãã®äžçŽã«ãªãã ãããã ã®ç¬¬äžæ³¢ããã® COVID-19 ã ãšããåŠè ãããã確ãã«äž åãªäºæãäžçäžãèŠã£ãŠããã人é¡ã¯é·ãã«ããã£ãŠäŸ¿å© ããšç©ãæ±ããŠéãããèªç¶ãç Žå£ãç¶ããŠãããå¿è±ã㪠æå瀟äŒãæ±ããåãããçµæžæŽ»ååªå ã®åãåã£ãæŽå² ã§ãã£ããçæ ç³»ã®äžéšã§ãã人éãå ±åã®æçãç¡èŠãã æŽèµ°ãããã®ãã©ã³ã¹ã厩ããã®ã§ãããäžççèŠæš¡ã§å€çº ããç°åžžæ°è±¡ããããŠæ°ããªç åèã®çºçã«ãããã³ããã ã¯çã次ã ãšäººéã襲ã£ãŠããã ããã«æ¯æ¢ãããããã®ãªã®ãªã®å¢çç·ãä»ã§ã¯ãªãããš æããä»ã¯ COVID-19 ãžã®æå¹ãªè¬ãã§ããããšãé¡ã£ãŠ ããããããã¯æ ¹æ¬çãªè§£æ±ºã«ã¯ãªããªãããšã¯æ確ã§ããã åæã¯ãã£ãŠãçµæ¯ããããšã¯ã§ããªãããŠã€ã«ã¹ãšå ±åã ãªãã人é瀟äŒã®åšãæ¹ãèŠçŽããå€é©ããèªç¶çãšèª¿å ããªããçããéãéžæããããšããä»äžçŽã®ç§ãã¡å°çã« çããè ãã¡ã®äœ¿åœã§ã¯ãªãããšæãã ãããªãªããã¢ã·ããžäžçå€§äŒ 2020 ã延æã«ãªã£ãã ããã¯æ±ºããŠåŸéã§ã¯ãªãããæ®å¿µãªããšã§ã¯ãªããšæã£ãŠ ãããæåèžè¡ã®æããã¹ã課é¡ãšåã©ããã¡ã®èå°èžè¡ã« é¢ããç§ãã¡ã®åœ¹å²ãæ確ã«ããå¥æ©ã«ãªããšæãããã§ã ãã2021 幎ïŒæåã©ããã¡ã®ããã«äžçäžã®æåèžè¡é¢ä¿ è ãéããããã¯æªæ¥ãèŠã€ããææ¥ãåããããšã®ã§ãã
åãšãªãã¯ãã§ãããçµæžåªå ã®æªã¿ãæ¯æ£ããŠãããã®ã¯ æåèžè¡ã®åã§ãããæåèžè¡ã®ãã€åãåã©ããã¡ã®æªæ¥ ãåµãã®ã§ãããçµæžãšæåã®ãã©ã³ã¹ããšã£ã人é¡ã®çºå± ãããæ°ç åèã«å¯ŸæããŠããåãèããŠããããšã«ãªããšä¿¡ ããŠããã ãããªæ°ããäžçã®å®çŸã®ç¬¬äžæ©ãã¢ã·ããžäžçå€§äŒ 2021 æ±äº¬ã»é·éãšæã£ãŠãããäžçã®å€ãã®äººãã¡ãšäº€æµ ããæåèžè¡ã®ãã€åãããããçºä¿¡ããŠãããããæ¥å¹ŽïŒæã ããããæªç¥ãªãæªæ¥ã¯åµãããŠãããšä¿¡ããŠããã èè 玹ä»
森ç°åä¹ã¯ãã¢ã·ããžæ¥æ¬ã»ã³ã¿ãŒäŒé·ã
The Annual Magazine of ASSITEJ 2020 11
Editorsâ Note Manon van de Water, Seok-hong Kim, François Fogel, Tatiana Bobrova
A little over a year ago, in April 2019, the Executive
Plan A, Plan B, Plan C, Plan D. Our hopes were still
Committee met in Montevideo, Uruguay and we
high; surely this would pass, the funding would
started planning the 20th ASSITEJ World Congress
come through, life would return to normal.
and Festival in Japan, in May 2020. With the Japanese team, we discussed timelines, calls for perfor-
A week after we all returned home, we had an EC
mances, symposia, and workshops, and the call for
Zoom meeting across six continents and sixteen
the magazine. We discussed a working plan, and
time zones. And another one. And another one. And
how the ASSITEJ General Assembly and the Artis-
then it was clear, we had to postpone.
tic Encounter could fit into the MIRAI Festival. We started thinking about communication and pro-
And so we will have our ASSITEJ World Festival
motion. How to feature the networks and the Next
and Congress in March 2021, in Japan, and we are
Generation. We looked at the amount of days, at
working hard now, virtually, to adjust and adapt and
registration tiers, ticket prices. The Japanese team
make it happen.
started working on grant proposals, and booking venues and hotels.
But the magazine, the magazine was practically done! With articles all geared toward starting the
All of the above, and more, continued at the ASSITEJ
journey, into the unknown. Pre Covid-2019. But still
Artistic Gathering in Kristiansand in September,
relevant in many ways, and if nothing else, a look
and the ASSITEJ EC Meeting in Quimper, France, in
back on how we imagined the future then.
December. In Quimper, the magazine articles were selected and edited, and prepared to be sent to
So we offer you, our ASSITEJ Members, this mag-
Japan for translation. The final selection of perfor-
azine on-line, at this time, on the occasion of the
mances, symposia, and workshops were discussed,
ASSITEJ Festival and Congress that was to happen
and schedules were proposed.
now and will happen at a later date. At that date, in Japan, a printed copy will be waiting for you. It will
In short, we were all excitedly gearing up to meet in
not be the same; we will address how our journey
May in Tokyo.
begins after Covid-19. We do not know how that will look then, and how the content of the ASSITEJ
We needed one âminiâ EC meeting at the end of
magazine will be adapted, altered, augmentedâit is
February. In Bologna, Italy. A day before we were
too early to know that.
meeting there, the north of Italy was closed and the meeting was relocated to Frankfurt. Seven of us
But we do hope that you enjoy this version in the
met in a house in the suburbs and spent five days
meantime, and we applaud and thank the con-
together. Zoom and Skype calls were set up. Scenar-
tributors to this magazine and all the people who
ios were discussed. Contingency plans were made:
worked so hard to make it possible to publish this.
12 Beginning the Journey
ç·šéè åæžã ããã³ã»ãã©ã³ã»ãã»ãŽã¡ã«ã¿ãŒããã ã»ãœã³ã³ããã©ã³ãœã¯ã»ãã©ãŒã²ã«ãã¿ãã€ãŒãã»ããããŽã¡
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The Annual Magazine of ASSITEJ 2020 13
The Future: Itâs OK Not to Know Michael Judge (UK) What will the future be like in 50 yearsâ time? This is the question that began a journey into the unknown for New International Encounter Theatre Company. Seven theatres from seven different European countries telling newly minted stories written by 3000 children. There were many unknowns. â¢How do we start the journey as artists? â¢How will the audience encounter the art? â¢What role can the art play in the childrenâs lives? As artists, one quality we need for the journey of artistic endeavour is the ability to be ok with not knowing. We know we are making something, and generally we know the time-frame but it is an open-ended creative process. We donât know what the art will look like at the end. We shoot the arrow over the hedge and then run around to see where it has landed. Creativity is essential, but itâs a simple word for a complex process. And beneath lies a host of words: invention, imagination, expression. The recent UK Durham Commission1 defines creativity as âthe capacity to bring into being something that was not there before.â There is no single word for the ability to be ok with not knowingâthe poet John Keats has the phrase ânegative capability,â the capability of âbeing in uncertainties, mysteries, doubts.â 2
This is a âmust haveâ when we begin the artistic journey towards the unknown. The project is targeted at children aged 7-11 years old. One beginning was to place a âbox from the futureâ in the centre of a circle of children and to invite the children to imagine it had arrived from the future. What is in the box? The children crept towards the box, eyes wide, full of excitement and tension, the moment before the box is opened. Imagination is always bigger, wilder, and more fantastical than the reality. The audience at the start of a play are ready for surprise and something unexpected in the story. Even though we may not like surprises in real life, we enjoy a twist or the unexpected. The atmosphere can be set by the actors meeting the audience outside the theatre space and standing alongside them, or directly meeting their eyes as they enter the space, with the message: we are going to tell you a story, it will be exciting, mysterious, scary, playful, sad, funny, we are not quite sure what will happen, but we will be there alongside you, not ahead of you, discovering as the story unfolds and the characters transform. It is a journey into the unknown. The audience welcome the thrill of stepping into the un-
1 https://www.dur.ac.uk/resources/creativitycommission/DurhamReport.pdf 2Keats uses this phrase in a letter to his brothers on 22 December 1817
NIE Theatre, I Will Be Everything, Photo by Lars Wahl
14 Beginning the Journey
NIE Theatre, Tales from the Edge of Town 2070, Photo by Lars Wahl
known, but feel reassured by the contract that this is art, the story will end and they will be returned to
To see my grandma one last time before she passed away
their world with the hope of possibility. To stop humanity producing so much waste When we ask what role art can play in childrenâs lives, or in our lives, it is a bigger, much harder question to answer. Aside from the inevitable final full stop, our lives keep going and move from one experience to another without the frame of art. There are many approaches to measuring the impact of art on childrenâs lives but ultimately the experience of art is subjective and defies objective measurement. One child will imagine differently to anotherâthat is the infinite power of the imagination. However, it is still a question worth asking. So, another beginning for our project was to ask the children to write a wish for the future on a postcard. Our contract with them was that we would send this postcard back to them one year from the date they wrote it. In addition to asking what role art can play in childrenâs lives, we could also ask what role children can play in art? They are the future, so it is right to include some of their words. Here are some of their wishes.
To be a footballer, work for NASA and go to space To win the lottery because my mum has not got much money When they receive their postcard in the future, one year later, it will bring a reflection both on their past, their involvement with the project, but also a sense of time and the future. No one knows what the future holds but art can imagine it and give it shape.
About the Author
Michael Judge is Associate Director at New International Encounter. He has worked in the field of TYA for over 20 years with Royal Opera House, Dundee Rep, British Council & Theatre Centre.
NIE Theatre, I Will Be Everything Workshop, Photo by Lars Wahl
The Annual Magazine of ASSITEJ 2020 15
NIE Theatre, I Will Be Everything, Photo by Lars Wahl
NIE Theatre, Tales from the Edge of Town 2070, Photo by Lars Wahl
NIE Theatre, Tales from the Edge of Town 2070, Photo by Lars Wahl
16 Beginning the Journey
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NIE Theatre, I Will Be Everything Workshop, Photo by Lars Wahl
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1 ããŒã©ã ã³ããã·ã§ã³ïŒå š 96 é ã®åµé æ§ãšæè²ã«é¢ããã¬ããŒã https://www.dur.ac.uk/resources/creativitycommission/DurhamReport.pdf 2 ããŒãã¯ãã®ãã¬ãŒãºãåŒãžã®æçŽïŒ1817 幎 12 æ 22 æ¥ä»ïŒã®äžã§äœ¿ã£ãŠããã
The Annual Magazine of ASSITEJ 2020 17
A Sketch of the Trip of Cultures Lab A Draft of our Futuristic Vision of Mediations Designed with Young Audiences Camille MonmÚge-Geneste (France) 18 Beginning the Journey
Photo by Benoit Riff
Cultures Lab is an association which brings together people with very diverse profiles and sectors of activity, gathered around the desire to facilitate relations between cultures and to create new relationships between people and the arts1. When our team dreams of the future, we still donât figure cars flying but children, yes, we do. Flown away from their reddish seats: they will have left their âpassiveâ posture as spectators. They will cross the space-time tunnel that will allow them to abandon their external relationship to artistic proposals, being thus propelled into the heart of immersive experiences. Cultures Lab has already begun its journey towards new approaches to cultural mediation. It experiments with new ways of creating systems of interaction between people and the arts. It aspires to go beyond the emergence and presence of facilities throughout the territories, thinking of a movement parallel to the downward process of a culture coming from âa centerâ or âfrom aboveâ that would approach audiences. Complementary to the existing cultural landscape, Cultures Lab proposes a new level of missions already carried out by institutions resulting from French policies working towards a greater access to the arts. When we daydream of hypothetical distant projections, we imagine that the relationships have been reversed: that young people participate in the governance of artistic spaces, that theatres become spaces of interaction where everyoneâs cultural practices can be expressed, that the culture of some permeates the culture of others, that the principle of horizontality is instituted as a common rule between artistic professionals and very young audiences, or that children commission artists. In the heart of Cultures Lab, we test, imagine, invent, co-construct mechanisms to make these âdreams of the futureâ come true. We are working to create and develop sensorial experiences, where cultural mediations tend towards immersive and
inclusive devices. In the future, we want to design objects on the borderline between artwork and mediation, artistic-interactive experiences, much more participatory mediations. Our journey will lead us to experience the extensions of the shows as real 5D experiences: the spectator becomes an actor of his experience. Without projecting ourselves into a new galaxy, we are coveting the idea that this old humanist thought, which carries the utopia that anyone can open the door of a theatre, will really come true. Perhaps will we finally have succeeded in ignoring a âsacredâ approach to the arts to turn towards more cultural ties, relationships, and reciprocity? We are working in the future of a polymorphic mediation, abandoning the position of âgood shepherdâ (inherited from the former inhabitants of the faraway 20th century planet earth), in order to exchange it for a position of networking, encounters, polycentric environment, tending towards more diversified references. Whatever our journey into the unknown, we hope that the notions of connection, living together and human interaction will precisely not remain as âunknown.â Our itinerary will lead us to enjoy technological and digital advances for the benefit of collective cultural experiences. We allow ourselves to smile at the idea of creating a mediating robot of with an infinity of dimensions, but the lab team has a deep desire to see a diversity of cultures intertwine with shows 3.0
About the Author
Camille MonmÚge-Geneste is a mediator and trainer. Her commitments have always been focused on the relationship between people and arts, transmission issues and cultural interactions.
1 Le Labo des cultures (The Cultures Lab) Based in Nouvelle-Aquitaine (France), the aim of the Cultures Lab is to develop mediation projects, experiment with new relationships between the arts and people and facilitate cultural interactions. It accompanies cultural structures, collaborates directly with artistic teams and designs mediation devices and supports at the heart of its lab. More information > www.lelabodescultures.com
The Annual Magazine of ASSITEJ 2020 19
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1 ã«ã«ãã£ãŒãºã»ã©ã (The Cultures Lab)ïŒããŒãã«ïŒã¢ãããŒãïŒãã©ã³ã¹ïŒã«ãããã«ã«ãã£ãŒãºã»ã©ãã®ç®çã¯ãæ°ããåªä»ã®ãããžã§ ã¯ãã®éçºãã¢ãŒããšäººã ã®éã®é¢ä¿ã®å®éšãæåã®çžäºäº€æµãé²ããããšã§ãããã©ãã®äžå¿ã§æåæ§é ãã¢ãŒãããŒã ãšçŽæ¥ååãã åªä»ããã€ã¹ããã¶ã€ã³ããµããŒãããã詳ããæ å ±ã¯ãã¡ãã www.lelabodescultures.com
20 Beginning the Journey
Get Involved! âOne Thousand Platformsâ: To Think and Act for Childrenâs Cultures Mayako Morrimoto (Japan) The 20th ASSITEJ World Congress / MIRAI Festival
In this project, Platform is a local group for discuss-
is going to be held in May 2020. A year ago, I joined the organizing committee of the event, and since
ing childrenâs culture to produce a community full of childrenâs happy smiles. At these events, people
then I have been hoping to not only make this huge event successful, but also to increase the number of people who value childrenâs culture as much as possible. In order to meet this goal, I have met with various activists in cultural fields and listened to their opinions. An idea formed to take the opportunity
talk about current situations of childrenâs culture in their community, think about what they can do to support it, make plans and put them into action.
to present the opinions and voices of children and people around children in order to affect change on governmentâs policies, laws, and regulations. But how? After discussions, we came up with a proposal: Letâs form one thousand platforms to think and act for childrenâs cultures.
The participants can attend just one day or one activity, and anyone interested can be a member. So, the Platform can connect diverse people around children and allow them to speak out and exchange their ideas. Of course, children can express their opinions too. To join Platform, you will be registered and receive a membership sticker. Platform has a special sticker
The Annual Magazine of ASSITEJ 2020 21
too. At Platform adults listen to children first, to know what their lives are like, and carry on dialogues. By doing so, a lot of new ideas and activities for childrenâs culture will pop up. Spreading various movements across the country will build momentum for childrenâs culture. We will hear a lot of voices saying, âMonthly Play Days for kids and adults.â âA yearly festival for children!â âPass the traditional culture of community to next generation.â âYearly visit to a theater and join a workshop for expression!â I am thrilled to see exciting new ideas from all over Japan.
to the country. It would be so nice if its power pushes a government to enact a new policy for childrenâs culture. We will create a big and strong network for childrenâs culture in Japan as a legacy of the ASSITEJ World Congress 2020. Our hope; the theme of the Congress âTo the Unknown Future, Beginning of the Journeyâ brings a fruitful result of the theme of MIRAI festival âChild and Culture, they are our future.â
About the Author
Mayako Morimoto is the Director of the Japan Children and Culture Forum. She is also the Secretary General on the
The voices of children and adults around children will grow and spread from towns to prefectures and
22 Beginning the Journey
Committee of the 20th ASSITEJ World Congress / MIRAI Festival.
ãã€ãŸãïŒåã©ãã®æåãèããã1000 ã®ãã©ãããã©ãŒã ã 森æ¬çä¹åïŒæ¥æ¬ïŒ 2020 幎ã第 20 åã¢ã·ããžäžç倧äŒïŒ 2020 åœéåã©ã ãšèå°èžè¡ã»æªæ¥ãã§ã¹ãã£ãã«ã 5 æã«éå¬ãããŸãã1 幎åã«ãã®äºæ¥ã«æºããããšã«ãªã£ãç§ã¯ã倧ããªã€ãã³ã ãæåãããããšã ãã§ã¯ãªãã ãåã©ãã®æåã倧åã«èã ã人ãã²ãšãã§ãå¢ããããïŒããšæã£ãŠããŸãããæ§ã ãªæ åé¢ä¿è ã®è©±ãèããªãããåã©ããã¡èªèº«ã®æèŠããåã© ããã¡ã®èº«è¿ãªäººãã¡ã®å£°ãéãããããæ¿çãæ¡äŸãæ³ åŸã«åæ ããããšãã§ããªãããšèããŸãããåšå²ã®äººãšã è°è«ãã ãåã©ãã®æåãèããïŒ 1000 ã®ãã©ãããã©ãŒã ãäœããïŒããšããææ¡ãšãªããŸããã ãã©ãããã©ãŒã ã¯ã察象å°åã®ãåã©ãã®æåãã«ã€ããŠã çŸç¶ãèªãåããã©ããããããããäœãã§ããããããã èããèšç»ããè¡åãããåã©ãã®ç¬é¡ããµããå°åãã€ã ãããã®ã°ã«ãŒããã§ããã¡ã³ããŒã¯æµåçã§ããæééå® ã§ãã 1 æ¥ã ãã®ã€ãã³ãã®ããã«éãŸã£ã仲éã§ã OK ã§ãã ãåã©ãã®æåãã«ã€ããŠåã©ããäžå¿ã«ããŸããŸãªç«å Žã®äºº ãé¢ãããã¯ã€ã¯ã€ã¬ã€ã¬ã€ã«ãããã«èªãåããšããã§ãã ãã¡ãããåã©ãèªèº«ãæèŠãåºãããšãã§ããŸãã ãã®ãã©ãããã©ãŒã ã¯ãç»é²ãããŠããããŸããã°ã«ãŒã ã«ïŒæã®ã¹ããã«ãŒãã¡ã³ããŒã²ãšãã²ãšãã«ã·ãŒã«ãæž¡ãã ãŸãããã©ãããã©ãŒã ã§ã¯ããŸãåã©ããã¡ã®æ¥åžžã®æ§åã èããèªãåããŸããèªãç¶ããäžããããããªäºãã§ãã
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The Annual Magazine of ASSITEJ 2020 23
Art group Hop.La!, The Wedding of Emperor DuÅ¡an, Photo by DuÅ¡ica StojanoviÄ
Towards the (Un)Known - Sound. Silence. Respect. Milena Depolo (Serbia) One of ASSITEJ Serbia programs, âStories from a School Recess,â has just ended. It consisted of a series of workshops that young playwrights held in elementary schools. The writers were alone in front of the whole class. The children were very undisciplined and loud, so much that one of the young writers was close to the decision to give up. And then something amazing happened. One pupil, one of those loud ones, made a suggestion: they should all be silent for a whole minute. Try to calm down and think. And they did so. And then, they successfully continued their workshopâŠ
formally, in 2019, itâs here for quite some time, but Biver further explained that it will only truly arrive when the generations born after 2000s reach their thirties, and when they fully become bearers of all social processes. What a revealing thought. We are not there yet, but itâs in front of our doors. There is still some time to make things better. And that must make us think; what is it that we can say we know about those generations? Do we know how to communicate with them? What kind of heritage are we leaving to them? All the professionals who have children and youth
When asked to talk about his watchmaking business and to discuss the question of time, Mr. JeanClaude Biver, trailblazer and CEO of Hubolt, said that the 21st century still didnât arrive. Of courseâ
24 Beginning the Journey
as their target group, no matter what profession they are coming from, have been discussing for a very long time now that todayâs children are born exposed to the newest technological achievements,
Bosko Buha Theatre, I wonder how important I am, Photo by Vladimir Jablanov
Art group Hop.La!, The Wedding of Emperor DuÅ¡an, Photo by DuÅ¡ica StojanoviÄ
Bosko Buha Theatre, I wonder how important I am, Photo by Vladimir Jablanov
Art group Hop.La!, The Wedding of Emperor DuÅ¡an, Photo by DuÅ¡ica StojanoviÄ
Bosko Buha Theatre, I wonder how important I am, Photo by Vladimir Jablanov
with the whole world in the palm of their hands. Their cognitive activity processes significantly more information per second, much more than before the expansion of digitalization. We complain that children have less concentration and are less ready to receive any kind of content they need. We all agree that itâs harder to get their attention than ever. It is
has other strengths.
common consent that we simply donât understand them. Yet, they are our children, they are the ones
Theatre has means of expressions that no other
who will stay after us, so we have to find ways to communicate better. So we try. We try to be bombastic, loud, and colorful. We try to make faster, more spectacular, and above all, entertaining productions. As if we donât put anything that demands thinking and feeling in front of them. And we are still afraid that we will lose them tomorrow. And, if we continue thinking this way, we will. But theatre
What are the strengths of the theatre? How do we confront all the challenges in front of us? There are so many of them now, and as time goes by, there will only be more.
medium has. Characters from cartoons or video games arenât able to look the audience in the eyes. They cannot feel their reactions and respond to them. Children cannot hear them breathing. There is no spontaneity, delight, or even mistakes on the screen. Every time we watch a cartoon it begins, goes on, and ends the same way. Every time we âdieâ in a computer game, we wake up, and it starts all over the same way as always. A theatre production The Annual Magazine of ASSITEJ 2020 25
Youth theater Novi Sad, Serbia, On the wolf's trail, Photo by DuÅ¡ica StojanoviÄ
is different each time, and it is the audience who participates in its creation. Thatâs why the theatre shouldnât strive to come up with thoseâonly on the first glanceâmore attractive contents. It shouldnât compete with the screen. It should stay true to itself. When a child comes into a theatre the outside world must stop. What the theatre needs today, or what it will need tomorrow, is the silence. We all need to stop and redefine ourselves in time and space. We need subtlety. Criteria. Looking in the eyes. Silence again. Live beings in the center of attention. A few words that mean a lot. Silence again. Delicacy. Fragility. Emotion. Participation. Respect for the audience. Again. Respect for the audience. Because, when our postmillennial
Youth theater Novi Sad, Serbia, On the wolf's trail, Photo by DuÅ¡ica StojanoviÄ
generation, or Generation Z finally feels respected, and listened to, when they feel love from the stage â theatre will truly fulfill its mission. About the Author
Milena Depolo is a drama writer and dramaturg. She graduated from the Faculty of Drama Arts in dramaturgy in 2005 and is currently the dramaturg in Bosko Buha Theatre, Belgrade. She is the vice-president of ASSITEJ Serbia.
26 Beginning the Journey
Youth theater Novi Sad, Serbia, On the wolf's trail, Photo by DuÅ¡ica StojanoviÄ
Youth theater Novi Sad, Serbia, On the wolf's trail, Photo by DuÅ¡ica StojanoviÄ
Youth theater Novi Sad, Serbia, On the wolf's trail, Photo by DuÅ¡ica StojanoviÄ
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ãã¬ãã»ãããã¯ãèæ¬å®¶ã§ããåäœå®¶ã§ããã2005 幎㫠æŒåèžè¡åŠéšã§ãåäœæ³ãåæ¥ããçŸåšã¯ãããªã°ã©ãŒãã® Bosko Buha Theatre ã®æŒå顧åãåãããã¢ã·ããžã»ã»ã«ã ã¢ã®å¯ä»£è¡šã§ãããã
The Annual Magazine of ASSITEJ 2020 27
Interest, to Be Interested: I Cannot Be Interesting for Anybody Else, If I Am Not Interested Too Roberto Frabetti (Italy) Festival Visioni di futuro, visioni di teatro 2015, Bologna, Photo by Matteo Chiura
May 2019: The Executive Committee of ASSITEJ takes place in Montevideo, the land of tango and
And while I am listening, a divergent thought comes to me, and I feel like I have to explore a different
intriguing discussions. A working table together with the Ibero-American network in order to reflect on what we have in common: children, adolescents and Theatre or Art in all its uncapturability. An
direction. So, Iâm thinking that it is not children or adolescents who are not interested anymore, but that âweâ, the adults, are getting less interested in them, day by day.
opinion shared by several voices:
In what they feel, in the way they think, in who they really are, in all their complexity.
It seems to me that children, young people in particular, are less and less interested in Theatre. I would like to understand why... I would like to find a way to interest them more.
We as parents, as teachers, and also as artists. Not everybody obviously, as generalizing is not a precise method, but many. Adults are lost in their time, in their spaces, and they forget, too often,
28 Beginning the Journey
that children are children and young people are young people.
That they are different from us and that an encounter can only take place in a no-manâs-land. The place that is not mine, that is not yours, but that
competitive dimension and listen to each other. I dream of a theatre that listens to children and young people, whatever their age isâ12 months or
can become ours. A place where it is possible to find a space, a time, a rhythm, a common interest.
12 years. I dream of actors, directors, and authors who care about nothing but the beauty of walking together.
Two days later, at the Montevideo airport. A father and, later, a mother. A son of 12 months old, maybe 14.
When we talk about children, it is always time to start walking. Without stops, because there is still so much to
This is a fantastic age, a magical moment, when the legs start to go! Two legs, two steps... and an elastic leash that
do: new projects, new opportunities, new visions to bring life to. We cannot stop, we owe it to children, young or old.
brings you down when you go a little bit too far. That allows the father, and then the mother, to use their smartphone safely, by stretching and pulling the leash tied to their wrist.
Children require adults on the move, willing to seek a common rhythm.
Maybe they are not interested in those steps, those fantastic, small/big adventures that the child is exploring in space? This is clearly a rhetorical question, a Yes-andNo question, so letâs go ahead and bring back the reflection to âthe child/adolescent and Theatre.â Are they really less interested in Theatre? In my opinion, as well as in my daily experience, no. They are not less interested in it. Iâm afraid that itâs us, as adults and artists, who are unable to make them feel how much we are interested in her, him, them. How can they grasp our interest? How do we make them understand and perceive that we are interested in them, and not only if they get our ideas, our contents, our knowledge? How can we tell them that we donât care if they are the best or the most perfect, but that we are interested in them simply because of what they are: children, adolescents? As artists, we have the duty to try. With eyes to eyes, with bodies shared in space, with sounds and silences that go together with meanings. We are there, in front of them, we are living those moments, those instants. We can, more than other adults, leave aside any
In order for an interest to arise, it is necessary to be interested, as Peter Brook describes a conversation in the theatre:
âInterest. To interest. I must interest. I must interest another. I canât interest another unless Iâm interested myself. We need a common interest.â Then another voice: âTo share a common interest, we must exchange elements of interest in a way thatâs interesting ...â â... to both of us ...â âTo all of us ...â âIn the right rhythm.â âRhythm?â âYes, like making love. If oneâs too fast and oneâs too slow, itâs not interesting ...â 1 Letâs put together a few words: interest, rhythm, respect, and add listen and look. In my opinion a quality theatre, not only for children, but especially for children, should be focused on mutual listening. Interactive listening. Where the invitation the actorâs proposal, is contaminated with the spaces and times of children and adolescents. Because in this way an artistic experience can happen. At that moment something incredible happens, with simplicity.
1 Peter BrookïŒ1988ïŒ: The Shifting Point. Forty years of theatrical exploration 1946 â 1987. Methuen Drama, an imprint of Bloomsbury Publishing Plc., 241-243
The Annual Magazine of ASSITEJ 2020 29
At the moment when it is possible that women and men of different ages, adults and children, even the smallest ones, have the chance to share their deepest sensibilities. Being a spectator of the child is a choice, a conscious project. Watching and listening express intent, a will. A declaration of interest. A project of knowledge. Children know how to observe and listen to the world around them. They can look at the world, with those wide eyes, amazed and catching every detail. And they collect everything that the adult world, too often unconsciously, produces for them. In order to learn, children watch and listen. I think that theatre educates to listen and to be
listened to and therefore educates to enhance and appreciate the concept of respect. But it happens only if children and adolescents feel respected, if they perceive that the adult/artist perceives them as recipients and carriers of respect. If we wish that the world of tomorrow is going to be able to offer every human being equal opportunity, then perhaps we should start today to offer equal opportunities to children, girls and boys. Letâs pursue the utopia of the child citizen, âexercising the right to desire,â so that children and adults can find spaces and times of common interest.
About the Author
Roberto Frabetti is a member of La Baracca â Testoni Ragazzi.
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2019 幎ïŒæãã¢ã·ããžã®äžççäºäŒãã¿ã³ãŽã®å°ã§ãã ã¢ã³ããããªïŒãŠã«ã°ã¢ã€ïŒã§éãããèå³æ·±ãè°è«ãè¡ã ãããã€ããã»ã¢ã¡ãªã«ïŒã©ãã³ã¢ã¡ãªã«è«žåœãšæ§å®äž»åœã§ã ãã€ããªã¢å島ã®ã¹ãã€ã³ã»ãã«ãã¬ã«ãšã®ç·ç§°ïŒã®ãããã¯ãŒ ã¯ãšå ±ã«è¡ãããã¯ãŒãã³ã°ããŒãã«ã®ç®çã¯ãåã©ããé å°å¹ŽãæŒåãŸãã¯ãã¢ãŒãã®æãã©ããã®ãªãã«ã€ããŠãæã ã®å ±éç¹ã¯äœããèããããšã§ãã£ããããã§åºãŠããå ±é çãªæèŠã¯ïŒ ãåã©ããéå°å¹Žã¯ãæŒåã«å¯Ÿããèå³ããã倱ã£ãŠããã ãã«èŠããã ãåå ã¯äœãªã®ããç¥ãããã ãããèå³ãæãããæ¹çãèŠã€ãããã 話ã«è³ãåŸããŠããåã®é ã«ãçžåããèããæµ®ããã ã æ¢ãã¹ãæ¹åãéãã®ã§ã¯ãªãããã€ãŸããèå³ã倱ã£ãã® ã¯åã©ããéå°å¹Žã§ã¯ãªãã ãåãã¡ã倧人ããæ¥ã 圌ã㫠察ããèå³ã倱ã£ãŠããã®ã§ã¯ãªããã圌ããäœãæããŠã
30 Beginning the Journey
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1 ã㌠ã¿ãŒã»ãã«ãã¯ïŒ1988 幎 ïŒïŒThe Shifting Point. Forty years of theatrical exploration 1946 â 1987. Methuen Drama, an imprint of Bloomsbury Publishing Plc., 241-243 ãæ®»ãç ŽãâæŒåçæ¢ç©¶ã® 40 幎ãããŒã¿ãŒã»ãã«ãã¯è é«æ©åº·ä¹ä»èš³ æ¶æ瀟 P381
The Annual Magazine of ASSITEJ 2020 31
Five Strategies towards a More Sustainable Arts Practice¹ : A Perspective Flanders Institute: Nikol Wellens, Joris Janssens, and Marijke De Moor (Belgium) Climate change is a worldwide problem as demonstrated by abundant analysis, such as that provide by the Club of Rome (1972) and the Intergovernmental Panel on Climate Change (IPCC) (1990). âClimate Actionâ is the 13th Sustainable Development Goal (SDG) of the United Nations.2 Business as usual is not an option anymore; we are all concerned and within ASSITEJ, too, more attention is being paid to environmental sustainability. One of the artistic encounters during the ASSITEJ Artistic Gathering in Kristiansand was devoted to sustainability, paving the way for more discussion within the organization and with its members. In our trajectory on new ways to work internationally in the arts, Flanders Arts Institute discussed exercises for a more sustainable arts practice.3 A large number of artists and art professionals are hoping for a paradigm shift, a radically new system in which artistic practices can be made more sustainable. But trying to solve everything at once doesnât work. Small steps are also important. In this article, we would like to present five strategies for a more sustainable international practice in performing arts for young audiences and therefore a more sustainable ASSITEJ. The examples come mainly from Belgium and Europe,
but of course good practices can be found all over the world from artists and organizations who think about the challenge of climate change. 1. The flexitarian ethos â Develop a framework for making decisions about travelling differently and less: when is international travel truly meaningful? Is travelling by air self-evident and unavoidable? If you ask yourself these questions, then you can deal with travels in a critical way. Dance dramaturge Jeroen Peeters wrote about his own experience: âFor me, travelling less and differently means always considering whether or not an overseas or out-of-country trip is worth the effort, actively refusing invitations, and in principle taking the train for international journeys and flying only as an exception to the rule.â4 Find out whether travelling with sustainable means of transport is possible and feasible. For example, it turned out to be perfectly possible to travel from Western Europe to the Artistic Gathering in Kristiansand without using an airplane.5 If we look at the concept of âtimeâ differently, the extended time does not become a loss, but pure benefit.
1 This text is based on: Janssens, Joris. 2018. (Re)framing the International. On new ways of working internationally in the arts. Kunstenpocket 2. Brussels: Flanders Arts Institute. http://s3.amazonaws.com/flandersartsinstitute.f.mrhenry.be/2018/10/KP2-EN_web-lowres.pdf 2 âThe Sustainable Development Goals are a call for action by all countries â poor, rich and middle-income â to promote prosperity while protecting the planet. They recognize that ending poverty must go hand-in-hand with strategies that build economic growth and address a range of social needs including education, health, social protection, and job opportunities, while tackling climate change and environmental protection.â Source: https://www.un.org/sustainabledevelopment/ 3 Janssens, Joris. 2018. (Re)framing the International. On new ways of working internationally in the arts. Kunstenpocket 2. Brussels: Flanders Arts Institute. http://s3.amazonaws.com/flandersartsinstitute.f.mrhenry.be/2018/10/KP2-EN_web-lowres.pdf 4 Peeters, Jeroen. 2018. âTransition exercises for a more sustainable mobilityâ. flandersartsinstitute.be. 2018. https://www.kunsten.be/en/now-in-the-arts/transition-exercises-for-a-more-sustainable-mobility/ 5 De Moor, Marijke. 2019. Blogpost âAbout not taking the plane to Kristiansandâ. https://blog.kunsten.be/about-not-taking-the-plane-to-kristiansand-b71cbe98cd63
32 Beginning the Journey
Artistic Encounter, ASSITEJ Artistic Gathering 2019 in Kristiansand, Norway Photo by Kenjiro Otani
Those who still travel by plane can offset carbon emissions through a local NGO. Check if you can make your trip longer and therefore more sustainable, for example by playing more shows or linking workshops or a residence to your visit. No longer working internationally would be a pity, especially within a truly worldwide network like ASSITEJ. But the flexitarian ethos does allow you to systematically reduce your ecological footprint. Artist Kris Verdonck proposed a list of criteria for a framework for making decisions. It included the ecological footprint, the human effort of the artist and his/her team, the nature of a contract (long-term or one-shot deal), the inspiring feedback of the audience, the international recognition that it produces, economic aspects such as income, and the chance of a performance generating new professional contacts.
2. Solidarity beyond borders – As we are speaking a lot about mobility, we have to be aware of the fact that access to mobility is a privilege in itself. Some places, organizations and artists are privileged, geographically, economically, and in relation to visa requirements. Others find themselves in an isolated position and experience barriers in terms of support and mobility. How can we take this into account within the global ASSITEJ network? ASSITEJ already has a solidarity principle for mobility, that allows members who have fewer opportunities for support in their own country to call on travel grants. Would it be an idea to apply sustainable criteria within this mobility fund? It is and will remain important to support artists and arts workers in their mobility who do not have the resources available in their own region. But could this mobility become more sustainable and of higher quality? Extend a stay The Annual Magazine of ASSITEJ 2020Ä€€Ä€€33
to enable more encounters or a residency, for example. The principle of solidarity could also be
5. Learn from your peers and make alliances â Let us not forget that there exists already a lot
applied: ASSITEJ members who have many (financial) opportunities to travel could choose not to take part in an international gathering and make
of knowledge and expertise within our ASSITEJ network. Furthermore, we do not have to invent everything and can rely on other resources. The
the resources available to those who, for the time being, have fewer opportunities.
European project SHIFT (Shared Initiatives for Training) for example, that started in December 2019, will provide training initiatives for cultural leaders on how to claim a role in the action required to achieve the climate change goals of
3. Work on your footprint â There are a great many tools to help achieve a more sustainable mobility in the cultural field. For Flanders, there is for example Pulse â Cultural Network for Transition.6 This network believes that culture, youth and media can be a driver for transition to a socially just and sustainable society and formulated a number of ambitions. The sector-wide network connects individual professionals and cultural organizations that experiment with sustainable alternatives to our current societal model, with self-sufficiency and cultural activism at its core. Pulse shares inspiration and knowledge both in the network as with policy-makers and concerned actors in other sectors of society, by presenting the work of the field through the lens of the 17 Sustainability Development Goals. Internationally, resources and tools are aggregated for instance by Julieâs Bicycle (www.juliesbicycle.com), including the Green Mobility Guide (2011) developed together with On the Move, the online resource for arts mobility in Europe. Also for Europe, you can use the tool EcoPassenger (www.ecopassenger.org), a calculator to compare the emissions for planes, cars and trains for passenger transport. 4. Design global, manufacture local â Can this adage also be applied to the arts, where physical experience is so important? Is it possible to produce differently, lighter, and more locally? Artist Benjamin Verdonck made the change from largescale to more small-scale projects, for which he can travel by train and bicycle. In the case of transnational tours, theatre companies experiment with having stage sets made on site, or even creating a local remake for which the original team no longer has to travel.
6 https://www.pulsenetwerk.be/english
34 Beginning the Journey
the UN SDGs. Many parts of the world already have local networks working around this theme, in which knowledge is connected and further exchanged, and thereby strengthened. And donât forget to involve your audience in these conversations . . . As the above examples show, those who are looking for examples of artists and organizations who want to approach it differently do not need to look far. The examples stated above are humble examples, but that is precisely what makes them so inspiring: small, yet very precise interventions in the work of artists and those who support them, who, after what were sometimes very incisive analyses, developed concrete and innovative answers to complex problems. Can the sum of experiments like these eventually make a real systemic difference and bring about a paradigm shift? Can this also be translated into policy? How can practices that evolve from the bottom up create a more extensive movement, step by step, so that other artists and organizations, and in time, policy as well, can also be involved? For the time being, such a shift in the system is not yet in the cards. But the signals are definitely there, even if they are weak. What is needed most is creating bridges between those engaged on behalf of change, especially internationally. And a network as ASSITEJ is just the right place for that.
About the Author
Flanders Arts Institute is co-founder of ASSITEJ Belgium. It is an interface organization and expertise centre for the arts from Flanders and Brussels.
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ãã©ã³ããŒã¹ã»ã¢ãŒãã»ã€ã³ã¹ãã£ãã¥ãŒãïŒFlanders Arts InstituteïŒã¯ãã¢ãŒãã«ãããæ°ããåœéçãªåãçµã¿ãæ¢ ãäžã§ãããæç¶å¯èœãªã¢ãŒãå®è·µã«ã€ããŠè°è«ããŠããã³ ãã©ãã€ã ã·ãããããªãã¡ãã¢ãŒãå®è·µãããæç¶å¯èœãªã ã®ã«ããé©æ°çãªã·ã¹ãã ãæãã¢ãŒãã¹ããã¢ãŒãé¢ä¿è ã¯éåžžã«å€ããããããªããããã¹ãŠã®åé¡ãäžåºŠã«è§£æ±º ããã®ã¯äžå¯èœã§ãããå°ããªã¹ãããã®ç©ã¿éããéèŠã« ãªã£ãŠãããæ¬çš¿ã§ã¯ã幎å°ã®èŠ³å®¢ã察象ãšããèå°èžè¡ã® æç¶å¯èœãªåœéçåãçµã¿ãã€ãŸããããæç¶å¯èœãªã¢ã· ããžã«ã€ããŠã5 ã€ã®æŠç¥ãææ¡ãããã以äžã¯äž»ã«ãã«ã®ãŒ ãšãšãŒãããã®å®äŸã«ãªããããã¡ãããåªããå®è·µäŸã¯ã æ°åå€åã®åé¡ãèããäžçäžã®ã¢ãŒãã¹ããå£äœã«ãèŠã ããããšãä»ãå ããŠããã
Artistic Encounter, ASSITEJ Artistic Gathering 2019 in Kristiansand, Norway Photo by Kenjiro Otani
1 æ¬çš¿ã¯ä»¥äžã®è«æã«ããšã¥ããJanssens based on: Janssens, Joris. 2018. (Re)framing the International. On new ways of working internationally in the arts. Kunstenpocket 2. Brussels: Flanders Arts Institute. http://s3.amazonaws.com/flandersartsinstitute.f.mrhenry.be/2018/10/KP2-EN_web-lowres.pdf 2ãæç¶å¯èœãªéçºç®æšïŒSustainable Development GoalsïŒã¯ãå°çç°å¢ãå®ããªããç¹æ ãç¯ããããæåŸã®é«äœã«é¢ããããããã ãåœã®è¡åãåŒã³ãããŠããã貧å°ã®æ ¹çµ¶ã¯çµæžæé·ãçãæŠç¥ãšåæã«é²ããªããã°ãªãããæ°åå€åãç°å¢ä¿è·ã«å¯Ÿå¿ãã€ã€ãæè²ã» ä¿å¥ã»ç€ŸäŒçä¿è·ã»å°±æ¥ã®æ©äŒãªã©ã®å¹ åºã瀟äŒçããŒãºã«å¯ŸåŠããªããã°ãªããªãããšãèªèããŠãããã åºå žïŒhttps://www.un.org/sustainabledevelopment/ 3 Janssens, Joris. 2018. (Re)framing the International. On new ways of working internationally in the arts. Kunstenpocket 2. Brussels: Flanders Arts Institute. http://s3.amazonaws.com/flandersartsinstitute.f.mrhenry.be/2018/10/KP2-EN_web-lowres.pdf
The Annual Magazine of ASSITEJ 2020 35
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Artistic Encounter, ASSITEJ Artistic Gathering 2019 in Kristiansand, Norway Photo by Kenjiro Otani
36 Beginning the Journey
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4 Peeters, Jeroen. 2018. âTransition exercises for a more sustainable mobilityâ. flandersartsinstitute.be. 2018. https://www.kunsten.be/en/now-in-the-arts/transition-exercises-for-a-more-sustainable-mobility/ 5 De Moor, Marijke. 2019. Blogpost âAbout not taking the plane to Kristiansandâ. https://blog.kunsten.be/about-not-taking-the-plane-to-kristiansand-b71cbe98cd63 6 https://www.pulsenetwerk.be/english
The Annual Magazine of ASSITEJ 2020 37
Foto Publico Acto por la Infancia
Performers for Children in a State of Emergency: The Social Explosion in Chile, 2019 Maria Sepúlveda Balabán (Chile) November 20, 2019 was Universal Childrenâs Day,
injured by pellets and 11 by bullets.
commemorating 30 years since the UN General Assembly ratified the Convention on the Rights
A highly publicized case occurred during the early morning hours of November 14 and went viral on social networks: the detention of 8 people, includ-
of the Child. However, in Chile we have nothing to celebrate this year, and the artists of the Performing Arts for Children and Youth are in crisis. According to figures from the Chilean Ombudsmanâs Office for Children, from October 18 to November 15, 2019, more than 1,065 children were detained in police stations and the rights of 327 minors were violated by police and military personnel; there were 118 registered physical injuries associated with fists, kicks, and bullets; and 48 minors were
38 Beginning the Journey
ing 5 children between 10 and 14 years old, in Villa Alemana. The roughest image corresponds to a minor who was picked up and defended by the human rights team in the area. âI want to go to my little house, take me to my little house,â said the boy, obviously upset by the situation. As citizens and as performing artists for children and youth, and in the midst of the outburst, the expression of our own desires and yearnings for a
more just society came out with all the force, including the fear, uncertainty, and sadness about that which the numbers of those affected still do not reflect: the brutality of police violence to children and adolescents. While the peaceful demonstrations and the brutal repression by the police force continue to be hidden in the official media, throughout Chile we, as citizens and as artists, have felt the call to continue. We have worked in a spontaneous way and with an impromptu organization to make the violation of rights for children and youth in Chile visible and to put the focus on our children and youth. Public declarations, calls for attention, artistic events with workshops and open town halls for children, theatre performances for the most affected populations, music and activities for the youngest have been developed in a joint effort, carried out by citizens, artists, health professionals, educators, psychologists, and institutions such as UNICEF and the Chile Childrenâs Ombudsman. They have tried to open welcoming and expressive spaces, but this has not been enough to soothe the serious consequences felt by the people from the State of Emergency. Instead it created a pseudo-normal that keeps most citizens in uncertainty, and that keeps our young people on the alert. How to make theatre for children in the middle of a State of Emergency? What is the role of our art beyond the artistic value of each show? How can we respond as artists for children and youth to create memories and support their cognitive and emotional social processes?
How does the creative investigation in the taboo aspects of our society become an essential element in the creation of a show for children? What is our responsibility as performing artists for the youngest in history? These are all questions that we try to answer in our artistic development but that today are pressing with more force than ever and are answered in some way by our collective creative acts of emergency. Our art is an act of rebellion inside an insensitive system that lulls our children to sleep. Today, more than ever, this idea becomes flesh in our conscience. The rebellion, the political act of daily resistance, has found greater urgency today, inescapable to our senses because of âChile Despertóâ (Chile Awake). We as artists for children and youth have woken up and are meeting again with our peers in this emergency, looking deep inside ourselves, sealing this re-evolution and new resistance with our collective acts of love and poetry that confirm the value and social responsibility of our art. And we in Chile are not alone. All over the world we find social and political unrest, as well as citizens and artists who continue to fight for the right of the child to art and leisure, just as the UN declared thirty years ago.
About the Author
Maria Sepúlveda Balabán works at La Negra MarÃa Teatro in Chile. She is an actress, psychologist, and licensed Magister in Law and Public Policies for Children and Youth Diego Portales University. She is the co-founder of the Association Te Veo-Assitej Chile.
Foto Laura Chile desperto
The Annual Magazine of ASSITEJ 2020 39
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40 Beginning the Journey
Eder Rosa, Bambu Bamba process, Photo by Henrique Rosa Juguero
Bambu Bambá âA Diasporic Journey Towards the Unknown Viviane Juguero (Brazil) Reflecting on the journey towards the unknown, the theme proposed by ASSITEJ, I thought about my own journey as an Afro-Mestizo-Brazilian dramatist who deals with the subject of diversity in all my
Based on the neo-diasporic situations present both in Brazil and in Germany, I proposed to focus on
authorial works. As a descendant of the diasporas, the complexity of my own mixed roots has inspired
ways of living childhood that are completely dis-
diaspora in a play for children called Bambu Bambá. As far as children are concerned, diasporas result in
me to work on a new play focused on diaspora and diversity through an emotional and reflexive approach. The acrobatic actor Ãder Rosa, who comes
tinct from the idealized cultural constructions that underlie most hegemonic aesthetic creations dedicated to childrenâs groups. The absence of a settled home, insecurity, and family instability are some of
from similar mixed origins, has accompanied me since the beginning of this research investigating the scenic possibilities of the relationship with bamboos based on my initial concept. In summer 2019, the German dramaturg Barbara Kastner invited me
the factors that millions of children are forced to deal with. Unfortunately, there are very few artistic and pedagogical works that contribute to emotional and rational maturation by focusing on the theme of diaspora in a way that is appropriated to
to develop a project in the theatre where she is a board member in Munich.
childrenâs ways of thinking and perceiving the world. The play Bambu Bambá aims to provide children
The Annual Magazine of ASSITEJ 2020 41
with personal tools to deal with these situations, offering perceptions of a better future, based on the theatrical experience, on notions of solidarity projected by the performance, and on the empowerment of those who experience it. Bambu Bambá tells the story of three people who are forced to leave their countries. They have different cultural perceptions, and when they meet halfway they experience moments of loneliness and disagreement. After some interaction, the three learn to deal with diversity and build a new culture based on the integration and modification of values, habits, and perceptions. Thus, Bambu Bambá embraces scenes of solidarity, abandonment, quarrel, and conciliation, betting on the positive perception of the cultural integrations provided by diasporas. The play approaches the theme through a universal nonverbal language rooted in a pluriperceptive and multi-significant artistic composition. The nonverbal narrative makes the play able to dialogue with children from different cultures and countries, highlighting the universal bonds which embrace all humankind. The issue of diaspora is focused dialectically, based on childrenâs playful logic, which is structured in a system where emotion, cognition, senses, and perceptions are deeply mixed. The theatricality of the play emerges from corporeality, musicality, plasticity, and different sensory stimuli, besides distinct relationships with bamboos, both due to the materialâs sustainability and its symbolic characteristics that can be directly linked to the theme of diaspora: deep hidden roots, flexibility, strength, and the abil-
ity to regain balance. On the stage, bamboos will be transformed into props, puppets, stilts, a tightrope, as well as percussion instruments. The work also seeks to reveal that the interaction between humans and nature is very present in contemporary times and not lost in an idyllic past. Contemporary technological tools are not necessarily opposed to nature and animality. Bambu Bambá integrates projections that spread throughout the scene, expanding sensory perceptions; like water images flowing from walls to the floor, for example. In addition, the percussive live music dialogues with synthesized sounds and reproductions of natural surroundings, in a pluriperceptive composition that seeks to highlight the different possibilities of integration and (re) signification. Our Bambu Bambá project counts on an international professional group. The Brazilian team is composed by me, Viviane Juguero, as a dramatist and general director, and the actor Ãder Rosa. The German team counts on the theatre administrators Robert Spitz and Barbara Kastner, who is also a dramaturg in the project. The North-American Kathy Parkins is also a collaborator in Bambu Bambá. The cast will consist of Ãder Rosa and other Afro-descendant artists who live in Germany at this moment. The play will be performed in Germany in the fall semester of 2020, sponsored by Munich directorate of culture, through dasvinzenz Theatre, and Ebenboeckhaus, among other partners. About the Author
Dr. Viviane Juguero is a dramatist, researcher and professor. She is the author of a number of performed plays and articles about Theatre for Children.
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42 Beginning the Journey
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Eder Rosa, Bambu Bamba process, Photo by Henrique Rosa Juguero
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The Annual Magazine of ASSITEJ 2020 43
TYA and Politics â Should We Collaborate? Kentaro Miyamoto (Japan) It is not easy to write about relationship between artists and politics. It applies to people concerning
(Article 2-8.) For the promotion of policies of culture
TYA (Theatre for Young Audiences), and its supporters.
and the arts, the importance of culture and arts education for children must be stressed. Activities in schools, cultural/arts organizations, home and com-
Artists like freedom. They donât like restriction and censorship for their expression. Sometimes their performances are against the situation of politics and society at that time. Reflecting back to history, politicians have used arts for their propaganda too. On the other hand, artists need money. To distribute their performances widely, they want to have the support of laws and regulations, and encouragements from stakeholders. So, should we, people concerning TYA and its supporters, collaborate with politicians? In this essay, I would like to think about it using a recent Japanese case study. In the Japanese Parliament, there is the âAssociation of MPs (Members of Parliament) for the Promotion of Culture and the Arts.â It is a bipartisan group composed of around 130 MPs.
munity must be carefully arranged. It is significant for us that this kind of law was enacted. There are people who still think âTYA is just an entertainment only for the children from rich families.â We could show them and explain âThis is the inherent right of everybody. It is written in the Japanese law.â The âAssociation of MPs for Promotion of Culture and the Artsâ sets several goals. For example, the âEstablishment of the Ministry of Culture and the Artsâ and the âIncrease of the Budget for Arts to 0.5% in the National Budget in the Medium to Long Term.â (The budget for arts was 0.1% in Japan in 2016). If these goals are fulfilled, it would be wonderful. The importance of arts would be recognized clearer, and the financial support from national and local governments to artists would increase.
They have collaborated with the private organization, âArts and Culture Forum,â and established the âBasic Act on the Promotion of Culture and the Artsâ in 2001, and revised it to the âBasic Act on
Then these aims will not be fulfilled only by artists. They will not be fulfilled only by politicians. Both of
Culture and the Artsâ in 2017.
us need to collaborate, to appeal to society widely, get supporters, and create big movements.
I quote two paragraphs from the âFundamental Principlesâ section of the âBasic Act on Culture and the Arts.â
In conclusion, I think that we, people concerning TYA and its supporters, should collaborate with politicians. With careful attention and a sense of
(Article 2-3.) For the promotion of policies of culture and the arts, it must be stressed that it is an inherent right to create and appreciate culture and the arts. Regardless of their age, ability, economic situation, and living area, the environments in which all people can appreciate, participate in, and create culture and the arts equally must be arranged.
44 Beginning the Journey
balance. For the children who walk the journey towards the unknown future.
About the Author
Kentaro Miyamoto is a researcher of Drama in Education and TYA. He has been engaged with ASSITEJ for 15 years. He is currently the Secretary General of the ASSITEJ Japan.
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The Annual Magazine of ASSITEJ 2020 45
The Habit of Freedom Donna Abela (Australia) For far too long, most of my writing life, beginning a journey into the wilderness of a new playâespecially an original play that bubbles up out of the alchemy of dreaming, research, collaboration, and audience responseâwas terrifying. Writing a first draft was an actual source of terror because I was flying
Own; a sentence identifying the conditions which, if met, will enable a woman to write. Uninterrupted time, private space, sufficient money, real world opportunities and connections, and the courage to speak up, are unsurprising conditions compared to
in the face of a deeply-ingrained survival belief: be silent and unseen, and you will be safe.
dom, a deeply internal state of un-encumbrance which, for many of us, I suspect, might be the hardest to achieve, the hardest won.
Turning to feminist theatre aesthetics was helpful and inspiring, but largely theoretical, because the script development I experienced was not versed in or interested in much other than scriptwriting orthodoxies; indeed, I was once dropped from a script development program because my work was deemed âtoo girly.â When writing a new script, these orthodoxies would appear as default settings, and the biases and values embedded within them would tether my ambition and voice. If I worked harder to get traction, it was as if I was driving with the brakes on. If a deadline forced me into free fall, I wrote feeling as if a screaming kettle in my head was boiling itself bone dry. I want, more than anything, to un-write the myths and tropes that have put this planet on notice. To create stories that imagine the paradigms in which we will listen and think and act anew; stories that leap across the fault lines of our times with dialogic dexterity, wake in fright at the foreclosing phrase âhappily ever after, âand honor lifeâ not be imitating it, but by activating lives we are yet to own or allow or live.
the curiously and crucially included habit of free-
I am no Shahrazad. I would not be able to face a serial murderer with grace, treat with dignity a king who wants me and my kind dead, tell him captivating stories without contempt in my heart, or believe that such a monster was capable of empathy and remorse; but I want to aspire to the habit of freedom she brilliantly embodied because even the yearning for this disposition, this playful and spacious radical acceptance and love, makes all the difference when I set out to discover and tell original stories born from the lived experiences and languages of the land I stand upon. If I, if we, can have the habit of freedom, and meet the other conditions specified by Woolf, she assures us that this will trigger an event of cataclysmic historical redress - âthe dead poet who was Shakespeareâs sister will put on the body which she has so often laid down.â As we write, we will be able to hear the voices of people denied a voice until now; we will be told untold stories, and hopefully, tell stories that might serve the Earth instead of seal her fate.
The Earth needs new stories, and after years of trial and error, more error, false starts and flukes, triumphs and setbacks and astonishments, I know that if I am to respond to this imperative, write even one half-decent counter-narrative, I must cultivate and practice âthe habit of freedom.â This phrase is Virginia Woolfâs, from a breath-taking 189 word sentence in the final paragraph of A Room of Oneâs
46 Beginning the Journey
About the Author
Donna Abela is a play wright and dramaturge from Australia. Her adaptation Tales From The Arabian Nights, which addresses the refugee crisis, was published by Currency Press in 2019.
Theatre of Image, Tales from the Arabian Nights, Photo by Gaica Branco
Theatre of Image, Tales from the Arabian Nights, Photo by Gaica Branco
The Annual Magazine of ASSITEJ 2020 47
Theatre of Image, Tales from the Arabian Nights, Photo by Gaica Branco
Theatre of Image, Tales from the Arabian Nights, Photo by Gaica Branco
48 Beginning the Journey
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Theatre of Image, Tales from the Arabian Nights, Photo by Gaica Branco
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The Annual Magazine of ASSITEJ 2020 49
Remembering Childhood: Memory as Fuel for Future Stories Faye Kabali-Kagwa (South Africa) Until recent times, South Africa had seen little in the way of theatre for children beyond storytelling
Mfono uses the character Ntate Mogadi from his
and a few large-scale family productions, which are often recreations of American and European stories and aesthetics in the form of pantomimes or stage
ter is based on this man I knew when I was about 11,â Mfono explains. âI think it was around the time
adaptations of childrenâs books. With the founding of ASSITEJ South Africa, new forms of theatre emerged, over the last decade; for example, there has been a growing interest by theatre companies and independent artists to create theatre for early years. What has not been developed with the same enthusiasm is theatre for children between the ages of 10 and 15, which rarely plays on main stages. However, some of the most innovative, evocative, and poignant theatre pieces for this age group have been written by young playwrights. ASSITEJ SA has over time played a significant role in identifying these productions and providing them platforms for showcasing and development. One of these playwrights is Lereko Mfono. In a conversation with playwright, director, and actor Lereko Mfono, we discussed his writing process and the future of theatre for children in South Africa. Mfono reveals how memory can form the backdrop for deeper, more engaged, and exciting theatre for children. âMemory is pretty much the center-point from which I write my storiesâ he says. Mfono sees the images and feelings evoked by memory not as something exiting in the past, but rather they form visceral stories that allow him to orient the perspective of his characters. Often when actors are given the opportunity to play children, it comes off as caricature rather than character. Mfonoâs writings avoid this, as he grounds his characters in a world view of their own, which is unsullied with the need for answers.
play Narrative Dreams as an example. âThe charac-
my dad went away to work in the UK. I just remember there was an older man that was around, and I liked him.â What is interesting in Mfonoâs approach is his commitment to his memory of the man and the character Ntate Mogadi is created from these memories. âIf a memory sticks to you it sticks to you very well. Youâre able to extract from it the tone with which youâre hoping to pitch a story at,â Mfono explains. One of the themes present in Mfonoâs work is that of loneliness. The child characters he creates struggle with different manifestations of being alone, which colors the way they navigate the world. In Narrative Dreams Morenaâs only friend is a chicken. He must also deal with the relationship between himself and his mother changing as he surpasses her in his schooling. In The Kids from Amandla Street the children try and figure out their friendship, while tensions in their neighborhood rise regarding who belongs and who does not. Mfono says that âone of the myths or misunderstandings that I had to confront as a theatre for young audiencesâ playwright, was the myth that young people are always happy.â He spoke about his childhood with a father that had to leave home to work abroad for economic reasons; his cousin who is currently watching his older brother struggle with drug addiction; and countless other stories where Mfono thinks about the impact this will have on their world view. At the same time Mfonoâs plays always end in hope, without it feeling saccharine. This belief in hope is something Mfono feels is embedded in childhood, past and future. According to Mfono âchildren are able to imagine themselves beyond
50 Beginning the Journey
their circumstances. They are thinking about their
that can serve as a foundation for shared experienc-
futures, or thinking about stars, or thinking about maybe one day I can fly, or thinking about magic.
es with audiences, we can together take steps into
They just have this transcendence within them that I always, always want to capture in my work.â Mfono reminds us that life does not become complex with age; living has always been a mixed bag, and writing may just be the way for us to embrace this on stage. In so doing, by activating memory
an unknown future. About the Author
Faye Kabali-Kagwa is an arts coordinator and culture writer with a growing interest in curation of performance, and public engagement. Her work with ASSITEJ South Africa has seen her play a variety of roles as a project coordinator, facilitator, and reviewer.
The Annual Magazine of ASSITEJ 2020 51
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52 Beginning the Journey
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The Annual Magazine of ASSITEJ 2020 53
The Asian TYA Network - Geographies of Hope Caleb Lee (Singapore)
The relationship between theatre, culture, and young people in Southeast Asia has received very
ly, performative cultural activities for children in Southeast Asia have been bourgeoning in recent
little critical attention until recently. With the support of the Japan Foundation Asia Centre and ACO Okinawa, the Asian TYA Network was established
years, reflecting the shared passion and enthusiasm of the wider TYA community.
in 2016 to encourage TYA professionals from Southeast Asia to join in the larger dialogue, and where possible, forge creative partnerships. As part of
The range of activities of this young network is demonstrative of the dynamism of TYA in Southeast Asia. For example, in Central Java, Indonesia, local children are provided the opportunity to learn, participate and perform different traditional art forms in the annual Tlatah Bocah festival. Along with guest performers from other parts of the country, a variety of pantomime and puppet theatre shows are also presented at this event, encouraging a playful and shared experience amongst performers and audiences. In Northern Thailand, theatre activist group Makhampom has partnered with various non-government organizations, volunteers and artists to provide community-oriented and theatre education programmes to different communities across the country as a way to affect social and political change. In Cambodia, Epic Arts, an inclusive arts company, has used theatre as a form of artistic expression and empowerment to bring
the networkâs efforts to start these conversations, research trips to Singapore, Malaysia, Cambodia, and Myanmar were organized, where several researchers met with local artists, organizations, and stakeholders to learn about the practices and challenges on the ground. Additionally, Southeast Asian TYA professionals were invited to the International Theatre Festival Okinawa for Young Audiences (ricca ricca *festa) from 2016 to 2019, where they participated in a series of cultural exchange programs and symposia. One observation that emerged from these exchanges is that the term TYA has many limitations in Southeast Asia. Historically, TYA is a Western construct that is used broadly to refer to professional performances that are designed for children and family audiences. The terms âtheatreâ and âaudiencesâ have their own set of cultural, artistic and political implications that are rooted in western ideologies. In places where people have no access to the English language or Western theatre, the concept of âtheatreâ that is tied to box-office, dedicated buildings, and artistic labor is not widely practised. This is not to suggest that creative and theatrical practices are absent in this region. On the contrary, where historical and political circumstances might have resulted in social unrest, theatre for/by/with children has been used as a tool to address injustice as well as to strengthen cultural identities. Even though the term TYA might not be used explicit-
54 Beginning the Journey
people with and without disabilities closer together. These are some examples of performative activities in the region that are not just limited to the stage or informed by commercialism, but illustrative of how their aesthetic practices are also orientated towards social engagement and civic participation. Despite the lack of a common spoken language, the network has fostered an inclusive spirit and encouraged a sense of solidarity amongst its members. Through artistic and cultural exchanges, ethical partnerships within and across borders have been forged, which in return, has cultivated a culture of respect, empathy, and sensitivity towards others. Shrinking and shifting boundaries in the twenty-first
century might be an uncomfortable process, but a network like the Asian TYA Network has provided a space for meaningful dialogues to flow, encourage new ways of collaboration, and challenge us to rethink the role of TYA in Southeast Asia. In a world where concerns about violence and adversities are heightened, the deployment of hope is increasingly necessary. At the heart of the discussion about the future of theatre and young people in Southeast Asia lies the following question: How can theatre inspire new imaginaries of hope? Hope is a powerful force that has the ability to shape political, social, and cultural thoughts and actions. As Theatre Educator Kathleen Gallagher argues, hope needs to be âgrounded in present social relations, politically clear-eyed, critically and affectively engagedâ (2015, p. 424). Reflecting this sentiment, the Asian TYA Network has embraced a deep curiosity about the place of hope for children at the intersection of theatre-making and the lives of young people. Whether it is through the dramatization of real life issues on stage, utilized in policies, or em-
ployed in community settings, the practice of hope offers a form of creative resistance and provides a voice for social critique. In many ways, mobilizing this deep-rooted hope has enabled Southeast Asia TYA professionals to confront the messy realities of communities, theatre, tradition, artistic practices, and education in their own contexts, even when material and social conditions might have made that difficult to do. As the TYA conversation continues to unfold and evolve, it is my hope that this article, in a modest way, has offered producers, educators, and artists an invitation to think and a provocation to act. References Gallagher, K. (2015). Beckoning Hope and Care. Research in Drama Education: The Journal of Applied Theatre and Performance, 20 (3), 422-425.
About the Author
Caleb Lee is the Co-Artistic Director of Five Stones Theatre (SG/UK) and Associate Researcher of Rose Bruford College TYA Centre.
The Annual Magazine of ASSITEJ 2020 55
56 Beginning the Journey
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ç¬èªã«åãåãããšãå¯èœã«ããŠãããTYA ã®å¯Ÿè©±ãåºãã é²åãããšãšãã«ããã®æç« ãå¶äœè ãæè²è ãã¢ãŒãã£ã¹ ããã¡ã«ãèããè¡åãèµ·ãããã£ããã«ãªãããšãé¡ã£ãŠã ãã
åèæç®ïŒGallagher, K. (2015). Beckoning Hope and Care. Research in Drama Education: The Journal of Applied Theatre and Performance, 20 (3), 422-425.
èè 玹ä»
ã±ã€ã¬ãã»ãªãŒã¯ã ãã¡ã€ãã»ã¹ããŒã³ãºã»ã·ã¢ã¿ãŒïŒFive Stones Theatre SG/UKïŒã®å ±åã¢ãŒããã£ã¬ã¯ã¿ãŒã§ãããã㌠ãºã»ãã«ãã©ãŒãã»ã«ã¬ããžïŒRose Bruford CollegeïŒTYA ã»ã³ ã¿ãŒã®å ±åç 究è ã§ããã
The Annual Magazine of ASSITEJ 2020 57
Crossing Boundaries Sergey Kozlov (Russia)
Upsala Circus, I Am Basho,Photo by Alexey Malozemov
58 Beginning the Journey
Professional theatre for children and teenagers in Russia is in an ambiguous position. On the theatre
ov based on a play by the contemporary playwright Ekaterina Gorokhovskaya in the Nyagan Theatre for
map, there is a system of companies supported with public money that create productions for the young audience. At the same time, academic drama
Young Audience; Little Feelings by Nadezhda Alexeeva at the Novgorod Mali Theatre; and Gerdaâs Room by Yana Tumina based on Andersenâs fairy tales in
theatres also include performances for children in their repertoire (these are often created without taking into account the audience specifics and seek
the Osobnyak Theatre (St. Petersburg).
commercial interests: the system of pre-school and secondary school education regularly supplies them with organized audiences). A special place has independent projectsâlaboratories initiated or hosted by public theatresâwhich intentionally engage in work with children and youth. It is thanks to these independent projects and progressively thinking repertoire companies that the theatre for children and youth in Russia is rapidly coming out of its ghetto. Earlier, young spectators at the performances would see talking animals or characters out of popular books for children from the previous century. Numerous folk tales often misrepresented the folk tradition or completely lost touch with it. Until now, many directors of theatres, conservative teachers, and parents falsely assume that children need to see only colorful, noisy, and funny shows performed in a silly way with an indispensable moral at the end. But this is increasingly replaced by a theatre for children and youth that is closely related to contemporary art and which offers up-to-date perspectives of the world. Particular achievements in that sense have been made by animated theatre forms with puppets, objects, projections, and multimedia technologies. The fact that public drama theatres are opening up for such practices can be considered as an encouraging trend. Successful examples include the productions When Iâm Little Again by Yevgeniy Ibragimov based on texts by Janusz Korczak at the Tovstonogov Bolshoi Drama Theatre; Teach Me to Fly by Artem Ustin-
The repertoire for young audiences in Russian theatres is being developed in close contact with the European experience. The latter is accessible also outside of the big cities. For example, KINGFESTIVAL, which takes place in Velikii Novgorod every two years, offers the opportunity to compare the trends of the global theatre process and to reflect on what topics, methods, and forms get outdated and which ones are emerging. A comparison with progressive European theatre, which is free from speculation on national literary heritage, stimulates competitive ways to create contemporary theatre for children in Russia. These Russian productions are successfully shown at festivals in Europe and Asia. Novgorod Mali Theater is a vivid example of active synthesis of various forms on the periphery. The director and actors here successfully master not only puppets and objects, but also dance practices and movement theatre. Nadezhda Alexeeva often ignores the so called âpurity of genre.â She creates an authorâs theatre, where a combination of techniques works exclusively for the artistic objective of building the relationship between the child and the world around them. Physical and object theatre are used to create a unique system of signs that defines the stage language of each production. Everyday objects, toys, hand-made art objects that receive a new, animated or fantastic quality, constitute the basic technique for such language. In the production Where Does the Wind Live? plastic tape is used to create images of the seasons and respective emotions. This show is closely related to contempoThe Annual Magazine of ASSITEJ 2020 59
rary visual art. Manipulation with objects, supported by musical and light scores creates imaginary worlds that are accessible to every child. Verbal and non-verbal productions equally contain a set of themes and emotional impressions that serve to realize the experience of a little spectator. These productions leave out didacticism and rarely designate a moral and ethical framework. The spectatorâs identification occurs not through the presentation of abstract forms of good and evil, but through empathy with situations and fears of big things, loneliness, losses, injustices, from which you can always find a way out. The situation is different in the theatre for teenagers. On the periphery, adolescents are still seen as main audiences for traditional interpretations of classical literature and drama (mostly from the âGolden Ageâ of Russian culture). Theatre serves the interests of the conservative school system. When producing such shows, theatres often spend considerable financial resources on stage design in order to achieve conventional truthfulness in representation of a specific historical period. And at the same time, the basic needs and problems of a teenager surrounded by imperfect reality are ignored. Moral and social restraints are imposed on the young person which do not relate to his age and experience. It is contemporary literature, often translated, that helps theatres to find the way out. Courage, audacity, accurate representations of the challenges of our times are the life-giving source for directors. Names
aeva, Ivan Pachin, Alexandra Tolstosheva, Maxim Sokolov actively promote teenage literature on the stages of metropolitan and peripheral Russian theatres. The laboratories of the Golden Mask National Theatre Award and Festival and MTK.NEXT in 2018 were dedicated to contemporary teenage literature for theatre stage. At the same time, the teenage theatre may well do without complex illusions and visual attractions. The level of convention in theatre deliberately builds a different way of communication than cinema does for the given audience. Cinema seeks to surprise and create a virtual space of the superhuman, the impossible. In theatre teenagers meet characters that are not perfect, often defenseless, and they are able to answer directly to uncomfortable and awkward questions on the verge of growing up. The teenage theatre helps to say goodbye to childhood and work through the traumas of the modern young person. It should be noted that today contemporary professional Russian theatre for children and youth is made mainly by experienced artists. Their task is not to catch up with the new generation, but to anticipate its problems and needs. The performance becomes for them at the same time the exciting exploration of the audience, the attempt to reflect on it, and the creation of tomorrowâs picture of the world. Contemporary Russian theatre for children and youth broadens the imagination of the younger audience and creates a realistic living environment for those who today are going through a period of rebellion and estrangement. Together they lead the spectators into the future.
of authors who have already become modern classics appear on productionsâ posters: Ann Fine, David Almond, Maria Parr, Rune Belswick, Marie-Aude Murail, Angela Nanetti, Wolfgang Herndorf. Young directors such as Natalya Pakhomova, Yulia Bely-
60 Beginning the Journey
About the Author
Sergey Kozlov is a theatre researcher, critic, journalist, and Candidate of Philological Sciences in Velikii Novgorod, Russia.
Novgorod Theatre Mali, Where Does the Wind Live, Photo by Olga Mihaleva
Novgorod Theatre Mali, Where Does the Wind Live, Photo by Alexey Malozemov
The Annual Magazine of ASSITEJ 2020 61
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Nyagan TUZ, Teach Me How to Fly, Photo by Marina Vorobieva
62 Beginning the Journey
Novgorod Theatre Mali, Little Feeling, Photo by Anna Bocharova
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The Annual Magazine of ASSITEJ 2020 63
Art for Every Child: Suggestions from Japan Keiko Fukuyama (Japan) Japan, regarded as one of the more affluent countries in the world, is now facing a lot of problems surrounding children and the younger generation.
viewpoints. The various problems we see in Japan
Children are busy and spend the most of their day at school. After school, many children go to âcram schoolâ and that lessens their free time for playing
can be seen everywhere outside Japan and we can tackle the problems together.
in nature with friends. The younger generation has less hope for the future than their parents used to have. Their anticipation is darkened by high cost of
What role can performing arts take for now?
education, increasing use of non-regular employment, and poor working conditions. In addition to that, sluggish economies and deteriorating of the global environment make it worse. Feeling a sense of stagnation, children tend to turn their anxiety and frustration to attacking someone around them. At schools they avoid showing their weakness and cannot speak their mind openly. Wide-spread social media keep children stressed and connected for twenty-four hours a day. As a result, divisions and isolations are deepened. A research in 2018 shows that the number of teen suicides has increased from 2017, and the primary reason of them is âa school related problem.â This shows us the serious situation that young people are experiencing now.
performing arts convey dynamism of life. Through encountering characters in plays, children will learn the different viewpoints outside school, and then they can be released from stressed-out situations. A lot of emotional conflicts in dramas let children know the power and possibility of communication.
Books and newspapers are no longer popular media. People lock themselves in the internet world and by doing so, they only listen to the opinions similar to theirs. As a result, they lose the chance to discuss and access others who have different opinions and
now have arisen after the high-level economic growth. As globalism accelerates, similar problems
Performed by flesh-and-blood human beings, the
To make children learn traditional culture is to allow them to âmeetâ their ancestors. This is a chance for children to feel a real sense that history is directly connected to them, and to think in a broader perspective about human beings. Various kinds of performing arts and workshops bring childrenâs confidence and their curiosity about others back, while being secured their presence; not by how well they perform in the academic arena but just as they are. Exercising and meeting people in person allow children to regain their confidence and rebuild trusts toward others. Then children make a significant change that surprises the adults around them. Photo by Hiroshi Ohdate
64 Beginning the Journey
Adults are responsible for securing every childâs right to access cultural, artistic activity.
We expand a network among institutions, groups, and individuals of performing arts for children and
We protect every child and young personâs rights, regardless of cultural backgrounds, and allow them
young people, and deepen the relationships among them. We research and assess measures and projects of performing arts for children and young people, and put in place sustainable structures for
to participate in cultural and artistic scenes. We produce settings where they can experience the cultural and artistic, recreational and leisure activities.
them. To protect a prosperous future of children and
By respecting childrenâs free expressions, we produce dialogues and creative processes, with courage toward the âUnknown Future.â We cultivate more
young people, artists should learn from each other across borders and cooperate with government, educators, and citizenâs groups. Now is the time to
specialists to create opportunities for every child and young person to experience performing arts and to create scenes of participating in an appreciation
perform it!
and creation of arts, without any discrimination and elimination.
About the Author
Keiko Fukuyama is a Board Member of ASSITEJ Japan and a SEINEN-GEKIJO Playwright.
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The Annual Magazine of ASSITEJ 2020 65
Leave No One Behind
ung theatre for yo
audiences
SAVE THE DATE
17thâ22nd of May 2022 in Helsingborg, Sweden PERFORMING ARTS BIENNIAL FOR CHILDREN,YOUTH AND FOR YOU
bibu.se
Host of the ASSITEJ Artistic Gathering 2022
ASSITEJ SWEDEN SCENKONST FÃR BARN OCH UNGA
-creates unique, beautiful and universal puppet and object theatre performances for audiences of all ages. Such as âRomeo and Julietâ â a classic retold with puppets created in 2019. For more information contact Producer Lisbeth El JÞrgensen at: lisbeth@refleksion.dk www@refleksion.dk
66 Beginning the Journey
Stavski Plakat: Ditte
PERFORMANCE CHOSEN BY THE JURY 2020 THE BALLAD OF THE APATHETIC SON AND HIS NARCISSISTIC MOTHER, 21COMMON. PHOTO: NIALL WALKER
21
18.- 25. APRIL 20
aprilfestival aprilfestival
.dk
aprilfestival
51st EDITION ⢠DENMARK One of the biggest TYA-events in the world 100 companies and 200 shows APRIL 18-25, 2021 ⢠APRILFESTIVAL.DK
The Annual Magazine of ASSITEJ 2020 67
The Batida Theatre Gang has disturbed the mind set of young people in 45 countries. Donât let it stop! Reward for putting The Batida Theatre Gang on stage: Peace, love and harmony!
www.batida.dk
French Company of Theater-Dance Young Audience
colimaçonne
en Un éclat / in ONE burst
entre deux pluies / between two rains
Dance and visual art performance from 15 months old
Dance and visual art performance from 2/3 years old
Dance and visual art performance from 2/3 years old
« colimaçonne » gathers one painter and one hip-hop dancer. This duet has been inspired by residencies in kindergarten, schools, and retirements houses.
« en UN éclat » is a choreographic duet with a senior dancer, white haired and a young breakdancer.
« entre deux pluies / between two rains » is a choreographic solo, 300 kg of black rock and a few drops of rain. One drop, two, three, rainfall, a light shower. Silence, some piano keys.
Technically very light, « colimaçonne » has been thought to be able to be performed in-situ, in any kind of space with daylight, or on stage of course with the audiences all around the performers.
A white set. Immaculate. Circular. A playground. Here stands a woman. The first move comes from a dancer. He appears out of nowhere. And the meeting between these two ages takes shape and comes to life.
A dancer looks, observes and waits. She circles, moves in, hesitates, she enters the stoneâs world. She slides into this spaceâŠ
- Contact : LaurÚne Blanckaert / production@akentrepot.fr - tel + 33 6 09 17 39 15 / www.akentrepot.fr -
68 Beginning the Journey
LOOKING FOR A STRONG CLASSIC STORY FOR YOUR NEXT CHILDRENâS SEASON? Singapore Repertory Theatre (SRT) â one of asiaâs leading theatre companies, established The Little Company (TLC) in 1993, becoming one of the biggest producers of childrenâs theatre in Southeast Asia. TLC has commissioned dozens of new plays and musicals for young audiences, with an extensive catalogue available for licensing.
90%. For more information, visit www.srt.com.sg/licensing or drop us a note at licensing@srt.com.sg The Annual Magazine of ASSITEJ 2020 69