Magic Net Yearbook 2008

ONE DAYIn euROPE

Yearbook 2008

Mecklenburgisches Staatstheater Schwerin | Germany VAT Theatre | Estonia Theater der Jungen Welt | Germany Kleist Forum | Germany het MUZtheater | The Netherlands

Teatro O Bando | Portugal Experimental Stage of Baltic House | Russia Divadlo Astorka Korzo ’90 | Slovakia Teatro Guirigai | Spain Theater an der Sihl | Switzerland Tiyatro Oyunevi | Turkey Pilot Theatre Company York | United Kingdom

www.magic-net.org

MAGIC NET 2008

Teatret Vårt AS Regionteatret i Møre og Romsdal | Norway

ONE DAY In euROPE a european theatre network yearbook

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A EUROPEAN THEATRE NETWORK FOR EXCHANGE AND CO-PRODUCTIONS

Theatres taking a young audience upon a fantastic journey of classic European tales

Season Seven August 2007 till July 2008 Magic Net is a collaboration of European theatre companies funded by the European Commission under “CULTURE 2000”

Project Leader Co-Leader Project Coordinator Literary Manager Assistants

Web-Design

Dirk Neldner Jan-Willem van Kruyssen Sven Laude Odette Bereska Yvonne Birghan Laura Eicke Juliane Lieschke artemisium Berlin

Participating Theatres Tallinn, Estonia VAT Teater Schwerin, Germany Mecklenburgisches Staatstheater Schwerin, Leading Organisation Leipzig, Germany Theater der Jungen Welt Zaandam, Netherlands het MUZtheater Molde, Norway Regionteatret i Møre og Romsdal, Teatret Vårt Palmela, Portugal Teatro O Bando Jelenia Góra, Poland Teatr Jeleniogórski Bratislava, Slovakia Divadlo Astroka Korzo ’90 Los Santos, Spain Teatro Guirigai York, United Kingdom Pilot Theatre Company Associated Theatres Frankfurt (Oder), Germany Kleist Forum St. Petersburg, Russia Experimental Stage of Baltic House Samara, Russia TJUZ Samara Zurich, Switzerland Theater der Künster (former: Theater an der Sihl) Istanbul, Turkey Tiyatro Oyunevi York, United Kingdom York Theatre Royal

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Contents Annual Meeting Preface by Vladimír Bajan, Chairman of the Bratislava Self-Governing Region�

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Preface by Vlado Černý, Artisitc Director, Astorka Korzo’90�

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Foreword by Dirk Neldner

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Programme – Bratislava, 2008

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Organisation Team

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One Day in Europe

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Points of Discussion

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Reflections

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Co-Productions America – Ship of Hope

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At the Doors of Europe

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Adopt a Soldier

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Head of Nails

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Kashtanka

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Theatres

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Mecklenburgisches Staatstheater Schwerin

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VAT Teater

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Theater der Jungen Welt Leipzig

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het MUZtheater

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Teatret Vårt

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Teatr Jeleniogórski

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Teatro O Bando

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Experimental Stage at the Baltic House

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Astorka Korzo’90

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Teatro Guirigai

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Zürcher Hochschule der Künste

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Pilot Theatre Company

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Tiyatro Oyunevi

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Kleist Forum

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Network Activities Annual Meeting – Schwerin 2007

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Youth Net

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Youth Encounter – At the Doors of Europe

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Youth Encounter – European Dialogue

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Contacts Timeline – Magic Net 2001– 08

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Friends of Magic Net

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Addresses

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Magic Net Management Committee

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Imprint

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annual MEETIN yearbook08.indb 8

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annual MEETING

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Preface

Dear friends, The Bratislava Self-Governing Region and I personally highly appreciate that the theatre Astorka Korzo ’90 is part of the Magic Net project and represents the Slovak theatre art on the international stage. I am glad that the theatre belonging to the Bratislava Self-Governing Region joined the process of international artistic co-operation which aims to the common artistic production of several theatres. We follow very carefully and with enthusiasm the common production of “One Day in Europe” which takes part in Slovakia and in the theatre whose ­promoter is the Bratislava Self-Governing Region. Such meaningful cooperation of several theatres from several European countries offers the possibility to present the Slovak theatre and our region abroad.

Therefore I would like to thank Astorka Korzo ’90 who enthusiastically joined the project and prepares it also technically.

I see the meaning of this co-operation in the integration of young ­ eople, mainly students, into the secrets of the theatre art and this p can help them to join the process of culture understanding. The ­Magic Net does it in untraditional but more attractive and interesting form – ­educational programmes, workshops and international seminars. This enables young people to learn more not only about the domestic but also about the international theatre art.

I am glad that this international project culminates in Slovakia, in ­the Bratislava Region and Astorka Korzo ’90 theatre. Welcome and enjoy your stay.

Vladimír Bajan Chairman of the Bratislava Self-Governing Region

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Preface It is a great honour for Astorka Korzo’90 that the final Annual Meeting, the conference and the opening of common production “One Day in Europe” take place in our theatre. The Astorka stage will become the site of this unique event, created by artists from many countries. For Slovak theatre people it will be a unique opportunity to witness different artistic principles based cultures and different techniques to those we know. And for the Bratislava audience the end of this year’s theatre season will become the theatre feast day with the opportunity to visit this untraditional theatre performance and to compare the cultures of the European community, part of which is Slovakia.

My special thanks to the Bratislava Self-Governing Region and to the Ministry of Culture of the Slovak Republic for their helpful approach and financial support.

Vlado Černý Artisitc Director, Astorka Korzo’90, Bratislava, Slovakia

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Foreword Seven Years in Europe The MAGIC NET European theatre network met for its seventh Annual Meeting in Bratislava. These work meetings have long since become a meeting place for friends who have become close as a result of numerous joint memories and experiences.

Seven is a magical number and it is therefore fitting for this equally magical network to carry out a final reckoning. The second phase of European Commission support runs out in this summer and it is worth taking a critical look back.

Countless encounters between European artistes have taken place over the past years with master classes as well as workshops and work meetings all being held. Actors, directors, literary managers and musicians experienced the everyday artistic world of their colleagues from other countries. Through the performances and the tours that followed them, home audiences could witness the peculiarities of European co-productions.

The work of the educators inside the Youth Net, Magic Net’s theatre education department, brought together innumerable young people in the various production processes held locally. With the six “Youth ­Encounters” held, young people were also given the possibility to meet in a spirit of artistic exchange. Magic Net strove to link together the work of professional artists and of young people on numerous ­occasions.

But more significant, at the end of a long journey travelled together, are the personal contacts and the individual networks that Magic Net has made possible. It has long since not been possible to measure the number of activities organised or influenced by Magic Net because the partners now implement their own projects and ideas among themselves. In this way, the network has become the starting point for a European artistic agency that drives itself, something that is totally in harmony with the idea of the initiative.

At the centre of the work of the theatre artist is the performance, the production, so it is worth having a closer look here at the conditions under which Magic Net creates its co-productions and the influences that are reflected in the performances. This can be shown through 13

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“Hidden Stories” A unique and common production of Magic Net for the Annual Meeting 2005 in Tallinn, Estonia.

two examples, namely “Head of Nails”, the co-production from Teatro O Bando, het MUZtheater and the Experimental Stage of the Baltic House, as well as “Hidden Stories”, the collective production of all theatres for the fourth Annual Meeting in Tallinn, Estonia.

“Head of Nails”, based on the absurdist texts by Russian author Daniel Charms, was produced in three countries using local actors in each country and where the productions nonetheless came together following very intensive, international artistic confrontations. The three actors from each country then travelled to the two other countries and rehearsed there with the in-house director under very different artistic and economic conditions. In this way, the actors carried the diversity of this co-production within themselves and brought together in their acting the characteristics of three very different directors. Not until the Annual Meeting in Schwerin did all the actors meet each other for the first time to present their results. Each production contained an element of the other two. They were clearly co-productions, even though, in the end, the home audience saw its own actors speaking their own language.

With “Head of Nails”, the three theatres found a solution for the central question of European partnership working: How can international coproductions become anchored in a theatre’s own repertoire and how can the language problem be resolved?

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In the joint production “Hidden Stories” for the Annual Meeting 2006 in Tallinn/Estonia, the 12 Magic Net theatres attempted to surmount another key obstacle to international partnership working: Can artists with very different cultural backgrounds preserve their cultural identities when working under conditions that are unfamiliar to them? In “Hidden Stories”, national histories, myths and legends, which were under threat of being lost, were taken up. Alongside the presentation by 12 short pieces in 12 locations in a kind of theatre marathon, almost 100 artistes rehearsed a premiere and a finale and in doing so gave structure to the event. The public and press reacted rapturously to this one-off performance, certainly also because it was recognised that the participating artistes were willing to say something about their cultural diversity and together strove to work towards something together. An impressive demonstration of what European identity can be; and at the same time a practical experience for theatre of how international cooperation can come about.

In 2001, at the start of Magic Net, the individual theatres were encouraged to give the partners the most comprehensive insight as possible into their work. During later exchanges and above all during the joint production work, it was the more dominant partners that left their mark on the artistic results while the search for consensus and compromis- “One Day in Europe” Directors’ Meeting in Palmela, Portues determined the partnership working process. Only over time did the gal beneath the olive tree to discuss belief start to penetrate through the network that diversity was Magic the final production.

Net’s incomparable strength.

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Interest in the strange, in the other, grew, as did the skill of being able to let differences stand side-by-side each other. It is, then, a logical outcome that in the Final Production, ONE DAY IN EUROPE, which had its premiere at the seventh Annual Meeting, all theatres and their creative departments are involved: from dramatic advisers / authors through directors to the actors. It was the declared goal of all theatres that this end production preserved the cultural distinctions of their countries and the artistic characteristics of their house – and these to be used as the basis for new creations.

With ONE DAY IN EUROPE, Magic Net achieved the goals it had set itself, the starting point to this achievement being many heated discussion rounds during which points were argued and differences became apparent. It speaks for the high level of commitment to theatre that, despite these confrontations, a joint concept was developed.

“America – Ship of Hope” Magic Net co-production in Molde, Norway on a ferry.

In a large final conference during the Annual Meeting, the theatres will together be reflecting on seven years of activities in Europe and looking forward to see how the Magic Net network can remain active in the future. In particular in terms of the work with young people, the theatres offered something that they could not have achieved without the network. The theatres will remain in contact with each other in relation to this work while a suitable approach for ensuring continuous artistic exchange also needs to be worked out.

It takes good organisation to bring European artistes together and to accompany them for seven years, at the same time ensuring they are challenged and have opportunity to communicate.

The theatres have shown great commitment and have worked hard in all these years and they are to be thanked especially for this. Without the understanding of all partners that a network such as this can only be managed successfully through additional work and financial investment, Magic Net would not have become what it is today. For this, I am very grateful to the members of the Management Committee for their work and for the fact they developed a culture of constructive debate that was often very heavy going but made possible unusual and outstanding results.

After seven years of network working in Europe, the list of whom we want to thank is very long. To start with, thanks goes to the team that produced the final production “One Day in Europe”: the actors, who went through a long and extraordinary rehearsal process, the director and his colleagues, who debated over the performance with pleasure and an open mind; also to the team at the Astorka

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Theatre in Bratislava who supported us in all our efforts and who were helpful hosts during the last meeting.

“At the Doors of Europe�

The audience watches the production by young people from seven

Above all, I would like to thank my team, which, for seven years, was there at all times and whose dedication never waned. Sven Laude mixed an understanding of artistic work with great organisational talent and is treasured by all participants for his competent and friendly working methods. Laura Eicke and Yvonne Birghan, particularly during the larger meetings, showed continuous commitment as co-workers and have significantly helped to shape Magic Net’s image.

countries at the Annual Meeting 2007 in Schwerin, Germany.

Magic Net was launched in 2000 with my Dutch friend and colleague Jan-Willem van Kruyssen and the literary manager Odette Bereska, two people who have been through all the highs and lows of a lively network life. These seven years will remain an indelible memory for a long time to come, so my final thanks go to them!

Dirk Neldner Project Manager

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VII Annual Meeting Bratislava

Thursday, 5. June

Friday, 6. June

11:00 Management Committee (MC) Meeting I 15:00 Management Committee Meeting II 19:30 ONE DAY IN EUROPE (opening night)

Saturday, 7. June

10:30 Conference »Was it Magic?« I (Reflection and Evaluation) 15:00 Conference »Was it Magic?« II (Reflection and Evaluation) 19:00 “Othello” (Performance by Divadlo Astorka)

Sunday, 8. June

10:30 Conference »Magic X« (Network in the future) 19:00 ONE DAY IN EUROPE 21:00 Dinner and Farewell Party (on the river Danube)

Monday, 9. June Departure Participants 19:00 ONE DAY IN EUROPE

Tuesday, 10. June

Start of Magic Net Tour 2008 »One Day in Europe«: Jelenia Góra | Schwerin | Berlin | Zaandam | Molde

Arrival Participants „VII. Annual Meeting“ 11:00 ONE DAY IN EUROPE (preview)

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Organisation Team VII. Annual Meeting Vlado Černy Dirk Neldner

Staff Divadlo Astorka Korzo’90 Andrea Domeova Peter Kerlik Katarína Kohútiková Tomáš Mrekay

Magic Net Team Elisa Braun Odette Bereska Yvonne Birghan Laura Eicke Christina Geißler Jan-Willem van Kruyssen Sven Laude Juliane Lieschke

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ONE DAYIn euROPE How European can a theatre production be?

How European does it want to be?

Rehearsals at VAT Theatre in Tallinn / Estonia

After seven years’ work, the Magic Net European theatre network has almost reached its end. During these years and working in small groups, the theatres have together created cross-border stage ­ productions.

Now, to mark the end of the network, there is a final co-production created jointly by all 12 partners.

A joint-production has already taken place, 2005’s “European Odyssey”, so the experiences drawn from this could be used in the new production.

Magic Net brought together 12 theatres from 11 countries whose artistic and structural background was to some extent very different. However, the fact that all these theatres could agree on a joint project is testament to the solid interest in each other and above all to the growing level of trust among the partners.

The production of “One Day in Europe” was a long and rocky road that began in October 2006 in Zaandam/the Netherlands. At the start, the representatives of all the theatres involved met together to ­discuss a possible farewell production as envisaged in Magic Net’s working plan.

Some of the partners had joined Magic Net in 2005 and had little ­experience of such productions. In addition to this was the fact that the overall assessment of “European Odyssey” by those who had been involved in it was divided: that all theatres had contributed to the development of the text, each one through its own author, was thought of positively, as was the use of actor from almost all of the participating theatres. So the fact that only one director stamped his mark on the staging of the play, which led to the loss of exciting European differences in terms of writing and acting were lost, was viewed negatively.

Opinions soon collided: what was the benefit for the individual theatres? How strong can someone’s artistic input be? How high is the ­financial investment?

But above all the arguments were about theme and concept. Numerous artistic suggestions, sometimes

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extremely different in their approach, were discussed. At the end it was the “One Day in Europe” idea, an idea that would allow for the strongest ­involvement of each individual partner, which won through.

Then it was a question of all countries collecting material about ­national events by the “Day of the Year”, 21 November 2006. It was left to each partner to decide whether the events would be of European or merely national interest.

At the next encounter four months later, the partners introduced “remarkable incidences” of the day, 21 November 2006, which were very inspiring: election, the plight of education, the famous Domino Day in the Netherlands, the tragedy of the mine workers in Poland’s Upper ­Silesia, the story about the young mother from central England and the death of her little daughter, the unbelievable life of a centenary ­“Mister 20th Century”, “Flag Day” in Estonia, the North African boat people, boats overcrowded with African refugees arriving at the Spanish coast, the approval of horrendous amounts of financial capital for sealing-off the small German town of Heiligendamm for the G8 summit, the misfortune of wealthy Norwegians etc.

This small collection was so expressive and abundant in approach and content that it was easy to enter into a discussion regarding the content, artistic means and aesthetic questions.

Rehearsals at Teatret Vårt in Molde / Norway

The most stubborn sceptics were also convinced about the creative potential of the idea, because it promised to bring to life the consensus the parties had come to during long debates: to consolidate, in an ­ rtistic fashion, European reality about the diversity of its cultures witha out the necessity to have to reach agreement on one single aesthetic.

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After this meeting, the agreements were clear and promising: • Each theatre sends one actor to the production, • From the material from 21 November 2006, the individual theatres develop a specific national character/a fictional figure (if necessary with the help of authors) with its own story, • One author and one dramatist, both with experience of Magic Net/ Odyssey, help to develop the characters, • The house director at each of the 12 theatres prepares the character with the actor, • Groups of 4 actors work in an initial rehearsal phase in three selected venues (Tallinn, Molde, York) under the direction of three different directors • Under the direction of a final director, the results of these 3 working “clusters” come together in a joint production; all the actors and a team of European directors come together ahead of the annual convention in Bratislava in May 2007 for three weeks of rehearsals together.

• The production travels after its premiere to other partner theatres.

With the final two performances in Molde/Norway, Magic Net says goodbye.

Rehearsals at Pilot Theatre in York / UK

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At the annual convention 2007 in Schwerin and at another meeting in York/UK, the resolutions were more precisely defined: • Through the performances of the clusters and the tour of the whole production, Magic Net meets the needs of most partners to present the closing production or at least a part of it to the local public. In 8 out of 12 partner cities, the public can see the results of several years of network working.

• During the course of the year, situations emerged that demanded a response: for example, if an older actor needed to be replaced by a younger actor at short notice for health reasons, then this is followed by the development of a new basic character.

• An additional meeting of the three clusters, the final director and the additional team of directors was then planned. After the clusters had been completed and before the start of the final rehearsal process, experiences from the previous work would be exchanged and the final director would present his concept for staging the production.

Anatoli Praudin, director in Tallinn

As this text is being developed, rehearsals take place in Molde and York.

Above all, the decision to produce three parts already proves worthwhile: the actors have the opportunity to get to know each other in ­intimate spaces and to tune into alternative working methods. There is also more room to receive the input of the directors, who have ­already worked with the actors and the characters at the home theatres.

The director of the closing production works alongside all three ­rehearsal blocks, not to bring his influence to bear but as an involved partner and active observer. His view to allow as much as possible from the artistic processes to flow into the end processes and his preparedness to modify his own artistic demands in the interest of Magic Net’s priorities are testament to his prior experience in pan-European theatre work.

When, on 6 June 2008, “One Day in Europe” has its premiere in the Divadlo Astorka in Bratislava, it will mean that the actors and directing team will have some exciting “European” weeks behind them. The ­national borders in terms of how people think open up enormously when people live and rehearse together over such a long period of time.

In this way, people will continue to experience Europe and ­Europe will continue to develop. Now theatre cannot be more European than that!

Odette Bereska Literary Manager Germany 23

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Points of Discussion The Annual Meeting in Bratislava is, for the moment at least, the last meeting of members of the Magic Net team. Seven years of the most ­diverse experiences lie behind us, not all of them positive, but all of them certainly valuable experiences on the rocky path to Europe. ­Creating productions together and communicating with one another, these were the declared goals of the theatre network; not only to ­encounter one another for a few days on a festival stage but to live and work together over a number of weeks.

Goals that can be formulated quite simply using words often prove much more complicated topics in reality.

It is not only practical, organisational difficulties that spring up; it is mainly cultural differences that complicate a joint concept. It was not possible for some to leave the familiar environment, step into the unknown and cross (cultural) borders.

For those who were more adventurous – and these were in the majority – unforgettable moments of arguing and creating with one another will remain in their memories. A great deal has been created and achieved in seven years. Several impressive productions were achieved by partners who did not shy away from tackling trans-national disputes. There were people everywhere, who sometimes even gave the performances a rapturous, who “understood” languages of which they didn’t speak a word. And we took countless young people with us on the journey. These young people were a part of the production process and by being involved enjoyed artistic and human experiences.

Magic Net is coming to an end but the experiences remain and will be passed on. In Bratislava, we are taking the time to look back and to ­reflect on seven years of Magic Net. In what will surely be very belligerent debates, we will be discussing four themes.

Five artists have already formulated their views on these themes:

Scene from “Head of Nails”

Producing in a European context Marcus Romer, Artistic Director Pilot Theatre, York/UK As one of the companies involved from the start of Magic Net it has been clear to us that there are some observations about how to ­approach collective and collaborative working on creative projects.

The term co-production can of course cover a whole multitude of approaches. In essence what we are talking about here is a creative project that has been worked on and developed by more than one ­organisation. This is most successful when the project/idea/collaboration is artistically led. When the organisations are fired by an artistic ­imperative that binds the thinking together, and where the organisations want to explore the idea or central premise. When this works well

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then all the departments and staff within each organisation will understand and work behind this central idea and work to create something that stretches the reach beyond each individual organisation.

So the primary goal then is an artistic idea that drives the project forward. This can of course include some of the examples of the Youth Exchanges and the work of the Educators. It is through this process that we learn as Artists and facilitators.

When the starting premise is not artistically led, then energy is expended trying to lever a concept into a framework that is not constructed with shared ideals. This can lead to conflicting ideas and understandings, which in themselves are not necessarily unfavourable, and can lead to common solutions and learning. Sometimes though this can mean that the project does not achieve its full potential.

Scene from “Adopt a Soldier”

One of the solution areas we have discovered on our Magic Net journey has been the modular/artistic input approach. Here the sections of a larger project are divided up between the partners and creative freedom within this framework allows the creation of a larger project ­collectively. (eg. One Day in Europe and Hidden Stories).

Shared use of personnel, for example Dramaturgy and literary support from Odette Bereska and Richard Hurford from Pilot Theatre on the Odyssey and One Day projects were invaluable. The times when projects were less successful were when the artistic input or the will to see it succeed were less well focussed.

The truth is that you cannot force organisations to work together unless there is a reason, and that has to ultimately be artistically driven. This can have a wide range of solutions and providing the go ahead from the organisation is clear then they allow the relevant staff the mandate to make creative choices and decisions. Without this then the project will not be built or driven with the shared common objectives to move it forward.

Scene from “America – Ship of Hope” (Schwerin)

Clearly the building block idea is a successful model. Where an ­artistic project is divided into discreet areas of construction. Organisations then help to create the whole by inputting their stake into it and collectively a larger and potentially more ambitious outcome can be achieved.

This of course requires the key support from the top of each organisation to recognise the potential of the project, and want to offer the support necessary for it to succeed.

The strength of any network is based on the partners and the personnel who input their time and creative energy. Undoubtedly connections and projects will continue to flourish after the formal end of the Magic Net network finishes. These of course will always be initiated by artistic imperatives and the desire to want to work on something that all parties would benefit and learn from.

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Commercial considerations are not enough to warrant the successful outcome of creative projects. That is not to say that co-productions are not potentially commercial, but the key is to get the artistic building blocks in place first before any real solid construction can take place.

Producing in a European contexts Petra Fischer, Literary Manager, Lecturer Hochschule der Künste, Zurich/Switzerland

Scene from “At the Doors of Europe”

To what extent does the exploration of new worlds, as it occurs in a project like Magic Net, represent a confrontation with the pragmatism of the everyday world of theatre rather than an opportunity for both sides to spur each other on?

In the day-to-day world of theatre, what freedom is available to an approach that is based more on investigating the unknown rather than what has already been proved? In what ways does the project act as a stimulus to the participants in their day-to-day world of theatre? To what extent does the project represent further training for the theatremakers involved? What goals and results can be seen at the end of this six-year journey? What effects are the projects of the professional theatre makers having on young members of the public?

Scene from “Head of Nails”

The Theater an der Sihl/Theater der Künste involved around 70 ­students in the project (student actors, directors and theatre educationalists).

Participation intended to open doors and make it possible for students to travel to other worlds. Those students who were both curious and self-confident, who wanted to leave the comfort of the study room and to test themselves in their potential working environment made the most of these new worlds that were opening up to them. They received insights into various real-life job situations, were challenged in a professional context and could thereby recognise and experience where they currently stand.

In addition to “profiting” from this project, the trainees also bring to this exchange process a way of working that includes the fundamental requirements for a European exchange project between such diverse theatres: a desire to experiment, the working process, breaking new ground, gathering experience and new investigations. Were the other participants able to profit from this? For all the theatres involved, it was mostly always individual artists that were able to participate in Magic Net’s activities.

Which new forms and ways developed within the business of theatre so that the experience gathered in workshops, staging processes, ­encounters with colleagues from other theatres and by seeing various artistic results could also have an after effect in the usual theatre en-

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vironment? As far as the training was concerned, it was the individual who profited mainly from this experience rather than it being possible to make the experience available to a larger environment.

The Magic Net activities had more of an effect on the young people who took part in the training because, since then, they have started training as actors, in scenography and theatre education, or they are preparing for entrance examinations in similar areas. These are young people who, during their time at school, were involved in the Magic Net projects initiated by the Theater an der Sihl.

Within the context of future European projects, there is a great deal of interest in being able to bring into the process the gathering of ­experience and to develop this experience further. The doors are open – where do they lead?

Scene from “America – Ship of Hope” in Molde / Norway

Magic Net co-productions and the audiences Jan-Willem van Kryussen, Artistic Director het MUZtheater, Zaandam/Netherlands What is being done at a local level to introduce young people to i­nternational theatre and involve them in it? Was there a synergy ­between we producers, our education departments and Youth Net? Not enough!

How did we deal with the different languages? Was it a disadvantage or, on the contrary, did we break most current conventions to reach the audience?

The influence of cultural diversity on the artistic work itself is most clearly felt during the tours. Audiences in different European countries may react rather differently. It doesn’t mean that their appreciation is different, but that these identical appreciations are expressed in different ways. A German, Dutch and Portuguese audience may all appreciate a certain production, but will express their appreciation in different ways, visibly, of course, by applauding at the end, but particularly through interaction during the performance itself. The tension, the relationship between those on the stage and those in the audience, is not only different, it also influences the performance. It influences the rhythm, the sharpness of acting, the duration, etc.

Scene from “Adopt a Soldier”

In the past, we’ve experienced that with some co-productions in some countries it is not easy to reach a broad audience. However useful our work is, this can be quite a fuss. Often it’s not easy to give our international work a logical feel within local contexts and to integrate this work into our own repertoire.

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We’ve learned a lot through our international co-operations and touring. Let us share the tips and tricks, the DOs and DON’Ts, and let us finally determine a perfect model. I’m convinced we can.

Becoming a European partner Carl Morten Amundsen, Artistic director Teatret Vårt, Molde/Norway

Scene from “America – Ship of Hope”

What does a theatre gain from being part of a European project like Magic Net? The advantages and disadvantages of different partners coming together (smaller and bigger, private and state companies, different artistic concepts and heritages, etc.)

in Schwerin / Germany

After seven years with Magic Net, what can we say about the experience we have had in trying to establish artistic co-operation between several theatres in Europe?

Teatret Vårt has been a part of this project from the very beginning. This means that there is certain experience that the “old” theatres have that the “new” ones do not . The fact that Magic Net in its second phase is now made up of different theatres than at its outset has both advantages and disadvantages.

In the new network, around the half of the members had been in the original Magic Net, while the others were new. Our discussions were of course influenced by the fact that some of us already had experience of such a co-operation while some of us did not.

Scene from “Adopt a Soldier”

In the first period, we found out quite early that the most fruitful work was the co-productions. The network functioned best when we were able to work together in the making of a professional production. I said several times in Magic Net meetings that co-productions must be the goal of the network in its second phase.

There was general agreement about this also among those theatres that were new in the second phase. But it was of course a problem that only the half of the member theatres already had this experience.

We needed some time to come to the same conclusion. It has also been a problem for the network to include common work in the normal repertory.

In 2006, Teatret Vårt tried to put in as much resources in a Magic Net production as it does in every normal production. The “America – Ship of Hope” production fulfilled our ambitions in being such a flagship European production. The performances took place during the Molde International Jazzfestival on board a ship on the Molde Fjord.

The performances were sold out and the spectators were extremely

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happy with the event. For the first time, we were able to make a link between European co-operation and our own audience. For the first time, people here in our part of the country were able enjoy the fruit of an interesting co-operation between the theatre artists in the network. The costs of this particular production were high, but, looking back on it now, we only have positive feelings towards it. I believe that the actors and other artistic creators can think about this period with very warm feelings – particularly because the project was played out in front of an audience, an audience that met the project with a curious and positive attitude.

The differences between us have increasingly come into focus. I think that is natural and also important. The members of the network are also very different when it comes to resources. Teatret Vårt is a relatively wealthy theatre, and we do not expect our colleagues to be able to invest so much money in a project that we were able to do in 2006.

We understand this and realise that this is one of the difficulties of such a network. But we still believe that a network like Magic Net has been able to produce professional theatre for a normal audience, and that it is not enough for it to be a kind of a on-going workshop. We believe in the future of the co-operation, but then the theatres will have to work out how such a project can be integrated into the normal day-to-day work at home.

Scene from “Head of Nails”

Fulfilment of Dreams Bogdan Nauka, Artistic Director Jeleniogrski, Poland The name of our joint project was well chosen because every journey was “Magic” – the expectation of mystery and fulfilment of expec­ tations.

Scene from “At the Doors of Europe”

It was the curse of age and place that I started my theatre work in a ­totalitarian state in which foreign travel was akin to winning the lottery.

That is why I can still remember vivdly my first trip to a festival in Switzerland, also the border between the two Germanies and in particular the night at the border crossing in Hof when the Berlin Wall fell.

Maybe this is why every trip for me was not only movement in space but also a journey inside.

The most important conversation that I had during all the years of the project was with Dirk Neldner at the airport in Berlin. Modern airports have a smell like the one at small train stations – a melancholy note of metaphysical freedom. For me, Magic Net was the embodiment of this freedom. It is possible that my reflections sound rather subjective. But I wanted to describe the happiness I felt in moments when my youthful dreams were fulfilled – something that doesn’t happen every day!

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Reflections The Magic Net European theatre network was able to start operating seven years ago, in the autumn of 2001, thanks to EU funding lasting several years. Twelve theatres came together in order to develop cross-border co-productions.

A second phase of EU funding allowed Magic Net’s work to continue until the summer of 2008. Some partners involved in the first phase of the project left the network and new partners came on board.

All 12 theatres had specific expectations of the project in 2004. In the following, the artistic directors give their reflections on the extent to which these expectations were fulfilled.

Magic moments: we remember a difficult landing in Lisbon, turbulence and a holding pattern over Seville, a sunny 30 degrees in Norway in June and 12 degrees and rain in Spain, white nights in Tallinn and bleak nights in Zurich; gale force 5 on the Moldefjord and smooth waters on the Oder, a velvet revolution in Bratislava and ructions on the waterways of Zaandam, lost luggage and missing actors, short hellos and long goodbyes, lavish mealtimes and minimalist buffets, dangerous liaisons and people in hotels; tour buses, aeroplanes and trains, and above all non-stop theatre; the never-ending story continues when, years later, on television or on the stage, you see an actor with whom you have eaten a picnic in the Estonian forests and doubled-up laughing in a workshop and ask yourself, ‘Where have I seen this person before?’ And there it is again, the magic moment.

“Judas”, 2003

We can all speak of exciting trips and encounters with theatre people from 12 countries, of implacable and relentless discussions, which alongside the search for European material was also an attempt at democracy. It is impossible to unite so many artists and scripts in the “europa” project; the cultural experience of co-operation, communication and trust in partners is just too diverse. It is, however, a brave utopia, a project that needs time and deserves a future.

Henriette Hörnigk, Chief Literary Manager Schwerin State Theatre, Germany

As part of this network, VAT Teater was interested in several objectives: high-level co-productions, exchange of experience (master classes), exchange of texts and the cooperation of technical staff; cooperation between professionals at a professional level. The theatres belonged to very different categories and practical cooperation 30

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turned out to be more difficult than we thought. Bringing 14 theatres together is considerably more difficult than bringing four theatres together. An organisation like Magic Net is very important for theatres for whom travelling and crossing borders is a new and interesting concept. VAT Teater has done it for years but this was still a worthwhile experience. There were a lot of nice people involved and we learned how different countries have a different understanding of theatre.

Thanks to Magic Net, we found new people sharing our same values. A new project was developed – Theater-Café – that brought several new plays to the VAT Teater and to other Estonian theatres.

Good professional connections were established, new ideas regarding repertory were distributed as well as information that is ‘hot’ in other countries. We are in cooperation with the Samara Theatre and Aare Toikka is going to be staged there. We would also like to bring the improvisational production of Astorka to Estonia, etc. The organisation team did excellent work. Everything was great – logistics, catering, accommodation. Dirk, Sven and the others – bravo!

“Searching for the Enemy”, 2004

Aare Toika, Artistic Director VAT Theatre, Tallinn, Estonia

Looking for new ways of cooperation, we developed inspiring formats like the co-production ‘Head of Nails’, one of the most ultimate artistic exchanges I have experienced till now. That’s the great thing about Magic Net, it’s a big playing field where we exchange, develop and explore ‘the new’. It is a feast of diversity.

Although 2008 seems to be the last year Magic Net will be supported by the European Commission, I’m convinced this network will continue in an informal way. It could even expand. Thanks to our Magic Net activities, we’ve met many new partners. Such good practice creates new practice. I would like to thank everyone who was involved in our network and helped our Magic dreams come true. Over more than six years, we’ve developed a network of artistic courage, ambition and curiosity, boundless curiosity.

Jan-Willem van Kruyssen, Artistic Director het MUZTheater, Zaandam, The Netherlands

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Magic Net 2 is at its end. Seven years of European theatre co-operation are behind us.

I ask myself what that means for our company and for me.

I think we will miss it.

I think actors and directors and other theatre people in our company will miss it, miss the trips to other countries, the encounters, the parties, the possibility to get to know foreign colleagues, other ways of working, comparing differences and similarities.

I think this has been the most important part for me, not only the differences in taste and in working methods, but also the opposites, the similarities, the universality of theatre, all of this has inspired a continual discussion in my own mind about what theatre is.

“Facing Death”, 2004

What is the art of theatre as such? What is culturally formed? Why do we take certain things for granted in the theatre we make?

Suddenly you see that colleagues from some other part of Europe do not agree with you. We argue in the rehearsal room or we look at a performance and we sit and have a debate the day after and cannot agree.

I have become more and more curious about these differences we have, not out of anthropological reasons, but because you get to know your own work better. For me, the seven years of Magic Net and European theatre co-productions have been an opportunity to learn more about Norwegian theatre. I think we have learned more about ourselves than about Slovakian or Portuguese culture. But this would not have been possible if we had not learned about each other. The differences would not have been so important if the likeness had not been there. The whole thing would not have been any fun at all, if we had not been able to work together or to communicate.

I think we have also accomplished things of which we can be proud.

For us in Teatret Vårt, the „America - Ship of hope“ production has a particular standing amongst the work we have done within this framework.

We will miss it. We will miss it so much that we already have decided to continue the cooperation. We do not know now exactly how, but we will find a way.

Carl Morten Amundsen, Artistic Director Teatret Vårt, Molde, Norway

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After seven years of Magic Net, I feel that one cycle has been completed. The extended period allowed for encounters and separations.

The different affinities I have developed with different people were mostly a result, not of the ideas that we shared, but of our work together, of the ideas we generated. This eclectic exercise, this exposure to different behaviours, which put us in contact with what is happening in today’s Europe, also resulted in greater awareness of our options, in a re-affirmation (and better understanding) of our beliefs.

I acknowledge the importance of having good leaders that can lead so many different ships safely to port. I would like to thank them and praise them for their work. Having fulfilled all the activities we aimed to complete, I feel that some of the shows we did were very striking moments in our artistic journey. After seven years of Magic Net, one cycle has been completed, a cycle that should now blossom into something new.

João Brites, Artistic Director Teatro O Bando, Palmela, Portugal

Natasha It was not seven but ten years ago when we meet each other in the Magic Net House. Mikhail Bartenev’s idea was discussed by some people in Russia and the Netherlands. It was the summer of 1998 when the first international theatre seminar took place in St. Petersburg. Different theatre makers from ten European countries tried to explore the possibilities of staging some piece of Pushkin’s prose for teenagers. That was the very beginning of the story and it was very hard going because the Dutch were angry about not being able to work with Russian actors because of the language barrier. English people were disappointed that there was no discussion about theatre pedagogy and also that it was always raining. Finally, everybody was more or less satisfied with “The Late Demon”, Anatoli’s production based of the piece of Pushkin’s prose that was under discussion.

But nobody from the Russian side could imagine that these totally different people could work together.

“Fifth Element”, 2003

Anatoly Yes, at that time I did not believe in the idea of co-production. So, to be honest, I wasn’t very sure when I started working with Magic Net 1. My English was not so good. But it soon became clear that English was not the real problem. The main problem was how we can and why we should learn from different theatre approaches and

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how to bring your own experience to bear on different theatre cultures. I felt very disadvantaged during the first seminars. I remember the first moment when I stopped paying attention to my English during the rehearsals. It was in Zaandam/Netherlands in 2003 when we rehearsed “Pjotr” with the Dutch and Russian actors. We were staging the play by the young Dutch actress Eva K Mathijssen. She had written about our Russian tsar. It was an audible translation and adaptation process. We were going to present in to a Dutch and German audience. And we were very nervous. In one rehearsal, I had a feeling that I could understand the Dutch actor, Eva (playwright), as if she were speaking Russian. It was then that I discovered the Dutch-Russian component of the upcoming performance. It was connected with humour. The text talks about the horrible things. But we presented it not in the usual way of Russian drama. That is what I learnt from my Dutch colleges. We are still performing “Pjotr” in our theatre in 2008. The actors and public enjoy it. There was also that first Meeting in Palmela in 2004 when we rehearsed the “European Odyssey”. That was an experience of real collaboration, I think.

Natasha “Pjotr” was also very important for me. I think that in Cork/Irland, after we had seen all the co-productions, it was clear that something happened. I think it was because of a good creative centre within Magic Net. It is excellent German management but it would not work without creative ideas. All the main ideas of the last two years were interesting for me: “The European Odyssey”, “One Day of Europe”, “Head of Nails” by Daniil Kharms, and other co-productions. What is also very important is that I remember the master class with Marcus Romer (Pilot theatre). Most of the actors were sceptical about what they were doing at first, but step-by-step they got more and more excited. It is very strange, but most actors are resistant when they start working with a director from another country. During the project, we could see how we were changing.

“Pjotr”, 2003

Anatoly There are not so many theatre networks in the world. Magic Net gives me the opportunity to spread my own experience wider by being in communication with other theatre cultures. In that sense the last project (“Head of Nails”) was the most mutual and fruitful because it was possible to combine three theatre systems on one stage, not only formally but also in fact. The actors were working with a director with a totally different theatre approach, and to be in contact with him they had to learn from him. In addition, I, as the director, had to learn from the natures of the Dutch and Portuguese actors, otherwise I would not have been able to do anything with them.

Of course, I’m not sure that we all finally we did our best (it was the first step only) but I’m sure we did something for our own development as European theatre makers.

On the other hand, I learnt a lot from the other theatre company members of the network. I’ve been in the excellent theatre that João

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Brites (Teatro O Bando) created and built. I knew he had a theatre method that was different to the one we use and I had always wanted to work with him. Actors from “O Bando” are very unusual and truthful on stage. And I’m glad that we combined three other methods and actors from other theatre schools and understood each other without words. I also had the opportunity to see some productions by my old friends at the Muztheater. Over the last years I have come to know the Estonian VAT Theatre, whose productions appeal to me as well.

Natasha So the Magic Net experience was the real theatre experience. This, I think, is the most important point.

“A European Odyssey”, 2005

Anatoli Praudin, Artistic Director Experimental Stage of Baltic House, St. Petersburg, Russia

Natasha Skorokhod, Chief Literary Manager Experimental Stage of Baltic House, St. Petersburg, Russia

Confrontation with European theatre forms is always of great benefit to theatre from our post-communist territory. Making our own contribution to a common theme and working together on one project bring new possibilities in terms of how to view a given topic from an angle that is atypical for our usual theatre system. It is an experience Astorka never had before.

Vlado Cerny, Artistic Director Divadlo Astorka Korzo ’90, Bratislava, Slovakia

In reflecting on Magic Net’s work in this final phase, we must look back and evaluate the work of the last three years.

These three years, in which we have grown not only in number but also artistically, have been vital in Guirigai’s trajectory. We have been continuously blessed by our cooperation with Magic Net and our latest co-production was a fascinating process where a rich creative atmosphere was created and our objective was reached: the development of a co-production amongst southern European countries.

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I think that over the last few years some theatre companies have participated with passion and dedication in any and all of the artistic processes that were proposed, regardless of the importance of the final goal or the risk involved. Agustín Iglesias, who carried the weight as artistic director, gave of himself fully. However, I feel that not all participants did the same. For this reason, I do believe that not all participants worked under the same conditions.

Certainly, this is due in part to the fact that Magic Net has been vital in our professional trajectory where the co-productions in which we have participated have been not only enriching artistic processes but also productions that had to fall within our repertoire in order to optimise our resources and investment.

Guirigai performance at the Street Theatre Festival, Krakow, 2003

In a general analysis, I cannot claim that I have achieved each and every one of my objectives in the past few years, but I can say with pride that I have participated in a magnificent European project.

Magda Arenal Teatro Guirigai, Los Santos, Spain

“We hope that continuous ties will develop out of the liaisons that were initiated through the project and that these will have an impact on the everyday life of the participants and become independent of a special sponsorship.” – was one of the expectations.

Participating in Magic Net has set starting points and beginnings to an extent that could never have been envisaged at the beginning of the project. Over 70 students (acting, directing, theatrical education) converged on the hot spot of European theatre.

Experiences were determined by the impulses that were initiated, the irritations experienced, the doors that opened, the comparisons made, the feeling of being challenged and inquisitiveness about the unknown.

Too little space was given to artistic exchange, the gradual growth of shared experiences as well the conveying of all these to the audience in Zurich.

At the end of this changeful work process, the dominant hope is that enough room and the environment be available for the seed to germinate.

Petra Fischer, Literary Manager, Lecturer Hochschule der Künste, Zurich, Switzerland

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My thoughts from the first book were – 1. Initiate a process to develop international co-production 2. Launch a lasting lifelong experience of learning for directors, actors, educators 3. Lead young theatre goers towards intercultural exchanges.

I feel that in many ways Magic Net has surpassed all expectations.

We have certainly initiated a process that can act as a blueprint model for manageable ways to develop International co-productions. The building block model we used for the creation of work in Tallinn has been used right through projects including our final coproduction which is based on this as a cluster model.

The idea that companies/artists and theatre makers can be part of a larger creative picture by inputting sections and parts of a piece that form part of a larger performance. This not only allows pragmatic choices to be made but creative ones too are also made due to the constraints of time/size of cast and available personnel.

Undoubtedly this is a framework we will be looking to extend with our future work.

With regard to the second objective there will be relationships and lasting creative partnerships that will ensue, following the whole creative opportunities that Magic Net has created and developed. We will continue to develop working partnerships with key personnel as a result of the networking opportunities One of the key elements were the exchanges with the young people and educators - Here I saw some of the most amazing and inspirational work. The life changing intercultural exchanges will have life lasting experiences for all the participants and audiences.

The director’s workshops and opportunities for cultural exchange in Magic Net are unique and provide supportive and creative working environments.

“A Midsummernight’s Dream”, 2004

Marcus Romer, Artistic Director Pilot Theatre, York, UK

I think the Youth Encounters help young people learn what theatre can be rather than how to create the “final product”, a performance.

The group work, the mutuality, being constantly aware of each other, of the partner, of the space, of the sounds, and of the thoughts you want to share. The challenge for educators is to perceive the spe37

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cific talents, abilities and attitudes of each young person and bring this into the work. I believe this is the essence of working with real people: creating common work out of what they are, what they have brought with them and what they learn in the course of the encounter rather than what we want them to show. This does not mean excluding directional work, it just means we have to keep our eyes wide open – all the time. This is always challenging as an artist and rewarding as a human being.

Bettina Frank, Theatre Educator Theater der Jungen Welt, Leipzig, Germany

Youth Encounters are very special every time because you bring parts of the world together to create a new corner of the world for one week before we spread out again carrying the experiences with us. It was a great experience for the young people to share their theatre with others and learn both as an artist and as a human being. Each encounter was set up differently and each one of them had their strengths and weaknesses. The best moment was again on the first evening. The young people worked in different mixed groups on a sketch relating to questions like ‘What do we have in common?’ or ‘What don’t we have in common?’ I found the results of this better than the final presentation because this is where the participants were totally free in terms of what they created and so what they created was totally theirs. The risk of working for the participants is that the educators get lost in the process. The encounters should be focused on the educators as well, to challenge ourselves and find the best ways of sharing with each other.

It was great being part of the educators team, working together, and I gained a lot of this project. Thank you, Magic Net. “Hours of the Devil”, 2003

Suzana Branco, Theatre Educator Teatro O Bando, Palmela, Portugal

Two youth encounter events: the effects and after-effects are strong and lasting among young people.

In my opinion, Magic Net functions best when people are brought together. But my interest does not end here. It is not enough for me simply to observe other approaches or alternative ideas of the aesthetics of theatre. I found Magic Net, in particular “Youth Net”, inter38

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esting when the co-operation went so far that the co-operation part- “Nathan the Wise”, 2003 ners had to make real changes in order to be able to work together with each other. When that happens, a working and experimental field full of incertitude and freedom is formed, as many things need to be redefined. Such moments are rare and I have often missed them even in Magic Net.

Joanna Wichowska, Theatre Educator Teatr Jelenogórski, Jelenia Góra, Poland

From 5 to 10 June 2007, young people from Palmela, Portugal, had the opportunity to cooperate theatrically with five different nationalities. This constituted quite a challenge, as it was necessary to deal with many different sensibilities, rhythms, customs and methods and in a language different from our own. What do modern societies understand of cultures and identities? Is there a capacity for communication between different people and different socio-cultural groups?

I believe that this encounter was living proof that differences provide the opportunity to share in the potential offered by diversity. The interactions settled, the dialogue and the spur-of-the-moment participation revealed how the young people were strengthened by the experience. I witnessed the young people in my group becoming more at ease. They developed a conscience and a sense of responsibility and giving. They were able to express their opinions more deeply and gained a broader understanding of theatrical work.

Rick Nanne, Theatre Educator het MUZ theatre, Zaandam, Netherlands 39

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COPRODUC yearbook08.indb 40

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COPRODUCTIONS

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America – Ship of Hope Based on Franz Kafka A Magic Net co-production by: Mecklenburgisches Staatstheater Schwerin (Germany), Teatret V����������������������������������������������������������������������������������������������������� å���������������������������������������������������������������������������������������������������� rt / Molde (Norway), Teatr Jeleniogorski /Jelenia Góra (Poland), Divadlo Astorka Korzo ’90 / Bratislava (Slowakia), Theater an der Sihl / Zürich (Switzerland) Franz Kafka’s novel fragment “Der Verschollene”, also known by the title “Amerika” (1927), tells the story of the arrival of the young German, Karl Rossmann, to the USA and his troublesome attempt to settle there.

The material adapted for the stage was first performed in June 2006 in Molde / Norway on a car ferry and was staged more than ten times.

A version of this adaptation was rehearsed under new direction and with a different cast in the spring of 2007 in Schwerin and staged at the annual meeting. The production then went on tour to Bratislava, Jelenia Góra and Frankfurt/Oder.

Schwerin Director: Peter Dehler Cast: Esther Becker Grzegorz Cinkowski David Emig Katrin Huke David Kramer Jakob E.G. Kraze Lukáš Latinák René-Philippe Meyer Håkon Moe Svein Solenes Molde Director: Manuel Schöbel Set Design: Thomas Bjørnager Costumes: Frauke Bischinger Cast: Dorothee Föllner Brigitte Peters Ute Sengelbusch Antje Sieglin Vivi Sunde Marián Chalány Jakob Giel Jakob Kraze René-Philippe Meyer Randolf Walderhaug

The original idea for the project was yours. Why did Kafka’s prose seem apposite for a European co-production?

Kafka lived in Prague and always wrote in a foreign language, German.

This is the reason behind his individual style: he worked in an insurance company by day, using his official language, and he worked with his own literary language by night. In this way, he crossed frontiers. These language barriers are a key theme in his unfinished novel “America” (originally called “Missing”) where his protagonist emigrates in order to embark on a new professional and private life: an enormous, timeless utopia, the longing that everybody be offered the same chances, irrespective of their nationality, race or background.

Even the ship crossing to America turns into a carnival of cultures in Kafka’s hands. The newly arrived Karl Rossmann does not actually meet any real Americans, because, as he learns, there is no such thing.

Most of the characters originate from Old Europe. In the novel, the Nature Theatre of Oklahoma is depicted as an idyll for foreigners. We need everybody!!

All this suggests the stuff of a Magic Net project: travelling together, speaking “foreign” languages together and working together.

Henriette Hörnigk, Chief Literary Manager Mecklenburgisches Staatstheater Schwerin, Germany Wanting to stage theatre on a ferry is a great idea but cannot be achieved without some difficulties, of course. How did you find final rehearsals on the ship?

Whoever says you can’t stage a theatre production on a Norwegian ferry because the motor is louder than the actors has given up before knowing what the biggest problems are.

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Led by Halvard, Carl-Morten and Thomas, we learnt to talk with the crew and organise ourselves so that the machinery was always running fast and loud while we were acting below deck. It could then be quieter when we were acting on the upper deck. We had enough umbrellas and cloths for the rain that was continuously threatening to fall.

We brought the video elements together at the end of the piece when the light Molde evenings afforded some twilight. We also learnt to deal with the ferry’s gangways and stairs as well as to communicate with one another in our language mix. And as is always the case, what was peculiar and risky about the entire undertaking was what brought us all together. Working collectively, we came up with the right ideas. Rarely has it worked out so well for me: the great Norwegian audience became veritable co-actors and audience participants and every performance had its own unmistakable flair.

Manuel Schöbel, Director Germany

Scene from “America – Ship of Hope” in Schwerin / Germany

You brought one of the biggest Magic Net co-productions to ­Molde.

Are you satisfied with the result (in terms of your expectations, investment and the reaction of the audience)?

This project is the biggest and most expensive international project in which Teatret V���������������������������������������������������������� �������������������������������������������������������� rt has participated so far. The total cost of the production was 1.1 million NOK. The ferry itself cost more than 350,000 NOK to rent and operate for the rehearsal period and ten performance days.

But staging such a big production would have been almost impossible without the financial support of the EU Commission, the participation of both cooperating theatres and the strong effort and good will from our own actors, technicians and administrative staff.

The performance ship of hope was a great experience for us. It was a powerful performance. Together with live music and food served on board a big ferry, this was a perfect event for our audience, even if the weather was not the best.

Scene from “America – Ship of Hope” in Molde / Norway

Knut Høgset, Head of Administration teatret V����� å���� rt, Molde, Norway After Manuel Schöbel directed debut performance in Molde, you took charge of the new production in Schwerin a year later. Why was this change important and what were the most significant differences?

I really liked Manuel Schöbel’s Kafka show: lots of extras, a band, a ship with several decks, the possibility of travelling off to fjords and to cooking for the audience. None of this would have been possible on one of the “Weiße Flotte” (“White Fleet”) passenger ships in Schwerin, nor on any of the subsequent performance locations (an even smaller ship in Frankfurt/Oder, a theatre in Jelena Góra and a completely dif43

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ferent ship in Bratislava/Slovakia). There were only six days for rehearsals at each theatre. As a guest director at the time, I thought that was unreasonable, and I was proven right when the Norwegian co-partner told me four weeks before rehearsals that the main actor was not available. But despite everything, I have to say that this short rehearsal period with the actors involved and the tour that followed was a great experience for everybody. Always having to justify to a new partner theatre why everything wasn’t as perfect as it was in Norway was a little degrading for me, but I thought, “It’s magic!”

Peter Dehler, Artistic Director Mecklenburgisches Staatstheater Schwerin, Germany

Scenes from “America – Ship of Hope” (Schwerin)

Though very different roles, you were heavily involved in the debut performance as well as in the new adaptation. Did you find it difficult to be challenged in new ways in relation to both aesthetics and content?

No, not at all. I always enjoy new challenges. That’s my job. It was great fun to try out different approaches with my colleagues. It was ­always exciting and each performance was an adventure.

Jakob Kraze, Actor Mecklenburgisches Staatstheater Schwerin, Germany Were the rehearsals in Molde with the European team your first experience of an international co-production?

Yepp.

How did you find the rehearsals with colleagues from other ­ ountries? c Amazing! The most diverse set of people from the most diverse countries coming together in one place to stage a play in the shortest time.

It was a very intensive exchange. We discovered similarities and differences that led to further reflection, like a magnifying glass with Brechtian alienation effect so you look beyond your own back yard and national frontier and then back on yourself again. It was an endlessly enriching, eye opening and awareness raising experience/inspiration for life. I would like to offer my heartfelt thanks to you.

Warm wishes and hugs. Momo from Switzerland.”

Momo Meyer, Actor Hochschule der Künste, Zurich, Switzerland You hosted this European co-production in Bratislava. How did the audience react to it?

The Ship of Hope project was interesting for Astorka Korzo ’90 mainly because of the opportunity to use an unconventional setting. ­Staging

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Franz Kafka’s story on a narrow lower deck corresponded with the ­ uthor’s intention while the authenticity of feeling underlined other a ­aspects that are impossible to achieve in the traditional space of a theatre. The audience appreciated the fact that repertoire theatre was ­using the alternative setting of the ferry in Bratislava as well as the “happening”-like introduction to the performance.

Vlado Černy, Artistic Director Divadlo Astorka, Bratislava, Slovakia

At the Doors of Europe Opening 29 June 2007 at Classic Drama Festival of Cáceres, Extremadura/Spain “At the Doors of Europe” is a biochemical product of a social exchange programme by ADONAIS – an imaginary foundation of the European Union. The experiment wants to show the impermissible conduct of the dynamic systems of history. To do this, ADONAIS genetically reproduces three symbolic characters of the Ottoman and Luso-Spanish Empires of the XVI century.

Three writers from each company were involved in creating the three characters; three travellers coming from different Mediterranean European cultures and travelling around the XVI century continent.

How did the idea for the project come about? How did your company profit / benefit from the project?

Tackling a new production is a risk and an adventure, not to mention a vital and artistic necessity – and the challenge is intensified when the proposed production is a co-production. One must learn from others, learn to listen, to share, to converse on stage; the artistic challenge is greater and you take a larger personal risk. If the theatre companies are also from different countries and the idea is to create a production in various languages, there can only be one need that supersedes all these hurdles: the vital need to tell a story and, through that story, to try to understand the world around us a little better. I have said many times that working with “Magic Net” and writing for “Magic Net” is a conversation about Europe, about all of us, and the feeling was the same with the “Doors of Europe” production. As an artist, I was forced to write with sincerity and commitment to my colleagues and myself. I have no concept of theatre if it does not include commitment. I do not understand Theatre as a game.

None of the experiences during the preparation of “At the Doors of Europe” came for free and none were random. There was a reason for everything. The theatres O Bando, Oyunevi and Guirigai did not come

Director: Agustín Iglesias Dramatic script: Agustín Iglesias Texts: Yavuz Pekman Armando Nascimento Set design: Luis Pablo Gomez Costume design: Maite Alvarez Music: Carlos Ojeda Actors: Torlak: Ayca Damgaci Florido: Raul Atalaia Urdemalas: Pedro Luís Cortes The Blue Angel: Alicia Rodríguez

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together by coincidence. Rather, we had a story to tell, the story of renegade frontiersmen; renegade frontiersmen, just like we comics from Southern Europe, all creative, restless and in need of art, comics who take theatre as a way of life.

“At the Doors of Europe” premiered at the prestigious Classic Drama Festival in Cáceres (Spain). It has since then participated in several festivals, including in Palmela (Portugal), and been on tour in Spain. It is currently part of the theatre programme that Guirigai presents to secondary schools throughout Extremadura in 2008. It has become one of the most successful shows of the season. It is a brave and daring show that is committed and sincere.

Agust������������ ì����������� n Iglesias, Artistic Director, Writer Teatro Guirigai, Los Santos, Spain Scenes from “At the Doors of Europe”

You have created the Portuguese character for the play. What inuence did the Portuguese actor Raul Atalaia have on the development of the character?

My contribution to the At the Doors of Europe / En las Puertas de Europa /Às Portas da Europa project consisted in the creation of a Portuguese character that would be performed by the actor Raul Atalaia.

Florido, the name of the character, was shaped by several inputs, the most important one for me being the actor who would give it life. The previous and fruitful conversations between author and actor (an actor is also a specific kind of author within the shared authorships of theatre work) as well as my knowledge of the diversity of theatre roles performed by Raul for different O Bando productions were crucial to the words and plot I wrote for this time travelling character who came from more than four centuries ago.

Armando Nascimento Rosa, Playwright Obando, Palmela, Portugal You have a lot of experience with artistic exchange in Europe. What was special for you in this project?

To write about an unfinished project means talking about memories, events that have been lived and events that have not been lived but ­become part of the present by this current need to offer an opinion.

The unforgettable working sessions with the authors: Yavuz who, with his texts revealing a heritage that was unknown to me, helped improve my reading of the world; Armando, whose persistent work that was never complete forced me to consider the borders of an image of Portugal that it was up to me to represent; Augustin and his way of creating proximities and distances between the texts and therefore the actors themselves too.

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Writing Alicia, Ayca and Pedro in alphabetical order reveals my inability to show a moment in my life in which, the study of acting aside, the memories and the memorable experiences of such humanity became of greater importance. And they helped us cultivate our ­ European ­citizenship.

Raul Atalaia, Actor O Bando, Palmela, Portugal You rehearsed for more than three weeks in Spain. Can you describe your experiences there?

At the Doors of Europe … I had the most pleasant and also the hardest times during this production. The opportunity to live and act with three actors from different countries and facing an audience that may have never heard my language before was an amazing experience. Communication is beyond language. In the brother-/sisterhood, there was richness and a breath of fresh air. But theatre acting can be the most frustrating job in life, so why do we do it? It must be to discover and understand human nature a little more. I learnt a lot. My experience with police at the airports and the experience of obtaining a working permit was all part of it and reminded me again and again what a stranger I am in Europe. Leaving the production at the end was an unpleasant ­experience, like a punishment. Was I really able to step through the doors of Europe? I want to say gracias a la vida! Gracias por todos.

Ayca Demgaci, Actress Tiyatro Oyunevi, Istanbul, Turkey Please tell us your experience of the working process, especially your experience of the language problem during rehearsals!

The actors participated in sessions prior to the rehearsals. There were meetings with the playwrights, the set designers, the director, whose roles became increasingly important. These were also present at the first improvisation sessions with the texts that had been were provided.

Although there were four different languages at play here (English, Portuguese, Turkish and Spanish), we began to realise that, rather than being a hindrance, this pluralism was in fact very stimulating. Words took on more meaning than their mere pronunciation. When a piece of work is done in four different languages, you know that you are accepting a risky proposition, but that was a risk we were willing to take. Theatre is not only about words, at least in my opinion. Theatre is also pleasure and fun, a way of looking at differences and similarities. It is pluralist and subjective; it is emotion. These concepts have no language and belong to no one nation.

Alicia Rodriguez, Actress Teatro Guirigai, Los Santos, Spain 47

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Adopt a Soldier Opening Leipzig/Germany 3 June 2007 Theater der Jungen Welt, Leipzig / Germany, Pilot Theatre York / GB, Het MUZtheatre Zaandam / Netherlands, The starting point for the production was an agreement of the ­partner theatres to decide on a common theme and form and to develop – through a close working partnership of writers, directors and actors – a politically committed production.

The material for it was found in a fictitious European volunteer army, whose members present themselves to millions of people via a TV show.

After the opening in Leipzig the production was staged in Frankfurt /Oder, York and at the Annual Meeting of Magic Net in Schwerin in June 2007.

Idea & Concept: Jan-Willem van Kruyssen (NL) Marcus Romer (GB) Jürgen Zielinski (GER) and others Text: Eva Mathijssen (NL) Richard Hurford (GB) and others Director: Vivienne Newport (GER) Music: Jan-Willem van Kruyssen Set: Frank Schletter (GER) Military Instructor: Frans Christiaan Erkelens (NL) Actors: Susanne Krämer (GER) Vicky Wesseling (NL) Philip Dinsdale (GB) Georgios Tzitzikos (GER)

You have been working together with Jürgen Zielinski, one of the initiators of this production. What was your interest in doing this and did it work out?

It is a shame the initial contact with Jürgen Zelinski was not seen through to fruition in this project. My initial meetings in Leipzig and subsequent meetings at annual meetings and in London for this project did not lead to his continued involvement. This was a loss and a shame but the project that resulted was a great success in spite of this.

My wish to work with Jürgen was of course a key part of the idea and the collaborative nature of the way the production unfolded was creatively enjoyable. The final shows were well received and the team brought in to deliver this did a great job, but the original objectives were lost due to the last minute change of director and the plans for the show as originally conceived had to change accordingly. Such is the nature of creative projects sometimes.

Marcus Romer, Artistic Director Pilot Theatre, York, UK When the project started, you and Eva Mathijssen were involved as playwrights in the development of the text. How did you work together given that you live in two different countries?

Your participation didn’t continue during the rehearsal process.

Why not?

Very early on it the process, it was decided by the partners, that “Adopt a Soldier” would be a piece devised by the whole company. My role – as one of the writers on the project, together with Eva K Mathijssen from the Dutch company Het MUZtheater – was therefore to focus on

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developing the concept, gather ideas from the three partners, create material to be explored in rehearsal and then shape the devised material into a coherent theatrical form.

Eva and I have worked together in the past using email, instant message chat and net conferencing and this is how we developed material and characters to be explored in a week’s devising workshop in Zandaam, hosted by Het MUZtheater.

Eva and I worked with the company in Zandaam and produced a script, together with a range of possibilities to be explored and integrated into the piece during the Leipzig rehearsal period. Due to other commitments, we were unable to be in Leipzig, but felt that our script and development structure provided a strong enough basis for the company to create the final piece. We were very clear that, although we were unable to attend rehearsals, we were available to produce new material and be consulted.

Scenes from “Adopt a Soldier”

Unfortunately this did not happen and, although our script formed the basis of the final production, it was heavily cut and altered in rehearsals and very little development actually took place. There were undoubtedly pragmatic reasons for this – the late substitution of a new director with no involvement in the gestation of the project created obvious problems. Under these circumstances, the input and influence of the writers during the rehearsal process would have allowed the piece to be steered in a more conceptual form and develop artistically. Unfortunately, the necessity for this only became apparent too late in the process for plans to be changed.

Richard Hurford, Playwright Pilot Theatre, York, UK As the director of one of Germany’s largest youth theatres, I was also the curator for the most well known children’s and youth theatre festival called Augenblickmal. This involved a large number of visits throughout Germany. In this already stressful situation, I was not, so to speak, in the artistic frame of mind to assume the responsibility of directing this so far brilliantly conceived project and bringing it the success it deserves.

Thankfully, the groundwork had already been completed in terms of the play and theatre space and, as I already knew and treasured Vivienne Newport through long-term partnership working, I brought her into this production. I was grateful that this well-known figure in dance theatre and a well-known director chose to work with us at short notice and, after a brief and demanding preparation period, led this co-production to a wonderful success.

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It was only annoying in that there was no possibility to perform this production regularly. There was a blatant disparity in terms of the investment of energy, time and finance. A great shame.

Jürgen Zielinski, Artistic Director Theater der Jungen Welt, Leipzig, Germany

The audience at “Adopt a Soldier”

You joined the team very late as director. Were you nonetheless able to have an influence on the theme and concept?

You worked with a team of actors from three different countries.

To what extent did this production differ from others you have worked on (positive und negative differences)?

I understand that the process until “Adopt a Soldier” became the theme was long one and it happened without me. To a certain extent also the concept, but this evolved during the rehearsals and I came into the team just before they started.

Not only was the challenge to find the right material and texts but also to apply them to the three-country-situation Since an early idea was to interview recruits for the army, having an interpreter for the interview situation solved a lot of the language problems. Otherwise the actors were sometimes obliged to learn certain texts in other languages – unusual for actors to have to do but they did it well, they’re actors.

The short rehearsal time that we had was a negative factor. Positive though, was that the play depended upon the actors and their input and talents, which in the end made it what it was.

“Adopt a Soldier” was performed in Germany and England but not in the Netherlands, a rather sad outcome.

Vivienne Newport, Director Theater der Jungen Welt, Leipzig, Germany

Scene from “Adopt a Soldier”

You monitored the production in terms of dramaturgy and theatrical education. Where did the greatest challenges lie?

Significant for the way the project developed is the change of names.

“Adopt a Soldier” went through, from “Black Box” through “Open the Box” and finally to “Adopt a Soldier”.

This mirrors our difficulty to find precision in the content we were looking for in this production or even what genre it should be: hidden theatre, street performance, theatre on location, etc.

The theme of soldiers leaving and coming to and from the battle zone gave us a lot of inspiration, but when it came to concrete planning we experienced that it is a delicate thing staging a multi-national production based on satire.

With the risky theme of commerce in war, there was hot discussion about how irony would be received in the different countries. And here

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in my view lies the main problem of the production: it has good ideas, but they were followed too hesitatively.

Bettina Frank, Literary Manager / Theatre Educator Theater der Jungen Welt, Leipzig, Germany How did you find the rehearsal process and the performances?

As one of the actors in “Adopt a Soldier”, I was asked to write something about the play. Well, it was both a great learning experience for me and also, from time to time, a frustrating experience for me. It has been a year since the project and I have had some time to think it all over.

The main question that came to mind was “What are the cultural differences in theatre in Europe?” People involved in international business have studied the differences between companies across the globe, but is there a correlation with theatre? Other questions that came to mind are, “What is the position of the actor in a play? What is the position of the director? What is the relationship between the two during the production process?”

Scenes from “Adopt a Soldier”

During rehearsals, I was searching for the message we wanted to send with the play. “Adopt a Soldier” had a very strong theme, which was and still is very relevant, given the wars in Iraq and Afghanistan that are still going on. I found myself asking certain questions, such as, “What story do we want to tell? What response do we want from the audience? What thoughts do we want to leave the audience with?” Maybe I shouldn’t have done all this and left all the thinking to the director, but in The Netherlands it is a very common practice for actors to think along with the director, until he or she makes the final decision.

It has come to my attention that this might not be the same in other parts of Europe.

With “Adopt a Soldier” we might have made it more difficult for ourselves by choosing a choreographer instead of a theatre director. This added the dilemma of a difference in artistic form to the existing cultural differences. In dance, form is an integral part of success, as it may not be as important as it is in theatre for the audience to make a story out of a performance, i.e. everybody can have one’s own interpretation of the story, which could be very successful on its own.

During “Adopt a Soldier”, we had the luxury of two writers, which brings to mind the questions, “What is the position of a writer? How important is the script?” Unfortunately, I felt that both writers were not used to their full potential and it felt as if there was no co-operation between the director and the writers. It was surprising to me that the script used was the one the director came up with after improvisation exercises with the actors. In such a situation, doesn’t the text become more of a secondary matter? It could be that the choice of a choreog51

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rapher instead of a theatre director preceded these decisions, but it might also have been the result of a cultural difference.

Looking at the theme of “Adopt a Soldier”, we could have made a very strong statement and possibly even provoked the audience in certain ways. Our version ended up being the promising start to a play that might have had the potential to become very provocative and eyeopening.

There was always the problem of time and logistics, but that is of course easily solved. I would recommend, however, starting such an international production by first exploring and then building on shared experiences, overcoming the cultural differences as well as accepting them. At that point you have the perfect basis for starting a very strong and powerful co-production.

Scene from “Adopt a Soldier”

Vicky Wesseling, Actress hetMUZ theater Zaandam, Netherlands How was the rehearsal process? How did you find performing in different cities and countries? Did you feel any difference in terms of the reaction of the audiences?

The rehearsals: For various reasons, many of the people who had initiated the project were no longer closely involved with it by the time we got to rehearsals. Thus as a team we inherited the task of developing and completing material that had been conceived and shaped by others. This was interesting because while much of the „what“ had been decided for us (e.g. subject matter, roadshow format, the skeleton of the piece, etc.) we had to discover the „whys“ for ourselves (Why are we telling this story? What are we trying to say with it?) and this took up much discussion time in rehearsals. With only two weeks to embody the initial idea, and working with themes as complex as war, propaganda and the nature of soldiering, it became increasingly clear that any attempt to graft a simple political or satirical message onto the piece would be both naive and inadequate. I think we ended up with something that was seemingly satirical in form, but actually completely non-partisan when skinned to its innards. And whether this was interesting and challenging for audiences, and whether it was a craven omission of artistic responsibility, and whether…

It was fascinating – and occasionally frustrating – to collaborate with fellow artists with different national/cultural perspectives and methods. Of course there is always the temptation to attribute differences in outlook to factors of nationality when they may simply be caused by the divergences of personality that can be found in any rehearsal room. Whatever the cause, the collision and synthesis of these approaches played an important part in the process. It wasn‘t always easy, but a little blood fertilises the fruit tree.

The performances: The feel of each performance varied immensely because by and large we were performing in open-air public spac-

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es. So as well as environmental factors there were huge differences in the nature of each audience, including regular theatregoers who had come specifically to see the performance, members of the public who were just passing by and of course fellow participants in the Magic Net experience. Our final performance in the studio space at York Theatre Royal was indoors, so had a much more intimate feel. I felt a little nervous about the performances in public venues, partly because of the fear that some individuals might interpret the material in an inflammatory way, but mainly because as a performer I felt more exposed to mob violence, pestilence, contagion, meteor showers, sudden Acts of God, and the absolute indifference of passing townsfolk. Fortunately, all my fears were unfounded and we were received warmly everywhere.

The Magic Net journey for me was fun, challenging and stretching.

Philip Dinsdale, Actor Pilot Theatre York, UK

Head of Nails Work in progress Daniil Kharms A Magic Net Production by Experimental Stage of Baltic House, St. Petersburg / Russia, Teatro O Bando, Palmela / Portugal, Het MUZtheater, Zaandam / Netherlands The starting point for this unconventional co-production was several short plays by the Russian author Daniiel Kharms (1905- 1942). Three actors from each theatre travelled to one of the partner theatres and worked there with the director for one week. Then they changed over to the other partner theatre and, after 14 days there, returned to their own director with whom they then finished up their work. At the end of this unusual rehearsal process, three independent productions were created for the repertoires of three theatres. These productions were strongly influenced by the perspectives of their European colleagues.

At the annual meeting in Schwerin (June 2007) and after four days of rehearsals with all the actors, a unique production was presented in which all the conceptual elements were impressively mixed and completed.

The idea of the project goes back to experiences you and Anatoli Praudin had watching each other’s productions. How did your ­relationship develop?

I established a mysterious bond with Anatoly’s imaginative scenery from the beginning. When we talk, I always get the impression that what we say falls short of what we feel. You cannot ascertain a great deal from words. I believe we speak better through theatre. The experi-

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Directing: João Brites (Portugal) Ben Harrison (Netherlands) Anatoli Praudin (Russia) Acting Netherlands: Marleen Graumans Ilke Turpijn Jurre Schreuder Portugal: Sara de Castro Cláudia Chéu Bruno Bento Crista Alfaiate Russia: Yuri Elagin Alexander Kabanov Sergej Zanin Music: Jan-Willem van Kruyssen Literary Manager: Odette Bereska Natasha Skorokhod Theatre Education: Suzana Branco (Portugal) Natasha Djachenko (Russia) Rick Nanne (Netherlands)

ence we shared in Schwerin was unforgettable – Anatoly directing the Portuguese actors while I directed the Russian actors.

My curiosity towards the famous “method” only intensified with Anatoly’s intelligent interpretation. I am also fascinated by his actors. I anxiously await the next stop on our trip.

João Brites, Artistic Director Teatro O Bando, Palmela, Portugal The idea of the project goes back to experiences you and João Brites had with Magic Net in the last few years. How did you feel in this project?

There are not so many theatre networks in the world. Magic Net gives me the opportunity to expand my own experience through contact with other theatre cultures. In that sense, the last project (Head of Nails) was very productive because it made it possible to combine three theatre systems into one. Actors were working with directors with a totally different approach to theatre and they had to learn from the director in order to make contact. As the director, I had to learn the natures of the Dutch and Portuguese actors natures or I wouldn’t have been able to anything together with them. I’m not sure that in the end we did our best (this was only the first step) but I’m sure we did something for our own development as European theatre-makers.

I’ve been in the excellent theatre that João created and built. I knew that he had another theatre method to the one we use and I always wanted to try to work with him. Actors from “O Bando” are very unusual and truthful on stage. I’m glad that we combined three other methods and actors from other theatre schools and understood each other without words.

Anatoli Praudin, Artistic director Experimental Stage of Baltic House, St. Petersburg, Russia Co-directing with Ben Harrison: how did you feel when you were carrying out your part of work?

Both Ben Harrison and I will be working for Het MUZ in the coming years. Head of Nails was a good opportunity to get to know each other and each other’s working method. We are both fascinated by site-specific theatre but have our own style so we can inspire each other and learn from each other’s approach.

This international cooperation provided the perfect opportunity for a Dutch and English director to work together.

Annemieke Delis, Co-Director Het MUZtheater, Zaandam, Netherlands

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Please describe the most impressive, irritating and difficult moments for you in the co-production-process!

1. The most impressive moments: The rehearsal period with João, Ben and Annemieke and the presentation of the Portuguese and Dutch versions of Head of Nails in Schwerin were really great!

We should also not forget the surprising and wonderful theatrical atmosphere that was created by our colleagues in Portugal. Nobody was there to meet us at the airport. We called our colleagues but no one answered the phones. We wanted to go to “O Bando” by ourselves, then suddenly some strange people wearing something similar to a military uniform appeared and introduced themselves as people who were meant to pick is up. In the car, they entertained us with port wine and asked us questions about literature and art. They said they knew nothing about such things. It was so strange! All of a sudden, the driver stopped the car and told us to stay silent for a moment. It felt like a ritual. We stopped talking and sat silent in the car. It was a little frightening to tell the truth. In the hotel, our friends Krishta and Miguel had had a quarrel with each other and the girl had gone away. We were shocked. In the morning our new friends said that this had all been some kind of a game.

An impressive contrast with our countries was the weather of course. It was cold and snowy in Russia but springtime paradise in Portugal.

Scenes from “Head of Nails”

2. There were no irritating moments!

3. The most difficult moments were working with the new art-directors, when we had to forget Russian theatre school, all that we knew 55

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about theatre, and understand and appreciate other methods; also the process of combining all three versions in one. It was difficult, but very interesting and useful.

Alexander Kabanov, Yury Elagin, Sergey Zanin, actors Experimental Stage of Baltic House, St. Petersburg, Russia For me, everything in this project was amazing. I learned so much, not only as an actress but also as a person.

Scenes from “Head of Nails”

The most impressive moment was meeting and working with Anatoly at his theatre in St. Petersburg, the most irritating was our luggage going astray when we arrived at Amsterdam. The most difficult moment for sure was in Schwerin when we had to combine all the “heads of nails” in a single play.

Cláudia Chéu, Actress Teatro O Bando, Palmela, Portugal 1. The most impressive moment of the project The opening night in Schwerin. I was dead by the end of it. Crista and Alexander were doing the final scene and I really felt the urge to cry. That was the moment when we really came together, when all of us were using theatre to raise shouts of rebellion; the moment when we, Portuguese, Dutch and Russian, together made our stand before the world.

2. The most irritating moment It was annoying that after all the tremendous work of Magic Net’s artistic and technical team to make the Frankfurt (Oder) performances possible there was not a significant audience turnout.

3. The most difficult moment The parting… the day we said our goodbyes at Frankfurt (Oder), knowing full well how difficult it would be for us to meet again. It was a mixed feeling: in a way I felt I had gained tremendously from this experience, but the people… I was losing them.

Sara de Castro, Actress Teatro O Bando, Palmela, Portugal

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I would have to choose the whole week in St. Petersburg as the most impressive moment of this big journey. The important lesson I still carry with me was the impressive and beautiful way that Russian people, men and women, old and young, look, live, smell, breathe and respect their culture and their Arts; how these actors and theatre people who I had the previlege and honour to work with dedicate their lifes to their art. The sense of duty and comitemment only made me think how far we are from doing justice to our art.

The day we returned from St. Petersburg to Lisbon was the most irritating part of the trip: every disgrace that can happen at an airport happened to us.

The most difficult moment, as an actor, was having to show the greatest fidelity to the artistic differences and languages of the three directors. That was the main goal, the ability as an actor to absorb different methods of working on a common object, having the capacity to mix the methods and not pass by them, but through them.

Bruno Huca Bento, Actor Teatro O Bando, Palmela, Portugal 1. The most impressive moment The moment all the actors were stood on the stage and then played around with each other in all the different languages. It’s so exciting playing around with an actor from another country, not understanding the exact words but still making contact and reacting to each other. All the directors who would be working together were sitting in the audience at that same moment. It was a thrilling experience. That was the moment the project really came to life.

2. The most irritating moment The moment we couldn’t quite understand the director. You try and try, because you really want to understand each other. But there also comes a satisfying moment after that when you finally understand each other and you have learnt something new, something different.

3. The most difficult moment The moment the project ended. It had been such a rollercoaster, such an exciting experience, that I said goodbye with pain in my heart. I had learned so much, seen so much and met such beautiful and exciting theatre people. I missed it the moment it was over.

Jurre Schreuder, Actor Het MUZtheater, Zaandam, Netherlands

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It’s difficult to choose my most impressive moment in this project because there were so many!

First of all, it was fascinating working with Daniil Kharms’s text. Meeting Anatoly and Joao and learning from them was so exciting and gave me another kind of awareness, I think. There is still so much more to learn and explore. Although every director in this project had a different approach to making theatre, the enthusiasm and passion was the same.

We all told different stories and had different cultural ­backgrounds but sharing that and linking that it is something I will never forget.

Scenes from “Head of Nails”

It was also very impressive to meet all the other actors and creating a performance together and seeing the three directors work together was very interesting! New insights into other cultures and ways of making theatre made me want to see even more. It was nice to throw away all your previous experience and start over again in a new way.

I sometimes had difficulties really integrating directly what was being explained at a particular moment. It felt like grabbing something but not really getting a hold of it. I think that was because my head was so full of information that it sometimes needed time to sink in. We had time to think about everything we had experienced when we came back home, of course.

The experience of this international cooperation and the different methods and approaches were so inspiring that I’m very grateful to the MUZ theatre for giving me this opportunity.

I think this way of working with each other is of great value. So when’s the next trip?

Ilke Turpijn, Actress Het MUZtheater, Zaandam , Netherlands I think the most impressive moment of this project was the whole project itself. It was really special to take part in all of it. The differences between the three countries are huge as were the directors’ methods. The most irritating thing for me was the language. Theatre is connected to language. We crossed our national boundaries but at the same time came across a new boundary: language. We didn’t speak each other’s mother tongue so it took a lot of time to understand each other. The most difficult moment was in Germany where we had to put three plays together in one day. It was an impossible assignment but we all wanted to make the best of it. That’s the reason why it became something. It was fantastic to take part in all of this. I learnt so much in a very short time.

Marleen Graumans, Actress Het MUZtheater, Zaandam, Netherlands

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Kashtanka A planned co-production between Teatr Jeleniogórski, Jelenia Góra/Poland, VAT Theatre, Tallinn/Estonia, Hochschule der Künste, Zurich/Switzerland, Teatr Samara/Russia It was intended that a dramatisation of Anton Chekhov’s “Kashtanka”, a memory-rich short story about the life of a small dog, would become the foundation for this extensive co-production. It was planned that the Russian director would, based on a model and using different actors for each version of the play, produce almost identical plays in theatres in Jenenia Góra, Tallinn and Zurich. A staging where the European actors would be mixed was planned to take place at festivals and guest performances.

Due to schedule problems and other misunderstandings, the co-production could not be implemented.

You have been one of the most active partners in terms of the development of the project. What were your expectations from this kind of European co-operation?

The preparation of the “Kashtanka” project together with theatres from Estonia, Switzerland, and Russia was meant to fulfil all the expectations of Magic Net participants. The intention was not only to work together but also to tour all the countries taking part in the project and include the production – with some slight adjustments – in the constant repertory of all participating theatres. The rules were clear and innovative: one director, three theatres, international cast, possibility to tour. I think this concept had the potential to initiate permanent cooperation between the partner theatres. It could also have opened up new space for new international theatre projects. We can only regret that we did not succeed in bringing our promising plans to fruition.

Based on the short story by Anton Chekhov

Bogdan Nauka, Artistic Director Teatr Jeleniogórski, Jelenia Góra, Poland You have been deeply involved in the development of this project.

Where do you see the reasons for it’s failure?

When I made the proposal for this project, the most important issue for me was finding a type of multilingual project that would demonstrate not only the collaboration of different European theatres, but that also represent a new phase in the creation of co-productions. For this reason, Chekhov’s story “Kashtanka” was suggested as the basis for the project. It is a story in which humans and animals live together, in other words, characters that speak different languages but still understand each other. Such an effect can come to life on stage when actors who speak different languages make an effort to understand each other.

And how will audience understand the result?

It was this idea in particular that enabled me to win over the young and talented director Konstantin Bogomolow. We suggested a way of rehearsing that we found particularly interesting to our partners. From the very start, the rehearsals would take place without the help of an interpreter so that the actors and director could be submersed imme59

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diately in a situation where the basis for communication would not be international English but the language of THEATRE. But the more our talks evolved and the more we examined the organisational and financial constraints of the project, the further removed we became from the clarity of our initial idea. To my great disappointment, I began to realise that the production of an independent piece for their repertoire was more important for our partners and that the idea of an international rehearsal process and the production resulting thereof had slipped into the background. Under pressure to conform to the criteria, we were forced to agree to the following plan: Bogomolow produces the very same play in all four theatres and then pieces together an international version from these productions to be staged for a short period in each of the different participating countries, finishing up at the Magic Net convention.

As a result, I lost a large part of my creative interest as everything in this variation was geared towards a result and everything that had promised to be an interesting experiment became ordinary routine. I did, however, make every effort to understand the logic of the partners and to carry out my role in the project. I wrote the piece, which satisfied all four theatres, and I introduced the director to the project. Despite everything, I did not back out completely but continued to feel jointly responsible for the realisation of the project.

Then, the talks between Bogolomow and the theatres began and they went absolutely nowhere. At some point I was under the impression that some of our partners just didn’t understand that Bogolomow is currently one of the biggest directors in Russia. Furthermore, when the scheduled rehearsal period in Poland was suddenly postponed, it became apparent that it would no longer be possible to fit it into his work schedule.

I think it is up to Bogolomow and his partners to discuss this stage as well as the reasons for all the misunderstandings amongst themselves.

To conclude, I am forced to report that, after a trip by Bogolomow to a third meeting was cancelled, we received a letter regarding our participation in the project asking “yes or no?”. Bogolomow called me and I was in agreement that under these circumstances in which there is a lack of understanding and build-up of overreactions on both sides, it would be best to say “no”.

Mikhail Bartenjev, Playwright Moscow, Russia

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Kashtanka/Petra: You wanted to integrate student actors from your academy in this production (as you did in “America – Ship of Hope”). What were your expectations of their involvement in such project?

The integration of students of acting offers the opportunity to participate actively in a task outside of their curriculum and beyond the established methods of appraisal. In doing so, the different acting techniques and aesthetics blend together, which, in the case of “Kashtanka”, would have generally developed into a new field of the arts and culture.

As the author Anton Tschechow is known within academic circles as a dramatist, it means meeting the author anew when a Russian director develops one of his stores for the stage.

The series of performances with changing casts that are planned to take place in Tallinn, Jelena Gora and Zurich demands a special confrontation with the audience in each location. Particularly for those actors still in training, this will pose to be a new area of experience, both in terms of profiting from new experiences and also working in different countries.

Additionally The concept of the co-production in addition presented the opportunity to introduce the artistic result of the European co-operation, not only to the circle of people involved, but also to the audience of Zurich (school classes and families), thereby breaking down the exclusivity of the participation of the individual and opening up a dialogue about European co-operation with the audience.

Petra Fischer, Literary Manager, Lecturer Hochschule der Künste, Zurich, Switzerland The production could not be realised because of difficulties with the Russian director. Why was it impossible to reach agreement with your partners on another project?

Kashtanka was cancelled because of misunderstandings between partners and the director with regard to the work schedule. Communication problems played their role in the cancellation of the project, too. We were very sorry about this because we had been really looking forward to this cooperation. We found the substitute production in cooperation with a German director not so interesting when we visited the workshop of the director in Schwerin. We probably had a different understanding of the idea and the rehearsal method and the working method we witnessed in the workshop did not meet our expectations.

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THEATRES

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Mecklenburgisches Staatstheater Schwerin

Schwerin, being the Capital of the German Federal State of Mecklenburg-West Pomerania, has made itself a name as a centre for the arts for four and a half centuries now.

Schwerin, Germany

Artistic Director: Peter Dehler

Das Mecklenburgische Staatstheater Schwerin with its impressive neobaroque building, erected 1886, is situated right at the heart of the former Residence to the Dukes of Mecklenburg, on a great square sided by the State Museum with its precious collections, and faced by the ducal castle on the lake in its fairy-tale style. Theatrical tradition goes back as far as 1753, when the famous actor Conrad Eckhof, a collaborator in G.E. Lessing‘s struggle for a German national theatre, founded the first academy of acting.

The first elaborate theatre building, opened in 1836, soon calls also for a steady theatre company with a more distinctive repertoire. When it burnt down in 1882, a new state-of-the-art edifice is immediately commissioned to be opened only four years later, again positively influencing aesthetic quality.

Scenes from “Shakespeare’s Sturm” (The Tempest)

Following the revolution of 1918 after World War I, the former Court Theatre eventually becomes a ‘Staatstheater’ (a state theatre) cofunded by the Government of the State of Mecklenburg-West Pomerania and the City Council of Schwerin. During the period of the Third Reich, the Nazi regime takes a painful influence on the company and its repertoire until, at the height of World War II, it is shut down along with all other German theatres.

In 1945, the theatre undamaged in the war, is one of the first to reopen.

Due to political interventions by the Socialist Party, a theatre crisis unfolds in 1972/73, which is followed by Christoph Schroth’s exceptionally successful period as artistic director of the drama department from 1974 up to the end of the GDR in 1989.

Today, the drama department under the long-time management of director Peter Dehler features a steady company of 22 actors. At least 10 major works are being produced every season by the drama department alone. Shows are regularly being produced for the main house (528 seats), a 19th century electrical plant named the ‘E-Werk’ (99 seats), and open-air performances in the courtyard of the gothic cathedral in the summer.

The drama repertoire presents a broad spectrum demanding much from performers and theatregoers. Both, however, respond with enthusiasm to this diversity: After the German reunification there was a difficult transition period. Today attendances are back at over 80% in a town of a bit over 90,000. This ranks the Mecklenburgische Staats­ theater under the few most accepted theatres in Germany.

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World Premiere

Shakespeare’s Sturm

(The Tempest)

Adapted by Marc von Henning

“

William Shakespeare raised in two senses. And that is good. […] [It] allows something new to be discovered even during a second viewing of the production. Can an evening of theatre have more to offer?

”

Schweriner Volkszeitung

“Nature, to be commanded, must be obeyed”

said Francis Bacon, a contemporary of Shakespeare. If the chaos theory holds true and the bat of a butterfly wing can cause a storm at the other end of the world then we therefore only have to understand nature more and more to be able to one day command it completely; that final wilderness out there, surrounding us and within us. A mere thought would therefore be able to change the world for better or for worse.

The tempest that Shakespeare saw coming with the discovery of the new world in 1610/11 in probably his last play rages on into the present day. The escalating dynamics of globalisation and climate change are making the world in which we live in unrecognisable already in our own lifetime. Marc von Henning dares to look into the eye of this storm with his adaptation of Shakespeare’s dramatic testament. In doing so, he has carefully transcribed the original into German and into the present day and has only made one substantial change to its casting: Prospero and his brother Antonio, who never meet in Shakespeare’s version either, are played by one and the same actor to portray the two personalities of the same human being. The final reconciliation of the old and the new world therefore starts with the reconciliation of the betrayal of one’s self.

Production: Marc von Henning Scene & Costumes: Florian Parbs Cast: Brigitte Peters (­Señora ­Gonzalo), Bettina Schneider (­Miranda), Anna Schumacher (Sycorax), Charlotte Sieglin (Ariel); Jochen Fahr (Alonso), Jakob E. G. Kraze (Sebastian), This Maag ­(Ferdinand), Stéphane ­Maeder (Prospero /Antonio),­ Martin ­Neuhaus (Stephano), Hagen Ritschel (Caliban), Johann Zürner (Trinculo) Premiere: 29 February 2008, 7.30pm Grosses Haus

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VAT Theater

Tallinn, Estonia

STILL Estonia’s first independent free theatre group.

STILL presents performances on the home stage in the National ­Library and also in other theatres and cultural institutions.

STILL we have plays for adults, children and youth in the repertoire of the theatre.

Estonia STILL has a population of only one million people but we are fortunate that these people like to go to the theatre.

Artistic Director: Aare Toikka

And STILL are trying to touch each spectator’s soul.

Repertoire:

Scene from “Do You Like Porn?”

B.Brecht “Flight Over the Ocean” (dir. Bengt Andersson – Sweden) M.Kivastik “The Servant” (dir. Raimo Pass) Estonian national epic by Fr. R. Kreutzwald – M. Zohner “Kalevipoeg” (“Kalev’s son”) (dir. Markus Zohner – Switzerland) A. Toikka – F. Molnar “Pal-Street Boys” (dir. Aare Toikka) K. Hensel “Klamm’s war” (dir. Aare Toikka) C. Magnusson “Men’s Fortress” (dir. Ch. Römer – Germany) H. Ch. Andersen – A. Toikka “Little Marimaid” (dir. Aare Toikka) J.Fosse “Winter” (dir. Uku Uusberg) Ed. Albee “Zoo Story” (dir. Robert Annus) K. Abrahamsson “Do You Like a Porn?” (dir. Margo Teder) W. Tomczyk “Nuremberg” (dir. Aare Toikka)

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Do You Like Porn?

About what is not talked about

The swedish play “Do You Like Porn?” is a story about a girl and a boy who meet at an audition for a play about porn. However, the play for which they intend to audition has yet to be written. Also, no director able to stage the play. There is only a BOY, a GIRL and PORN. The play is about the thoughts of simple, young people and what porn means to them (Internet, videos, shops), whether porn should be banned or whether it helps a lot of people satisfy themselves, what first sex should be like, why are boys and girls different, and if in love…? Klas Abrahamsson’s modern and humorous text gives young audiences a possibility to think about things that are usually not talked about.

Author: Klas Abrahamsson (Sweden) Director: Margo Teder Designer: Kaspar Jancis Actors: Tanel Saar, Kaia Skoblov Target group: 14 years and above Premiere: 30 January 2008

Nuremberg A young journalist Hanka visits a retired military counterintelligence colonel, Stefan Kolodziej. She wants to get information on the officer who has had a contradictory life. But Stefan has other plans: he wants to tell his story that is oddly bound with the journalist’s life.

What is the mysterious event in the past connecting the fates of the young journalist and the old intelligence officer?

In an interview the author says: “The story of Nuremberg hardly touches the topic of special services. I was interested in the psychological process, the relationship between people, as well as their relationship with the history of the People’s Republic of Poland. The latter is especially interesting, even exotic, because even if many people are dealing with this issue, it is still unknown for us. I was interested in the mechanism of manipulation which is used without any reason. But in order to manipulate someone, you don’t have to be an intelligence officer. We can see every day that our public life is some kind of a ghostly theatre of illusions, a complete fiction. I then decided to write a play about a monster who is playing with a life of another person. There are such people among us and they have not left with our “beloved” People’s Republic.”

It is an exciting Polish story touching not only the Polish.

The Bench One bench. Two stories.

Author: Wojciech Tomczyk (Poland) Translator: Hendrik Lindepuu Director: Aare Toikka Designer: Hardi Volmer Actors: Aarne Üksküla, Katariina Lauk, Tiina Rebane Target group: Adults Premiere: 18 April 2008

1. Jon Fosse “Winter” Director: Robert Annus * Actors:

Katariina Lauk, Robert Annus “The essence of Winter is not that common. To the man of the specific 2. Edward Albee “The Zoo Story” latitude it is inborn. Mr. Fosse has mainly written drama, but also short Director: Uku Uusberg* stories, poetry and books for children. You can recognise him from the Actors: Margus Prangel (Estonian use of short ­sentences. Robert Annus “Likely never to be out of date, this play is the first one for us to direct. Drama Theatre), Alo Kõrve (Tallinn City Theatre) On Albee’s part, the idea of the story is great: an abnormally long and exciting meeting of two men on a park bench. Directing-wise, the story *Students of Estonian Music and leaves a lot to play with: the long dialogue is without any strict and de- Theatre Academy Supervision: Ingo Normet termining remarks. Having something to explore is a good thing… The sad part is that back then something impelled the author to write such Target audience: a story… and years later, we boldly want to float around in this bubble Adolescents and adults of pain. If we didn’t understand it, we wouldn’t want to. The existence Premiere: 20 September 2007 of The Zoo Story is such a good and such a sad thing.” Uku Uusbergl

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Theater der Jungen Welt

Leipzig, Germany

Artistic Director: Jürgen Zielinski

Scenes from “Nachtblind” (Nightblind)

Theater der Jungen Welt, one of the most renowned youth theatres in Germany, is Leipzig’s theatre for children, adolescents and young adults. It was founded on 7 November 1946 as the first professional German-speaking youth theatre. In the GDR, it was part of the Leipzig Theatre Association (comprising a drama theatre, an opera company and the Theater der Jungen Welt) under one general director. It was made into an independent theatre with its own direction after the fall of the Berlin Wall in 1989. The theatre moved into its own new building, the Theaterhaus Leipzig in October 2003. The theatre has a large auditorium (up to 230 seats) and a First Floor (ca. 55 seats), as well as the mobile Theatre Bus (up to 40 seats).

The Theater der Jungen Welt performs in schools and nursery schools and also – in co-operation with the relevant organisations – other performance spaces in Leipzig and the surrounding region. The performances are drama theatre or puppet theatre, as well as combination of the two. Modern aesthetic forms of dance theatre, performance art and improvisation theatre are produced. There are also plays where the actors work together with non-actors and/or with student clubs and youth clubs to create plays with professional directors that are later performed. In recent years, larger-scale projects have increased in importance. They are normally based on specific themes where many different performance forms are brought together. The Theater der Jungen Welt is therefore a youth theatre that sees itself artistically, and socio-culturally situated in the here and now, close to the world in which contemporary young adults and children are living. The theatre has 49 employees, of which 12 are actors and 3 are puppeteers. With a current repertoire of 22 productions and 11 to 13 new productions each season, it presents ca. 600 performances annually before an audience of more than 45,000 people.

In 2006, the Theater der Jugend celebrated its 60th anniversary, giving guest performances in Poland and Italy.

In 2002, Jürgen Zielinski, a reputed and experienced theatre director, was appointed General Director of the theatre. Since then, it’s reputation has continued to improve and it has been winning even larger audiences. Under Zielinki’s direction, the theatre company tuned in to the demands of its public. With its defining interest in producing new productions and daring projects, and with a strong emphasis on the use of music, it has also had a lot of success with critics, something that is reflected in its many invitations to theatre festivals.

The 15th Werkstatt-Tage der Kinder- und Jugendtheater, an important festival/workshop for contemporary children and youth theatre, took place for the first time in Leipzig in October 2006.

The great success of the 15th Werkstatt-Tage among members of the public and theatre professionals led to a call from ASSITEJ to stage the 16th Werkstatt-Tage 2008 in Leipzig. The workshops for the national children’s and youth theatre will take place from 30 September to 4 October 2008.

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Scene from “Nachtblind” (Nightblind)

“

This type of theatre, as the audience reaction clearly showed on Saturday evening, makes the art form credible. It takes the 15+ target group seriously. Rigorous applause then for the four excellent performers … and certainly for Mathias R������������� ü������������ mmler’s set…

Leipziger Volkszeitung, 10 September 2007

”

Nachtblind (Nightblind)

by Darja Stocker

“He took my hand because he sees nothing in the dark.”

Leyla and Moe hit it off straight away. They met despite the fact they are very different. Leyla is a graffiti artist and Moe a highly gifted car mechanic. They found each other in the dark.

The walls are starting to crumble in Leyla’s family. Her mother, both helpless and disabled, lives out her liberated thoughts. Her brother is going increasingly off the rails. Her father ran off with a younger woman long ago.

Leyla’s attraction for Moe opens up a new and sensitive world for her.

There is another one: the “big one”. Leyla has already been living with his kisses and physical blows for far too long. Time to escape his painful embrace, i.e. to exchance one trauma for another.

“Nachtblind” is the d���������������������������������������������� é��������������������������������������������� but work by the young Swiss playwright Darja Stocker, who in 2005 won the author prize for this play at the famous Heidelberger StŸckemarkt new theatre festival.

Director: J���������������� ü��������������� rgen Zielinski Set and Video: Mathias R������� ü������ mmler Effects & Sound design: Thomas Fichtner & Veit Kirsch Dramaturgy: J������������ ö����������� rn Kalbitz Theater Education: Bettina Frank With: Leyla: Elisabeth Fues, Moe: Sven Reese, Mother: Susanne Krämer; Rico: Martin Klemm Premiere: 8 September 2007 69

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het MUZtheater

Zaandam, the Netherlands

Artistic Director: Jan-Willem van Kruyssen

The MUZtheater in Zaandam has a special place in Dutch theatre. It started off as a private initiative in 1984 and has been subsidised since 1993. The MUZ has grown into the company it is now: a national company with a focus on the Noord-Holland region and a strong international and educational roll. The MUZ produces theatre for young people and in 2009 that’s what we will have been doing for 25 years!

The core activity of the MUZ is to produce professional theatre of high quality for our target group: young people. This we want to do from a constant hunger to move and shock, to befuddle and transport, to amuse and to put to the test.

Variation in the area of play, direction and repertoire are the characteristics of the artistic policy of the MUZ, and it attracts theatre producers who can do just that. The artistic core ensures continuity. To serve our target group even better, the MUZ wants to start broadening our disciplines. In addition to theatre, there is space for dance, film (multi media) and music.

The MUZ – a platform from 2011 It is a known fact that the effect of a partnership is greater than the effect each party could achieve alone. The artistic profile of several organisations in our area and their target group - young people - suit each other very well, practically speaking. A linking of energy provides a strong platform that represents an important extra value within the Dutch and international theatre landscape.

Scene from “Medea”

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An ambitious combination of disciplines, experiences, ideas and knowledge to arrive at a new form of theatre and dance shows, wherein multimedia regularly plays a roll. A platform for the development of talent in young people who want to learn more about dance and theatre and wherein small as well as large-scale projects (also in international areas) can be developed.

Education The MUZ wants to go further than just preparing the public for a visit to a performance. In addition to giving workshops, the development of the Do-it-Yourself-Box and producing a DVD, our role as a centre of knowledge for youth theatre extends ever further. In 2008, MUZ lecturers are working all year round with the older pupils of the zmlk-school ’t Anker in Zaandam. Together with these pupils we will work on an international joint project with, among others, the Opéra de Paris.

Scene from “Medea”

During the last few years, our youth theatre group NEST has proved that an enormously beautiful performance can be created with the right combination of rehearsal, talent and humour. In the meantime, NEST has grown into a three-year acting course. Afterwards, the MUZ-to-be has the opportunity to produce its own show. At the moment, the first NESTers go on to art profession training, theatre science and the theatre school.

Medea

by Theo Fransz

Medea is a story of expectations, deceit, disappointment, sacrifice, ­ revenge and murder, but most of all love, love, and again that damned love.

The Greek tragedy Medeia was written in 431BC by Euripides. The King’s daughter Medea has helped her great love Jason to steal the Golden Fleece. Together they leave for Greece. They have two children together, but in the end Jason chooses the princess Glauke. Medea, misused, abandoned and terribly humiliated, is furious. She makes a gruesome decision and murders her children.

Direction / Text: Theo Fransz Music: Jan-Willem van Kruyssen Set / Costumes: Bettina Weller Production: Maaike Ophuijsen With: Jaike Belfor, Urmie Plein

Director Theo Fransz, who also wrote the text, enacts the performance with two actresses alone on an empty stage. At the start, with a hall full of howling school children, it seemed a hairy enterprise. But the public was soon hanging on the every word of Jaike Belfor and Urmie Plein, who in this performance play the stars from the sky.

They play the rolls of Medea, her nanny and the two children. It is a touching idea to allow the children to play out the history of their ­parents. How ‘mama Medea’ helped their ‘papa Jason’ to steal the Golden Fleece, and how they left for Greece together. The children have their own imagination about what happened, and that gives the story its own special twist.

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Teatret Vårt

Molde, Norway

AS Regionteatret i Møre og Romsdal Artistic Director: Carl-Morten Amundsen

Scenes from “Vinterdvale” (Hibernation)

Teatret Vårt was established 35 years ago as the second regional theatre company in Norway. The company tours extensively in the county of Møre og Romsdal, but has a permanent base in Molde. Teatret Vårt presented 353 performances for 37,923 spectators in the year 2006.

More than 30 of the county’s 36 municipalities were visited with at least one performance this year. The theatre has a reputation of ­being a place where young artists launch their careers. Many people with a fine position in the Norwegian theatre landscape have started out at this small regional theatre company. Teatret Vårt, artistically ambitious, has always presented a mix of classical and modern plays, both for an adult and a young audience. Local culture and identity has also played a role but has been given less importance in the repertory profile than is the case with many other regional theatre companies in ­ Norway. ­ eatret Vårt’s ensemble of 7-10 actors changes frequently, whereas T the administrative and technical staff of 20 form a stable ground for 3-4 major productions and numerous small-scaled productions every year.

Teatret Vårt was the first professional theatre in Norway to establish its own education department in 2003. Teatret Vårt is a nickname and stands for “Our Theatre”. It was established by a group of actors and theatre artists who wanted to create a theatre that was important to them. Being of major personal importance to the artists, it would thus also be of significance to the audience. The company’s formal name, “AS Regionteatret i Møre og Romsdal”, is very seldom used. In 2008, Teatret Vårt is presenting the children´s theatre classic “Vinterdvale” (“Winterschlaap”) by Heleen Verburg. The director is Odette Bereska and the set designer is Anja Fuhrtmann. Two solo productions by Astrid Saalbach (Pieta) and Mark Ravenhill are being ­performed together with a production of Arabian Nights during the International Jazz Festival and the Teatret Vårt programme this spring. In the autumn of 2008, the theatre will present the large Norwegian classical play “Sigurd Slembe” by Bjørnstjerne Bjørnson, the first production of this play since 1960. Uwe Cramer (a former Magic Net participant) is directing and Ulv Jakobsen is in charge of set design. The last production in 2008 is of a contemporary Swedish play by Jonas Hassen Khemiri called “Invasion”. This is a part of the Norwegian year of cultural diversity.

One main goal for Teatret Vårt is the realisation of a new theatre building in the centre of Molde. This project is run by the theatre, the Molde international Jazz Festival, the Municipality of Molde, the Bjørnsonfestival of literature and the Møre og Romsdal Arts centre. Hopefully the new house at Gørvellplassen can open the summer of 2010, which coincides with the fiftieth consecutive Jazz Festival and the Bjørnson Year (Centennial of the poet’s death).

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Scene from “Vinterdvale” (Hibernation)

“

An amusing, witty and beautiful production that – by using an over-used expression that in this case comes into its own - takes the children seriously.

Ida Lou Larsen

Vinterdvale (Hibernation)

by Heleen Verburg Jaap lives with mother and father in an underground cave to protect them from the cruel world outside. While the parents sleep, Jaap keeps watch and and catches insects for the soup. The only one Jaap trust is Bronchitus, a cricket. The parents say that the outside world is terribly dangerous. Dreadful dangers are lurking there and one fears for one’s life. Here in the cave it is safe and comfortable.

But this does not stop Jaap’s ever-growing longing for the outside world, for the sun and the trees, and for herself.

Vinterdvale is warm and friendly. We believe the theme is suitable for children of school age upwards. The text and the brilliant mimics will make grown-ups laugh through recognition. The children will shudder from the grown-ups’ cruelty. How stupid can you get?

The minimalist set design and the lights and sounds work brilliantly. The performance is coming soon to the theatre festival in Ålesund, so grab your offspring and find your way to the theatre. (Sonnmørsposten)

”

For young people of 10 years and upwards Translation from Dutch: Bernt Nikolai Hulsker Director: Odette Bereska Set & Costumes: Anja Furthmann Light Design: Finn Landsperg Sound: Jonas Høgseth Mother/Girl: Valborg Frøysnes Father/Man: Håkon Moe Jaap: Hilde Marie Farstad Bergersen

The language is fantastic. Highly recommended!

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Teatr Jeleniogórski

Jelenia Góra, Poland

Artistic Director: Bogdan Nauka

Last season, the Jelenia Góra Theatre celebrated a double jubilee: 100 years of the theatre building in the town and 60 years of the Polishspeaking stage. During its post-war history, the theatre produced hundreds of performances. It also hosted numerous artists who, after their debuts in Jelenia Góra, became well-known actors, set designers and directors, for instance the world famous director Krystian Lupa whose first productions were created here in the late 70s and early 80s of the last century. The Theatre’s activities include close co-operations with the Saxonian Stages Association and with the Görlitz Theatre. The Theatre is known for its theatre festivals: the International Street Theatre Festival (being the very first street theatre festival in Poland) and the Jelenia Góra Theatre Meetings (also one of the oldest regular theatre festivals in our country).

The Theatre is currently led by two directors: Bogdan Nauka, who has been both the General Director since 2001 and the Artistic Director of the Animation Stage since 1994, and Wojtek Klemm, the Artistic Director of Drama Stage since April 2007.

Since January 2002, the Jelenia Góra Theatre has consisted of two professional theatres: the Drama Stage, named after C. K. Norwid (Scena Dramatyczna im. C. K. Norwida), and the Animation Stage (Scena Animacji). Each stage has its own ensemble, organisation and technical staff.

Scene from “Espresso”

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Drama Stage The theatre building, designed by Alfred Daehmel in 1903, has two ­venues: the Main Auditorium, intended mainly for big classical productions, and the Studio Stage, a small auditorium, created as a space for theatrical experiments.

This season’s shows on the Studio Stage are: “Death of the SquirrelMan”, contemporary Polish text about RAF terrorists by Małgorzata Sikorska-Miszczuk (directed by Natalia Korczakowska), “Wedding trip”, a Polish pre-premiere of the play by the famous Russian ­author Vladimir Sorokin (directed by Iwo Vedral) and Polish pre-premiere of “Cruel and tender” by Martin Crimp (directed by Remigiusz Brzyk). The best-known young Polish director Michał Zadara has prepared an ­adaptation of “Gog i Magog”, a book by Martin Buber, to be performed in the Theatre Club. Three productions have been prepared for the Main Auditorium: “The Resistible Rise of Arturo Ui” by Bertolt Brecht (directed by Wojtek Klemm), “Curse” by Stanisław Wyspiański (directed by Łukasz Kos) and “Elektra” by Eurypides (directed by Natalia Korczakowska).

Scene from “Espresso”

Animation Stage The home theatre of the Animation Stage is situated in the Spa Park in Cieplice, part of Jelenia Góra. The repertory includes classic tales, ­local folklore stories and performances based on modern literature for children, as well as major outdoor spectacles for audiences of all ages.

Recently, Animation Stage has produced an adaptation of Francois Rabelais’s “Gargantua and Pantagruel”, directed by Petr Nosalek. Animation Stage performances are travelling all over Lower Silesia and are often invited to children’s theatre festivals in Poland and abroad.

Espresso

by Lucia Frangione The author wrote about her work: “This play is a dark dream; real events swirl together with fantasy and nightmare. I first came up with the idea fourteen years ago when I stood beside my father’s hospital bed, his chest broken open and his heart lacerated from falling asleep at the wheel. His condition was so fragile that a few excited palpitations could kill him. My relatives were filing into intensive care around the clock, fifty at a time, bringing biscotti, veal, grapes, ­ lasagne… through my tears I was guiltily piecing together a plot line, thinking, ‘What a fascinating way to die’.”

European pre-premiere of “Espresso”, a text by young Italian-Canadian author received enthusiastic reviews: “‘Espresso’ talks about the family in a way, that is far from any clichés and does not offer any empty declarations. And how well it was performed! The actors change like chameleons, both of them playing many characters. None of the characters were overacted and you could feel the psychological truth in every one of them. Huge applause.” Słowo Polskie – Gazeta Wrocławska

Translated by: Małgorzata Semil Directed by: Małgorzata Bogajewska Set design: Iza Toroniewicz Music: Rafał Kowalczyk Cast: ROSA - Magdalena Kuźniewska AMANTE - Jakub Giel European Pre-Premiere: November 4, 2006, Studio Stage

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Teatro O Bando

Palmela, Portugal

Artistic Director: João Brites

We began as a group on 15 October 1974. With the aim of honouring the ambitious name we chose for ourselves, we have been working for more than 33 years in order to continue being a collective theatre that flies without losing sight of the ground, which is our livelihood and reason to fly.

We believe in the value of means to give sense and dignity to a project and its results. For this reason, we demand of ourselves, in the shared day-to-day effort, respect for the freedom of all, which is the only thing that can ensure the preservation of differences and elevation to a higher status: that of common wealth that recreates and adds to each one and to the collective.

As a raw material, we have only reality. As tools, we have utopia and art, united in the power of changing everything. Aesthetical transfiguration is the approach we have chosen for civic and community participation. With, it we try to make and remake memories, to set challenges, to question and to reduce borders, to nourish reflection on the world we have and on the one we wish to have.

We reject sterile dilettantism. Research and experimentation, from which we never abdicate, we place at the service of that reflection. We know of no better evaluation, at each given moment, than the intelligence of the public that mirrors and transforms us.

Scene from “Os Vivos” (The Living)

Rural or urban, adult of juvenile, erudite or popular, national or universal, dramatic, narrative or poetic – such are the boundaries that we have become accustomed to transgressing, in our creation, just as reality is not compatible with the rigidity of a conceptual square accepted passively.

The texts we stage, mostly by Portuguese authors, are very often not dramatic works, to which the theatrical form, in the multitude of languages it integrates, lends a new communicability.

We continue to be who we’ve always been. By moving to Vale dos Barris, Palmela, we didn’t run away to the countryside; we moved away from the city in order to see better the anthill of men that hasten along its streets. Very unconventional, the house we live in places at our disposal both indoors and space under the open sky, a still unsuspected number of potential stages made from stars, old pigsties and walls, olive trees and boulders… as always.

We’re waiting for you here, in Vale dos Barris. With everything we have – and always, with a bowl of soup, some bread and cheese, a glass of muscatel and a fireside chat.

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Scene from “Os Vivos” (The Living)

Os Vivos (The Living)

by Jacinto Lucas Pires OS VIVOS follows up on the play LUTO CLANDESTINO (Covert Mourning), which premiered in the streets of Palmela – an urban and inhabited setting – in 2006.

This creation, a co-production with the CITEMOR Festival, is the result of continuous work with the author but now possessing a new and broader dimension.

This comedy about death is called OS VIVOS. When I wrote it, I took as my starting point a one-act-play that I had written for o bando last year. I was surprised by the conventional appearance of its structure and the scattered views that made up the telling of the story. Perhaps this is the logical outcome of bringing death indoors, I thought at the time. Nonetheless, upon witnessing the first readings, it was no longer this thought that was occupying my mind. Almost the opposite: the cuts, the dissonances, the detours; the impossible made real, as in dreams (and as in theatre). Not to mention the collective voice, which seemed to resound at the end of it all. OS VIVOS: a play on not dying from death. Jacinto Lucas Pires

Direction: João Brites Set design: João Brites / Rui Francisco Voice: Teresa Lima Costumes / Props: Clara Bento With: Ana Freitas, Dinis Machado, Inés Rosado, João Garcia Miguel, Paula Só Co-production: Teatro O Bando / Citemor

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Experimental Stage at the Baltic House St. Petersburg, Russia

Artistic Director: Anatoly Praudin

Scene from “The Stanislavsky Lesson” (Head of Nails)

The Experimental Stage is one of St-Petersburg’s drama companies to produce works for young people and adults. It was established as an experimental theatre studio by Anatoly Praudin in 1999. Today the small-scale drama company is funded by the city and employs 10 ­actors and one director. With its methods, public discussions, repertory policy, and adaptations of classics, “The Experimental Stage” ­reflects Praudin’s vision of a theatre for a young audience which strongly ­believes in the artistic model of non-commercial theatre. The company’s office, rehearsal and performing space are located at the State Baltic House Theatre-Festival in St. Petersburg where it also performs on the Small Stage.

The Experimental Stage is a repertory company which averagely performs for children and adults eight times per month. In the seven years of its existence, company productions were awarded the “Zolotoi Sofit”, “Arlekin”-Theatre Prize, “Prize of the Audience” and “Press-Award”, and participated at the international projects like “Magic House”, “Magic Net”, “Berlin 2000, Tales about Time”, “Crossing Waters and Borders Down Memory Lane”, and “The European Odyssey”. Most of the productions were presented at festivals in Russia, the Netherlands, Portugal, Germany, Ireland, Estonia, and on tour to Israel.

Four productions staged by Anatoly Praudin are in the company’s repertory: the Russian classic Bespridannitsa (“A Girl Without A Dowry”)

by Alexander Ostrovsky; the fairytale Cinderella, based on the adaptation of Evgenij Schwartz; another world classic fairy tale for small chil-

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dren and ­parents, Winnie-the-Pooh, by A. A. Milne, the Dutch-Russian co-production Pjotr, based on a contemporary Dutch play by Eva K. Mathejssen; the Singing Shadows, an opera based on poetry by Anna Achmatova. The last premiere, Russians from Chicago, a production about Russian ­ emigrants in the USA, was in December 2006. The Stanislavski Lesson, a performance and master class based on the theoretical book

by K. Stanislavski, will open this year.

In 2007-2008, the Company was working on a co-production Head of Nails by Daniil Kharms together with the Dutch MUZTheatre and the O’Bando theatre from Portugal. The Russian version of Head of Nails is currently being performed as the third part of The Stanislavski Lesson.

Chekhov’s The Cherry Orchard is a work in progress.

Scene from “The Stanislavsky Lesson”

The Stanislavsky Lesson “Our aim is not only to create the life of a human spirit, but also to express it in a beautiful, artistic form” K. S. Stanislavsky This experimental production is based on Stanislavsky’s theoretical work “An actor prepares”. The main aim of this book is to teach an actor how to create the character from the actor’s own body and spirit. This process reflects Stanislavsky’s approach to the skill of an actor.

Actors: Alla Emintseva, Alexander Kabanov, Yury Elagin, Sergey Andreychuk

The performance is a master-class on “The Stanislavsky lesson” and includes 3 parts. The first one is “Money burning”. This fictitious story is suggested by Stanislavsky as the theme for a study in which actors have to create and perform on their own. In the performance, three actors demonstrate the route from first preparations to performing the study on the stage in an improvisational style.

The actors try to create a modern story about one unhappy day in the life of a normal Russian family. They do it in a very realistic way but at the same time everything they use on stage is invisible. The aim of this lesson is to prove that the Stanislavsky method can produce miracles.

In March 2008, this master-class had its official premiere at the Theatre Academy in Nizhny Novgorod. It is going to be included in the programme of the international theatre festival in Perm called “The space of the theatre production” and in the programme of the international theatre festival “Minifest-2008” in Rostov-na-Donu in October 2008.

The second lesson is the “Blood, Iago, blood!” scene from Othello, work for which is described by Stanislavsky in his book. It is an investigation of Othello’s biography before the play begins.

The third lesson is the attempt to open Harms’s absurdist prose using Stanislavsky’s key. Praudin and the actors look for circumstances in order to be faithful to these absurdist stories. They find it in Stalinist Russia …

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Astorka Korzo’90

Bratislava, Slovakia

Artistic Director: Vlado Černý

Scene from “The Strange Afternoon of Doctor Zvonke Burke”

Divadlo Astorka Korzo’90 aims to follow in the footsteps of Bratislava’s Divadlo Na Korze Theatre, which closed as a result of the hardline crackdown following the 1968 Soviet invasion. Divadlo Na Korze Teatre was known for its groundbreaking selection of plays and artistic approach to modern world classics. The present theatre repertory is based on the personal acting style of the company’s remarkable artists and is designed to appeal to a variety of audiences. In addition to modern classics, Astorka recognises contemporary playwriting. Outstanding productions emerged from the collaboration with the Slovak writer Rudolf Sloboda.

Astorka’s professional team creates stage productions that have been extraordinary seasonal events for years. The company has performed successfully at Slovak, Czech and foreign international festivals (ITF Divadelná Nitra Slovak republic; ITF Divadlo Pilsen, Czech Republic; TF Setkáni/Stretnutie, Zlín, Czech Republic; ITF Na hranici, Český Těšín/ Cziesyn, Czech Republic/Poland; ITF Mittelfest, Cividale del Friuli, Italy; ITF Fringe 2000 in Edinburgh, Scotland; Celebrate Slovakia: Art From the Heart of Europe, 2001, U.S.A.; The Days of the Slovak Culture, Moscow, Russia, 2004; Belaja vezha, Brest, Belarus 2006, Sydney, Australia, 2007).

The company’s actors are recipients of important theatre awards. Theatre Astorka Korzo´90 was awarded prestigious prizes for different theatre productions.

Translation: Boris Farkaš Script editor: Andrea Domeová Costumes designer: Katarína Hollá Stage designer: František Lipták Director: Boris Farkaš Characters and Cast: Burke: Marián Miezga Svetlana: Szidi Tóbiás, Zuzana Končená Útechová: Lukáš Latinák Tichý: Juraj Kemka Václav: Róbert Jakab Opening night: 29 November 2007

The Strange Afternoon of Doctor Zvonke Burke

by Ladislav Smoček

Very virtuous, even acrobatic, artistic performance; the “acting” stage, costumes with many ideas and funny details turn our new production into an attraction for a wide audience.

The director of this production is of the most significant actors in ­Slovakia, Boris Farkaš, who has been awarded several prestigious awards by theatre critics and theorists. Also stage designer František Lipák and costume designer Katarína Hollá belong to the outstanding personalities in their respective professions in the Czech Republic and Slovakia and their names are connected with successful theatre and film projects. The theatre play by the Czech author was written during the time of totalitarian regime and therefore presents in a grotesque way the deformed secrets of human peculiarity and the twists of human relations. It is about the revaluation of traditional linkages within the new contexts of interpersonal relations and contrasted with the conditions of the newly formed society.

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Scene from “The Strange Afternoon of Doctor Zvonke Burke”

The Winter

by Yevgeni Grishkovets This chamber production was prepared by the young director József ­Czajlik, who is known to be very inventive in terms of staging and pictures. Having in mind his work in Slovak and foreign theatres, our ­ambition was to prepare a visual production with a current message for a modern ­audience.

“The Winter” takes us into a simple but existentially marginal situation when two Russian soldiers find themselves in an undefined time in the present, somewhere in the Siberian forest in the middle of nowhere.

They have been given a specific task they know almost nothing about.

It is terribly cold and they have to wait for the right moment to fulfil their task. Time is running out, the cold is biting in more and more and unusual events start to happen around them. An old woman even appears and becomes part of the situations of their past. She brings the indication of something that has never been spoken of aloud but is becoming more and more present. The soldiers call her Snow White, faithful mate of ­Uncle Frost (the Russian Santa Claus), the well-known figure of the Russian old fairy tales. How­ever, she knows more that one could guess and she takes them to the place where truth and lies, life and death finally merge together.

Griškovec is re-discovering the mythology of the simple moment, the trivial detail.

Translation: Oľga Ruppeldtová-Andrášová Script editor: Peter Pavlac Stage & costumes: Erika Gadušová Director: Jozsef Czajlík

Characters and Cast: First Soldier: Marián Mezga Second Soldier: Lukáš Latinák Snow White: Zita Furková Opening night: 18 March 2008

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Teatro Gurigai

Los Santos, Spain

Artistic Director: Agustin Iglesias,

Scene from “The Flight of a Million Birds”

Founded at the beginning of the Spanish democratic transition in 1979, Guirigai is a private touring company located in Los Santos de Maimona/Extremadura, a town in the rural southwest of Spain. Since its founding, it has created 36 productions, toured throughout Spain, been active in more than 18 countries and participated in 75 national, European and American Festivals.

The company unites old traditions with a modern and dynamic style.

It produces at least one production per year and, in addition to texts by the company’s dramatist, performs texts that range from Spanish ­Renaissance and Baroque classics, written by Fernando de Rojas, Lope de Vega or Calderon de la Barca, to 19th and 20th century works by ­Benito Pérez Galdós, García Lorca and Darío Fo. Guirigai has produced numerous street events, creating a theatre style of its own, involving mask work, live music, pyrotechnics and the transformation of urban space.

It has carried out various anthropological research studies in Spain, Portugal, Cuba and Brazil that at times developed into theatre co-productions. In recent years, it has organised major events on an institutional level, creating popular festivities in the ancient traditions.

Presently, the Los Santos de Maimona-based company is developing three different activities that are aimed at the entire Extremadura ­region, supported by the government and three important regional theatres: Gran Teatro de Cáceres, Lope de Ayala de Badajoz and Alkazar de Plasencia.

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“Accion !!!!” is an education programme directed by Magda Garcia-Arenal for secondary schools. During its third year more than 4.000 young people have enjoyed the productions “The river of the words” and “At the doors of Europe”.

For the second year, the Children Theatre Festival Maravillas is taking place in Extremadura. The festival intends to show best examples of scenic arts performed in Europe for today’s children.

The “Programme for Young People” has been established for the winter months. Each Saturday, youth companies perform and hold discussions with the audience.

The Flight of a Million Birds Scene from The Mediterranean Institute in Spain requested our participation in the VI Intercultural Festival of Leganés. The goal was to motivate various “The Flight of a Million Birds” immigrant groups to participate in the festivities.

We came up with an idea for a spectacle driven by the image of birds.

Thinking and speaking of birds is a way of speaking about variety, diversity, imagination, colours, challenge, tradition, bravery, boldness and FREEDOM… a wonderful and stimulating symbol for a piece of theatre work.

Marcelino de Santiago, “Kukas”, the set designer and painter, worked along with Agustín Iglesias to develop this idea of three continents, three worlds: America, Africa, and Europe, based on the colours red, yellow and blue, as well as Fire, the Sun and Moon. Together they created a cosmology of archetypes, oneiric structures and imaginary landscapes where different cultures can dream in a language understood by all.

As is usually the case in Guirigai street productions, the axis of this project is the FESTIVAL – using a it as cohesion between cultures and as a bridge between the public, musicians and actors.

We have brought back to life the medieval bestiaries from Europe, engravings from the Orient and the west, birds from Italy and Spain as well as Croatia and Russia.

Through using African masks, we have absorbed Yoruban traditions native to Senegal, Mali and Nigeria. Such marvellous materials inspired a dozen colourful bird masks.

The American masks were inspired by Mayan low-relief artwork, Aztec engravings and Inca codex work, along with totem masks used by the native Alaskan tribes.

“The Flight of a Million Birds” will take over the street and make people want to stroll and participate. It will create a festival atmosphere – a street fair where a fantasy world is brought to life. The festival comes alive with public participation thanks to three different bird universes combined with a cosmology of characters, all set to the beat of drums.

To the beat of the Drummers of Aranda, a joyful invasion of birds will lead to a final dance.

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Zürcher Hochschule ���������� der K����� ü���� nste Zurich, Switzerland

On 1 August 2007, the School of Art and Design Zurich (HGKZ) and the Zurich School of Music, Drama and Dance (HMT) merged to become one of Europe’s largest universities of the arts: the Zurich University of the Arts (ZHdK). Compromising more than 2000 students, the University offers a unique range of programmes from further education opportunities to undergraduate, postgraduate and research degrees in design, film, art, media, music, dance, theatre and art education.

Artistic Director: Prof. Hartmut Wickert

Scene from “Büchner an der Goldküste” (Symptoms of Overindulgence)

Our mission is to be at the forefront of learning, research and practice. While anchored in Greater Zurich, our influence extends well beyond Switzerland to the international stage. Closely aligning teaching and research, our programmes are designed to promote transdisciplinary work. We provide a bridge between higher education, professional practice and the general public by showcasing the achievements of our staff and students in the University’s own exhibition spaces, theatre, dance and concert halls, including the renowned Zurich Museum of Design and the newly established Theatre of the Arts (formerly the Sihl Theatre). We thus make a significant contribution to cultural life in the city and region of Zurich.

From the new academic year 2007/08, the Zurich University of the Arts (ZHdK) will offer all existing HGKZ and HMT programmes as a broad range of three-year, full-time Bachelors degrees: BA Design, BA Film, BA Theatre, BA Media & Art, BA Music, BA Music and Movement, BA Art Education. Our new BA Dance is due to commence in 2009.

Prof. Dr. Dr. h.c. Hans-Peter Schwarz is the acting founding president of the Zurich University of the Arts (ZHdK). The University has five departments: one is the Department of Performing Arts and Film (Director: Prof. Hartmut Wickert), including Theatre of the Arts.

The Theatre of Arts will be a place of many encounters. The different types of arts, whether they be music, the fine arts, photography, exhibition design, design or the art of intermediation shall meet on a public platform and confront each other and reality.

The Theatre of Arts will become a place for exploratory experiments, a place for inquisitive students, a place for the future designers of this and other worlds still unknown to us. Furthermore, it is a place for being a spectator, an art of watching beyond appraisal, a looking on that will be accompanying, challenging and exiting.

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Scene from “Büchner an der Goldküste” (Symptoms of Overindulgence)

Büchner an der Goldküste

(Symptoms of Overindulgence) Based on the ideas of Georg Büchner

LEONCE & LENA – an experimental arrangement on stage about the sadness of the early development of young people in a rich county.

A trans-disciplinary, multimedia experiment against empty minds.

Although they live in different places, Leonce, Lena, Valerie and Valerio are suffering from the same illness: they are rich, beautiful and bored.

This condition in which young people, who have gathered their experiences too early, experiences that for other people would require more than one life, is examined on three levels. The media level permits them to escape from actual reality; the sensual level of the clown-like theatre play offers room for a dream, but a short summer night is followed by a reality wake-up call that demands decisions on the path of life; the third level, the documentary level, sees young people, accompanied by the theatrical educationalists, ask what a wealthy life in Zurich 2008 is like.

In doing so, Büchner’s characters take on many different layers.

Commissioned by the School and Sports Department of the City of Zurich as part of the “Theater Spielen” project.

Director: Hartmut Wickert Stage & Costume: Günter Hellweg New Media: Angelo Brem, Elisabeth Ramm Theatrical Eeducationalists: Daniela Fichte, Petra Fischer, Marcel Wattenhofer and Verena Goetz, Milena Müller, Daniel Koller, Grit Röser, Martina Strässler Cast: Lena: Angela Falkenhan Leonce: Stefan Graf Rosetta: Amra Hasler (specialist field - dance) Lukas Kubik: Valerio Kathrin Veith: Valerie and young amateurs 85

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Pilot Theatre

York, England

Artistic Director:

Pilot Theatre creates, develops and tours high quality, ­ culturally diverse theatre work for young people by enabling artists and audiences from all sections of society to address the challenges and possibilities of our time. In addition to performance Pilot Theatre delivers a national programme of schools’ workshops aimed to encourage active participation and give young people direct contact with professional artists.

“Pilot is to be commended for producing thorny work for young audiences that neither patronises nor condescends.” The Guardian

Marcus Romer

This has been no less the case with our recent production Looking for JJ based on the novel by Anne Cassidy. The production integrated music, design and technology to create a visually stunning piece of theatre following the story of a young woman who has been released after serving her teenage years in a secure unit for the killing of her friend.

The production utilised a visual language familiar to users of social networking sites such as Bebo and MySpace to explore the themes of identity, friendship, justice and responsibility. A thought-provoking, powerful and engaging story it is, above all, about that universal experience – the transition from childhood to adulthood.

Scene from “Looking for JJ”

In strong contrast to Looking for JJ this year Pilot Theatre have also produced a family show with appeal to younger children: an adaptation of Fungus the Bogeyman by Raymond Briggs (in partnership with artsdepot, London, where it opened for the festive season before tour-

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ing the UK through spring and summer 2008). The much loved character revels in all that we humans revile: slime and sludge, rubbish and grime.

Pilot’s website www.pilot-theatre.com continues to be a well-used and valuable resource, receiving more than 40 000 visits per month while a production is on tour. Ever alive to the possibilities of innovative ways of connecting with our audience and developing our practice, Pilot Theatre are also putting together a conference ‘Shift Happens’ on July 3rd 2008. The conference will be attended by senior level theatre professionals, and will look at the potential of technology for arts organisations. It will showcase some of the most exciting models and case studies internationally, and consider how theatre can maximise the potential of digital technology.

Scene from “Looking for JJ”

Pilot’s forthcoming work ­includes the tenth anniversary tour of our acclaimed production of ­ William Golding’s modern classic Lord of the Flies in partnership with York Theatre Royal. This summer we will work in partnership with York Theatre Royal and Helmsley Arts Centre to give young people the chance to produce ‘A Play in a Week’. Participants will spend a week of their school holiday working with professional theatre practitioners exploring the themes of Lord of the Flies.

The week culminates in a performance for an audience of parents and friends on stage at both venues.

We are continuing to develop a number of other projects including ­ Richard Hurford’s Catcher in Their Eye, and a collaboration with Com­pany of Angels on This Child by Joel Pommerat. Collaborative projects are a key part of Pilot Theatre’s way of working, and we value the ­inspiration and creativity that is the result of exchanging ideas with our partners.

Looking for JJ

by Anne Cassidy, adapted and directed by Marcus Romer Pilot Theatre opened Looking for JJ at York Theatre Royal in autumn 2007. It then toured the UK through to spring 2008 including a five week run at our co-producing venue, the Unicorn Theatre, London.

“This is a genuinely important piece of young people’s theatre, every bit as thoughtful and demanding as its audience deserves.” The Times Three children walked away from the cottages on the edge of town.

Later that day only two of them came back. Where was Jennifer Jones? That’s what everyone was asking. There were only a handful of people who knew…

Looking for JJ asks some difficult questions, but does so in the context of a character very much like the audience themselves.

Director: Marcus Romer Designer: Laura McEwen Projection Design: A. Friess for Pixelbox Ltd. Lighting Designer: James Farncombe Original Music & Sound Designer: Sandy Nuttgens Cast: Carol/Jill/Sara: Melanie Ash JJ/Kate/Alice: Christina Baily Lucy: Rochelle Gadd Frankie/Stevie/Mr Cottis: Davood Ghadami Michelle Louise Kempton Rosie & Assistant Director Suzann McLean 87

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Tiyatro Oyunevi

Istanbul, Turkey

Artistic Director: Mahir Günsiray

Staging modern plays and adaptations of Turkish and European ­writers, Tiyatro Oyunevi is challenging audiences in Istanbul and the rest of ­Turkey. Their artistic vision encompasses the dark worlds of Kafka, Koltes and Werner Schwab and at the same time inspires them to create imaginative theatre for children.

In Istanbul, a group of young actors, artists, a dramaturge and a composer were brought together during a 1996 production of Bertold ­Brecht’s “Man is Man”. They went on to form Tiyatro Oyunevi. One of the actors, Mahir Gunsiray, quickly mantled the role of director. In the dozen years the group has existed, they have attained a position as one of main producers of new plays outside the state theatre system.

Beginning with Jean Genet’s “The Maids” directed by Gunsiray and using, as in the famous Living Theatre production of the early sixties, three male actors as Claire, Solange and Madam, they challenged the moral prejudices of the Istanbul audience. Producing almost simultaneously a shadow puppet production for children, “A Handful of Animals and Such” written by group member Ayse Selen and directed by members Sehsuvar Aktas and Taner Birsel, Tiyatro Oyunevi immediately demonstrated their versatility and desire to reach wide audiences.

This was underscored as they embarked on a tent tour of Turkey with “The Adventures of Don Quixote” in 1998, as part of the 75 year celebration of the Turkish Republic.

The group continues to produce both modern and classic texts, European and Turkish, plays and adaptations, earning the respect of audiences and the 2005 Theatre Award for Best Production, for their mounting of Werner Schwab’s “The Round of Pleasure”, an adaptation of Arthur Schnitzler’s “Le Ronde”. Recent productions have included Lorca’s “Once Five Years Pass” as well as an adaptation of a novel by young Turkish writer Murat Uyurkulak, “Tol”. Directed by Mahir Gunsiray who also performs alongside Güven Ince in the production, the play tells the story of Turkey’s recent political history seen through the eyes of a poet from the ’68 generation.

Scenes from “Leonce and Lena”

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The twin cities Frankfurt (Oder) / Słubice are situated at the GermanPolish border, separated only by the River Oder. Here is Magic Net’s main office and the Kleist Forum, a Magic Net partner. Students at the European University Viadrina accompany the network’s activities in course work.

Kleist Forum

Frankfurt (Oder), Germany

The Kleist Forum in Frankfurt (Oder) is a cultural centre for the performing arts (drama, opera and dance) with a conference and convention facility. It is a member of a theatre and concert network with the cities of Brandenburg and Potsdam and presents a wide choice of artistic programming, including guest performances by its resident partner organisations, festivals and many other attractive offers for the city’s residents and visitors to the region. The Kleist Forum plays an important role in the regional cultural life, not as a traditional theatre company with a resident ensemble, but rather as a producer/co-producer, The Polish-German collaboration in the cultural sector is an essential part of Kleist Forum’s concept and is celebrated with the annual German-Polish Music Festival Days, the transVOCALE and at the UnitheaTheatre-Festival. For our Polish partners, due to the European unification and the collaboration with the Kleist Forum, it also opens an important perspective to other Western European countries. Therefore, for Kleist Forum the collaboration with Magic Net was a logical consequence. In the year 2003, the first contact was made with the co-production of Shakespeare’s “A Midsummer Night’s Dream”. Two years later within the walls of the Kleist Forum the production “A European Odyssey” was created. In the meantime, Magic Net has opened its office in Frankfurt (Oder). In addition, due to this cooperation, the collaboration with the Europa-University Viadrina has become deeper.

European University Viadrina When the European University Viadrina was re-established in the year 1991, it followed in the footsteps of a rich tradition and accepted the challenge of a new era. The university maintains a close GermanPolish cooperation in research and theory and, due to its history and its geography, is internationally oriented towards building a bridge between different European academic and cultural traditions. The study programmes of the three faculties, School Law (European and international), School of Economics and a School of Cultural studies, play a special role.

The European University makes crossing borders a subject of discussion and encourages the academic disciplines to take a look at the problems of the old and new Europe. The Cultural Studies at the Viadrina attempt a synergy of Humanities and Social Sciences, making use of it for a new understanding of comparative cultural analysis. Due to the Viadrina relationships to approximately 140 institutions worldwide, the research and theory receive constantly new impulses and this gives scientists and students the chance to collect international experiences.

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network ACTIVIT yearbook08.indb 90

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network ACTIVITIES

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Annual Meeting Schwerin / Germany, 2007

“At the Doors of Europe” The Annual Meeting represents the highpoint Magic Net’s activities each year.

In June 2007, the project’s leading organisation, the Mecklenburgische Staatstheater Schwerin in Germany, invited its partners from across Europe to Schwerin, the state of Mecklenburg-Vorpommern’s idyllic capital city. The festival setting, in the heart of the city, comprised E-Werk, the venue’s studio theatre, in which most of the events took place, and the bistro tent next door. Actors from 12 theatres came together for 5 sunny days to present and discuss the results of their work from the previous year.

Annual Meeting – Schwerin, Germany 2007

After getting to know each other and making plans in Magic Net’s first two years, year three was the year of artistic results: five co-productions, very different in concept and creation. This meant that in Schwerin we could plan a display of Magic Net’s work, namely “At the Doors of Europe”, “Head of Nails”, “Adopt a Soldier”, “America – Ship of hope” and “Kalevipoeg”. The city and its theatre offered everything needed for the different productions: only “Head of Nails” and “Kalevipoeg” took place in a closed auditorium; the three others were played out in the open air. The garden of the lakeside hotel was the perfect performance location for “At the Doors of Europe”, the politically explosive staging of “Adopt a Soldier” took place in front of the palace, a little provocation in an all-too picturesque setting, and, true to its title, for “America – Ship of Hope”, the audience was invited onto the shipping pier. This time, the partners had worked out specific solutions for the language problem, a perennial problem in a European theatre network: several approaches were adopted that guaranteed that all members of the audience would understand the productions, from the inclusion of a character that acted as a language intermediary through the increased use of physical gesticulations and the radical reduction of dialogue to traditional supertitles.

But the goal was not really about presenting the five productions but to give the partners an insight into the different creative processes involved in staging the productions. There were long debates about how the various productions should look in order to make them interesting for other professionals. It was agreed to hold workshops led by the re-

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spective directors before the workshops and based on the rehearsal work. And, after each performance, the production team responded to the questions and opinions of the discerning audience.

It was above all young people from the cities of the partner theatres that watched the performances with great interest alongside colleagues from across Europe and interested parties in Schwerin. About 50 young people from six countries travelled to Schwerin at the same time as the professional actors. For the first time since Portugal in 2003, Magic Net tied the Youth Event into the Annual Meeting of professionals. The goal of this task, which was tough to organise, was to bring both core groups of the Magic Net work in closer contact with one another in a spirit of friendly exchange.

The schoolchildren came together also to develop, within a week, a theatre project under the title “At the Doors of Europe” (based on the co-production) and supervised by their theatre educator. It resulted in a one-off, half-hour open air performance, in the middle of the city centre, seen by professional friends and city residents with great curiosity and support.

This Annual Meeting will certainly be remembered as a Magic Net highpoint, not only thanks to the wonderful weather and the charming accommodation, but also because the heavy and argumentative debates and the fact one could have hoped for more interest from the professionals in their young friends did not cause any disruptions.

Annual Meeting – Schwerin, Germany 2007

The impassioned and enthusiastic fight for “One Day in Europe” as the final co-production in the last meeting of the artistic leadership would hardly have been possible without the previous encounters.

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Youth Net Magic Net’s theatre companies have agreed to continue working with young people in a second production phase. On the one hand, this will involve traditional drama education and reflections on the professional theatre co-productions, on the other hand the theatre educators will be creating productions to be performed by young people on professional stages and at the international youth encounters.

Every year, the Youth Net runs a theatre camp for young people from the participating theatres. The Youth Net’s goals for the year are set at these Youth Encounters.

The Youth Encounter 2007 formed part of Magic Net’s Annual Meeting in Schwerin, Germany. This year’s event took place in Jelenia Góra/Poland under the direction of the Teatr Jeleniogórski.

Youth Encounter “At the doors of Europe” Schwerin, June 2007

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At the Doors of Europe or „Me and you and the EU“

Youth Encounter “At the Doors of Europe”, Schwerin, June 2007

The State Theatre Schwerin and its generations theatre project called “absolute beginners” this time played host to youth theatre groups from Estonia, England, Portugal, Holland and Poland in the regional capital of the German state of Mecklenburg-Western Pomerania.

“This year, the absolute beginners were honoured to welcome the young thespian talents of Europe to their hometown. But it wasn’t just young people that graced our beautiful city as professionals came to present their productions as part of the theatre festival too. The fact that the Youth Encounter and the annual Magic Net convention took place at the exact same time in the exact same place meant for us young people one thing in particular: theatre galore!” (Anika) The weather was glorious that week. It was, incidentally, the only week of the year where the sun was shining continuously the whole time.

Many young guests will therefore remember Mecklenburg-West Pomerania as a rather tropical region.

“Just like last year, I was extremely happy to have been able to be a part of this nice, funny, creative and later sweaty group of people. Yes, you heard right: sweaty! For despite all the fun that we were having, the cosy forty-degree heat that we experienced just couldn’t be ignored.

This was partly due to the sun but also to all the young bodies jumping 95

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and creating wattage. But we can’t really complain, it’s all part and parcel of the Youth Net feeling and strengthens team spirit.” (Kaddi)

Scenes from “At the Doors of Europe”

All groups had prepared a presentation on the theme entitled “At the Doors of Europe” to introduce themselves and their own work on the subject. Following this, all the drama teachers present worked in turn with the young people; initially all together in a large group until divisions emerged in terms of different perspectives on the subject: some on one side of the doors of Europe and some on the other. It was unimaginable for the Estonians to leave their home country while the young people from Germany could quite happily imagine living and working in another European country.

The young people returned to their accommodation late at night. This allowed them to travel in time back to the socialist housing of the past.

The accommodation was located in idyllic surroundings by a lake in the forest. Many an evening ended with a soothing dip in the lake after rehearsals and the gathering of many new impressions.

From the third day on, the young people were given a further important task to carry out. They became the audience in the dress rehearsals of the co-operations.

“Even though we were still only the “little ones”, we were allowed to get involved with the “big ones”… well, more or less anyway… before the premiere we were allowed an exclusive preview of the presentations that the different countries had produced together and to question and

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quiz all the participants on it! I was surprised at how easy it was because we were a bit afraid initially that we were going to ask the wrong questions.” (Lisa) Out of these conversations and questions emerged the “Youth News” newsletter, which contained previews and information on the entire Magic Net event and which was distributed at the premieres of the co-productions.

“What was also different this time around was that the drama professionals from the different theatres were on location and performing their best for us “young people”, for example with plays such as ‘Kalevipoeg’ (Estonia), ‘At the Doors of Europe’ (Turkey, Portugal, Spain) or ‘Adopt a Soldier’ (England, the Netherlands, Leipzig). I really enjoyed that.” (Grit) At the end, the young people also demonstrated the results of their theatrical research into the subject of “At the Doors of Europe” to the eyes of the professionals, proud relatives, astonished friends and countless tourists. This huge, topical theme was debated by the young people in the open air on the south bank of the Pfaffenteich, a small pond in the centre of Schwerin. All aspects with which young Europeans are confronted were exposed. The clear and genuine views of the young people uncovered the criminal and abusive aspects of the freedom to join the European Union as well as the chances and opportunities it can present.

“

If I’ve learnt one thing from this event, it’s that ­people are not separated into categories based on nationality; they’re separated into categories based on their profession.

And you can spot an actor a mile away because they’re ­usually the ones singing some naff pop song or playing a rhythm clapping game, whilst we directors and writers sit in the corner and discuss Kafka and metaphysics over a few beers. But I mean this in a good way because I had such an amazing experience on this trip it is almost unexplainable.

I personally made many good friends, learnt many new things about Europe and maybe even myself.

(Henry Raby, UK)

”

“For me, Youth Net 07 was a total success. To be honest, despite all the great pictures that we have already swapped amongst ourselves, and despite all the vivid memories that are going around in my head, I haven’t quite yet digested all that went.” (Kaddi) This huge, shared energy that could be felt always and everywhere, despite the draining heat, united the young people and brought together the Youth Net with the professionals. This exchange took place not only by becoming mutual spectators of the individual presentations but also in a workshop by the Portuguese for the young people. In the end, everyone celebrated, laughed, danced and made many promises for the Youth Encounter in Poland 2008!

“What did I take away from this week? Insights into the ways of performing theatre in different countries, new friendships, a stylish, blue Magic Net bag and the experience that street theatre is lots of fun!” (Steffi)

Christina Geissler, Theatre Educator Mecklenburgisches Staatstheater Schwerin / Germany 97

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Great Laughs, Great Scenery, Great Theatre

Scenes from “At the Doors of Europe”

The idyllic town of Schwerin couldn’t have been better suited for our site-specific devised theatre, and its finale – a public performance at the end of week. The accommodation was set by a beautiful lake and surrounded by a forest. However… the inside of the building brought back memories of my university days, which were then topped off by the communal showers for facilitators and students! This wasn’t welcomed by many. Luckily there was one cubicle shower fought over throughout the week.

The theme for the week was ‘At the Doors of Europe’. Each country came with a short presentation showing their interpretation of the theme. The Polish presentation was the one that struck me the most, and their use of physical theatre and insight into immigration became the main inspiration for the week’s final performance.

The rehearsals began with the whole group exploring the theme of immigration. We encouraged the students to exchange view points on the theme and began to develop a way of creating the end piece. The project itself was smaller than the previous Youth Encounter in Amsterdam as many young people had exams at this time of year. This appeared to benefit the decision making between the facilitators as there were fewer ideas to manage and therefore compromises to make.

The students were split into two groups: one group as the immigrants; and the other as the border into Europe. We worked in these two

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groups developing two halves of the piece which we then brought together at the end of the week ready for the final performance. The day couldn’t have been more perfect for the performance. The sun was shining and we were all excited to see the completed presentation in its final form on site. It looked great.

During the week we not only worked on our own piece but we were fortunate enough to watch some of the professional work that each of the theatres had been developing. All the pieces were very different and gave a good variety to the event. However I believe the one that captured us all was ‘Kalevipoeg’ created by VAT Teater, Tallinn.

It was mind blowing; mesmerising from start to finish. The story was summarised in English on a screen at the side of the stage, but it was barely necessary due to the eloquence of the physical explanation being presented to us on stage. The use of physical theatre was original and close to genius.

Overall the week was full of great laughs, great scenery, great theatre and great weather. There was a great buzz throughout the week. This could have been to do with the sunshine, morale of the students or it just the buzz of creative minds? Either way the week flew by. Poland here we come!

Hannah Priddle, Theatre Educator Pilot Theatre, York / GB 99

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Youth Encounter “European Dialogue”

European Dialogue

Staniszów / Poland, March 2008

Youth Encounter Staniszów / Poland March 2008 The idea of basing the young people’s work on their grandfathers’ stories had a very concrete foundation. I would say it was a site-specific project. The part of the world where it happened (Lower Silesia in the southwest of Poland) has a long and complicated history. The borders were often changed, people often moved and were moved, the traces of the past were manipulated and legends were mixed with propaganda, so the real history of this land is still a mystery, and often painful. And each present or former inhabitant of this region has his or her own version of it. This was visible during a meeting with guests who we called Historical Witnesses (a Pole who moved to Silesia from Belarus after 1945 and a German who moved from Silesia after 1945). The challenge is to be able to listen to them without prejudice and to collect their memories like the elements of the puzzle, knowing it would never be complete.

What the young people did, first at home and then in Jelenia Góra / ­ Staniszów, was exactly this: they listened to and collected different versions of the history presented in the form of individual stories related by their grandmothers and grandfathers. This collection became a real box of treasures. The stories they told were thrilling, intimate, terrifying and comic. Some of them become powerful pieces of the theatre production while parts of some of the stories remained unspoken, as the grandfathers did not reveal the whole truth. These stories were told to the public face-to-face on the last evening. They were trans-

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formed as the merged with the stories of others during the preparation of the scenes in small groups. All of them have been written down, half a page for each, to preserve bits of the memories that otherwise might disappear.

When you listen to the stories, you start to feel an urge to face some essential questions: Where am I from? What is the foundation of my identity? My personal history? The history of the land where I live?

Or the history of the land of my ancestors? These essential questions do not necessarily require definitive answers. But they stay in our minds and, hopefully, can help develop precious feelings of belonging.

Joana Wichowska, Theatre Educator Teatr Jelenogórski, Jelenia Góra / Poland

And what is your story?

European Dialogue – this title wasn’t just a flowery phrase intended for the process of applying for financial support, it was the foundation for the Youth Encounters 2008 in Jelenia Gora.

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44 young people from 7 countries exchanged their changeful, surprising and painful family histories with each other.

Communicating with each other means confiding in and listening to each other in order to achieve exchange and action within the community. This communication that had already taken place between the young people and their grandparents in their hometowns as well as ­between the 44 young people in the mixed-nationality groups at the beginning of the Youth Encounter was also the starting point for developing a public presentation in Jelenia Gora’s theatre.

Scenes from “European Dialogue”

To conclude the Youth Encounter, on 1 April 2008, the doors of the ­theatre opened to the public who took part in an unconventional evening of theatre. Although a theatre building with a stage and an audience were at hand, a text-orientated performance did not take place.

It wasn’t just one story that was to be staged, but many different stories from many different perspectives. The conventional separation of the actors on stage and the audience in the auditorium was removed to allow direct communication to take place. The evening intended to focus on recounting family stories and sharing these amongst each other. To do this, intimate rooms were set up so that the audience could interact with these stories and events.

At the beginning of the evening, every spectator entering the theatre foyer immediately encountered several people who used their laptops to introduce young people speaking about their family histories, all with Polish subtitles. At the same time, the spectator could spot five young people in different places of the foyer who were waiting to meet one or more spectators to tell them about their grandmother’s or grandfather’s experiences. Most of the young people spoke in their native language and strengthened understanding through the urgency of their narrations. They whispered, ran, gesticulated, ironed or laughed in order to express themselves more clearly.

Large photos of the young people’s family members hung on the walls of the foyer to indicate the real and everyday nature of these events.

Moving on from the foyer, the audience could now explore the theatre from the cellar to the attic, meeting storytellers on the way. There was no set route and the spectators could decide for themselves which route to take. They could use the photos on the wall to guide them, or the voices and clapping hands in the theatre, or ask the staff at the theatre entrance.

After almost one hour, the situation changed. The young people and the audience met in the auditorium where all the young people introduced themselves briefly in their national groups and with a musical piece.

From here, the audience set off on their way again, divided up into several groups. This time around, the audience were led to pre-determined places where the young actors, in mixed-nationality groups, performed their work on family histories. Communication between the actors and

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audience was influenced to a great extent by the different rooms of the theatre. For example, if the young people were moving on the stairway, the audience followed step by step, crowding closely together, and in physical contact with each other, so that they could be as close as possible to the event. Or if the audience were in a small cellar room stinking of rat poison, they experienced the event close up with all their senses. The actors and audience were both in the same room so the audience became part of the event.

Scenes from “European Dialogue”

The end of the show took place back in the auditorium. The young people overcame the conventional separation of stage and stalls by forming a “sculpture” of bodies with interlinking hands reaching from the stage to the audience. Once this bodily contact was established with the audience, the question that followed ultimately was, “So what is your story, then?”

This event was based on the individual knowledge and experiences of a shared European story. An open exchange and a European-wide dialogue about the past is still in its infancy. The Youth Encounter in Jelenia Gora has undoubtedly resumed this dialogue.

Daniela Fichte, Theatre Educator Hochschule der Künste, Zurich/Switzerland 103

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CONTAC yearbook08.indb 104

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CONTACTS

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Timeline Magic Net 2001–2008

First Season 2001– 02 Nov 2001 – Jun 2002 12 theatre exchanges of theatre companies

16 national scenes about “love” Dec 2001 Directors’ Workshop, Zaandam, the Netherlands May 2002 Teachers’ Workshop, Madrid, Spain Jun 2002 Educators’ Workshop, Zaandam, the Netherlands Oct 2002 1st Annual Meeting Frankfurt (Oder), Germany “Love in Europe” – a crossover Youth Event in Germany and Poland

Second Season 2002 – 03 May 2003 1st Co-Production “A Midsummer Night’s Dream” Jun 2003 2nd Co-Production “Judas” Sep 2003 3rd Co-Production “Pjotr” Sep 2003 4th Co-Production “Nathan the Wise” Sep 2003 2nd Annual Meeting Palmela, Portugal

Youth Encounter “Elements of Arts” Magic Net Production “IIII Elements” in Palmela

Third Season 2003 – 04 Oct 2003 Educators’ Workshop in York, UK Feb 2004 5th Co-Production “Searching for the Enemy” Feb 2004 6th Co-Production “Hours of the Devil” Mar 2004 Playwrights’ Workshop on “European Odyssey” May 2004 7th Co-Production “The Starving Poet” Jun 2004 8th Co-Production “Facing Death” Jun 2004 3rd Annual Meeting Cork, Ireland

Magic Net Festival “Isn’t it Magic”

Fourth Season 2004 – 05 Jul 2005 Magic Net Production “A European Odyssey” and tour 106

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Jul 2005 Youth Encounter “Odyssey” in Berlin, Germany Aug 2005 4th Annual Meeting Palmela, Portugal

Fifth Season 2005 – 06 Jun 2006 5th Annual Meeting Tallinn, Estonia Magic Net Production “Hidden Stories” in Tallinn Jul 2006 9th Co-Production “Ship of Hope – America” in Molde

Sixth Season 2006 – 07 Aug 2006 Directors’ Workshop in Molde, Norway Oct 2006 Educators’ Workshop in Leipzig, Germany Oct 2006 Youth Encounter “Alles stroomt” in Heemskerk, the Netherlands Mar 2007 Directors’ Workshop “Fears” in Palmela, Portugal May 2007 10th Co-Production “Head of Nails” Jun 2007 11th Co-Production “Adopt a Soldier” Jun 2007 12th Co-Production “At the Doors of Europe” Jun 2007 6th Annual Meeting Schwerin, Germany

Magic Net Festival in Schwerin

Youth Encounter in Schwerin Jun 2007 13th Co-Production “Ship of Hope” in Schwerin

Seven Season 2007 – 08 Oct 2007 Directors’ Workshop “One Day in Europe” in York, UK Mar 2008 Cluster “One Day in Europe” in Tallinn, Estonia Apr 2008 Youth Encounter “European Dialogue” in Jelenia Gora, Poland Apr 2008 Cluster “One Day in Europe” in Molde, Norway Apr 2008 Cluster “One Day in Europe” in York, UK May 2008 Directors’ Workshop “One Day in Europe” in Palmela, Portugal Jun 2008 7th Annual Meeting Bratislava, Slovakia Magic Net Production “One Day in Europe”

and tour Jun 2008 Finale performance in Molde, Norway 107

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Friends of Magic Net The people listed on these pages have all participated in the Magic Net activities over the last three years. The selection of photos is totally random…

Carl Morten Amundsen

Magda Arenal

Raul Atalaia

Mikhail Bartenev

Bruno Alexandre Bento

Odette Bereska

Yvonne Birghan

Frauke Bischinger

Suzana Branco

João Brites

Sara de Castro Sousa

Vlado Cerny

Olga Agapova Susanne Albani Ana Alfaiate Geert Jasper Allema Sander Allikmäe Gonçalo Amorim Carl Morten Amundsen Jörg Anders Sergey Andreychyk Magda Arenal Raul Atalaia Hans-Peter Augustin Mathew Baker Vladimir Baranov Madeleine Barker Grieve Philip Bartels Mikhail Bartenev Ana Luisa Costa Batista Vasco Miguel Batista e Barroso Esther Becker Sina Behrend Kerstin Behrens Daniel Bell Bruno Alexandre Bento Odette Bereska Sabine Bergmann Ariane Besek Jan Willem Daniel van Beusekom Yvonne Birghan Arnold Bischinger Frauke Bischinger Tomas Bjørnager Małgorzata Bogajewska Konstantin Bogomolov Franzsika Boll Margot Böttcher Carolina Bottini Suzana Branco Elisa Braun

Marko Bräutigam Sarah Brigham João Brites Nicolas Brites Ksenia Burlankova Owen Calvert-Lyons Joana Cândido de Oliveira John Carlson Constance Carr Sara de Castro ­Sousa Vlado Cerny Marian Chalany Cláudia Lucas Chéu Vladmir Chikishev Joao Chicó Anne Chlosta Grzegorz Cinkowski João Cipriano Silke Cords Pedro Luis Cortes Damien Cruden Violetta Czok Ayca Damgaci Timothy Degilde Peter Dehler Annemieke Delis Elizaveta Demidova Sarah Derriks Ana Patrícia Dias Grit Diekmann Marlen Dietrich Philip Dinsdale Lena Dircks Knut Marius Djupvik Andrea Dömeova Lena Domeyer Magnus Malmedal Drågen Victoria Dunn

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Jörg Dworak Natascha Dyachenko Laura Eicke Yuri Elagin David Emig Alla Emitzeva Selva Erdener Frans Christiaan Erkelens Andrew Falvey Matthias Fankhauser Boris Farkaš Katie Fathers Rui Lourenço Fernandes Elsa Sofia Ferreira Morgane Ferru Daniela Fichte Halvard Fiksdal Petra Fischer Øystein Nerland Flemmen Dorothee Föllmer Rita Forjaz Márcio José Fortuna Theo Francz Bettina Frank Elke Franz Goncalo Miguel Freire Joao Filipe Freire Galina Freund Anja Frey Karen Freyer Simone Friedlimeier Valborg Frøysnes Uli Futh Jutta Futh Alice Gardiner Lucia Gaziova Christine Geißler Pavla Gesdosová Pedro Gil Dominika Górska Heike M. Götze Marleen Graumans Adrian Gula Mahir Gunsiray Anna-Lisa Hallbau Terje Halsvik Ulrike Hanitzsch Ben Harrison Gøril Haukebø Dirk Richard Heidinger

Cláudia Lucas Chéu

Ayca Damgaci

Peter Dehler

Annemieke Delis

Philip Dinsdale

Natascha Dyachenko

Laura Eicke

Yuri Elagin

Katie Fathers

Daniela Fichte

Bettina Frank

Christine Geißler

Marleen Graumans

Mahir Gunsiray

Dirk Richard ­Heidinger

Knut Lidvard Høgset

Henriette Hörnigk

Richard Hurford

Nancy Hertel Maya Hirsch Sarmina Hoffmann Anika Hoffmann Knut Lidvard Høgset Wieslaw Holdys Triin Hook Gunnar Horn Henriette Hörnigk Carla Hubeli Katrin Huke Richard Hurford Agustin Iglesias Guven Ince Kadi Jaanisoo Andy Jack-Newman Róbert Jakab Luke Jacob James Miguel Jesus Janek Joost Milo Juráni Alexander Kabanov Juliane Kagel Asha Kahlon Elisabeth Kahn Elle-Mall Keevallik Klaus Keller Juraj Kemka Andrzej Kępiński Peter Kerlik Faroque Khan Martin Klemm David Kramer Susanne Krämer Michał Krawczyk

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Agustin Iglesias

Andy Jack-Newman

Alexander Kabanov

Peter Kerlik

Jakob E.G. Kraze

Jan Willem van Kruijssen

Patric Lankaric

Sven Laude

Juliane Lieschke

Rene Philippe Meyer

Håkon Moe

Rick Nanne

Barbara Pilsberger

Anatoli Praudin

Jakob E.G. Kraze Jan Willem van Kruijssen Joachim Kümmritz Nyeletti Kuschel Daniel Kuschewski Magdalena Kuźniewska Iwona Lach Matej Landl Patric Lankaric Lukáš Latinák Katariina Lauck Sven Laude Astrid Aafje Leerkamp Ute Lemm Katarina Lengyelova Tõnu Lensment Claude Leon Joanne Lettin Juliane Lieschke Teresa Lima Maike Limprecht Lidia Lisowicz Julliane Lübbe Anna Luzniak Lisa Mahr Merit Makrjakov Yvonne Mann Joanna Marcinkowska Marquez Martins Nélia Marquez Irma Mäss Eva K. Matthijssen Marina Medkowa Daniele Meier Peter Meißner Verena Meister

Bogdan Nauka

Hannah Priddle

Dirk Neldner

Alicia Rodriguez

Christina Melnychuk Rene Philippe Meyer Alexey Mezhenny Marián Miezga Wieland Mikolajczyk Susanne Mittmann Håkon Moe Katrin Möller Helga Mossbauer Barbora Mrvolá Sven Müller Debbie Mullins Jenny Myklebust Thomas Naedler Peter Nagy Rick Nanne Armando Nascimento Jan Naturski Bogdan Nauka Dirk Neldner Vivienne Newport Raul Õitspuu Yurdaer Okur Maria Oliveira Rolf Magnus Orø Sarah Osborne Anne von Otterloo Dolores Palomares Daniela Pápayová André Pato Yavuz Pekman Jesus Peñas Olga Perevezentseva Erhard Petrich Kacper Pilch Barbara Pilsberger Przemysław Piskozub Kersti Pohlak Roman Polák Julian Ponke Anatoli Praudin Regina Preuss Hannah Priddle Martin Randalu Michal Ratynski Tiina Rebana Loulou Rhemrev Caroline Ringeisen John Holt Roberts Elise Roberts

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Joana Dos Santos Rodrigues Alicia Rodriguez Inada Röhl Eva Maria Rollmann Marcus Romer Pål Rønning Grit Röser Shauna Rothery Eva-Maria Rottmann Isabel Rotzler Michael Royle Iñaki Rubio Moreno Tanel Saar Mira Sack Oda Kristine Stavik Salthammer Zuzana Sandorova Janek Sarapson Maria Sautter Dieter Schefler Bernd Schlenkrich Frank Schletter Lena Schmidt Manuel Schöbel Stefanie ­Schönrock Jurre Schreuder Anna von Schrottenberg Elisabeth Schulze Sarah Seddon Maria Selchow Olga Seminck Samantha Sherratt Anna Shvedova Andrew Siddall Wolfgang Simon Natasha Skorokhod Willemien Slot Mandy (Armanda) Smith Leola Smith Roseanna Mair Smith Martin Smitra Bogna Sokolowska Svein Solenes Carla Somaini Triin Soone Piret Soosaar Maria Spanring Magdalena Specjalna Marc Steinbach Meike Anna Stock Sarah Jane Strong Jo Strømgren Vivi Sunde David Sutherland

Anja Syrbe Marta Szpecht Marta Szpecht Emilia Szyszkowska Tiiu Talvist Margo Teder Margo Teder Lucie Teisingerova Kristine Thomassen Aare Toikka Kristoffer Tokle Claudia Trachsier Ilke Maria Turpijn Georgios Tzitzikos

Marcus Romer

Manuel Schöbel

Jurre Schreuder,

Natasha Skorokhod

Mandy Smith

Svein Solenes

Tiiu Talvist

Georgios Tzitzikos

Aare Toikka

Ilke Maria Turpijn

Anna Ueckermann

Vicky Wesseling

Joanna Wichowska

Sergey Zanin

Anne Uekermann Petra Vajdová Franka Vakkum Daniel Valdma Pedro Vasallo Mari-liis Velberg Maria Tryti Vennerød Linda Verhoef Kay Viering Aleksandra Wacyra Randolf Walderhaug Daniel Wangler Julia Wartmann Stefan Welker Vicky Wesseling Joanna Wichowska Alexandra Wilke Rebecca Willen Lisa Williamson Reik Witzmann Tadeusz Wnuk Luisa Wolf Hannah Woods Leszek Wos Markus Wünsch Yves Wüthrich Sophia Yiallouros Sergey Zanin Maria Zimmermann Jörg Zirnstein Markus Zohner Gabriel Zschache Yannick Zürcher

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Addresses

Mecklenburgisches Staats­theater Schwerin Alter Garten 2, D-19055 Schwerin Tel. +49 - 385 - 53 00 0 | info@theater-schwerin.de | www.theater-schwerin.de VAT Theatre National Library’s Theatre Hall Tönismögi 2, Mail: PO Box 3242, EST-10505 Tallinn Tel: + 372 6 450 959 | vat@vatteater.ee | www.vatteater.ee Theater der Jungen Welt Lindenauer Markt 21, D-04177 Leipzig Tel: +49 341 486 60 25 | b.schlenkrich@theaterderjungenweltleipzig.de www.theaterderjungenweltleipzig.de het MUZtheater PO Box 1013, NL-1500 AA Zaandam Tel: +31 75 771 57 70 | info@muztheater.nl | www.muztheater.nl Teatret Vårt AS Regionteatret i Møre og Romsdal Julsundvegen 4, NOR-6412 Molde Tel: +47 71 24 0 88 | post@teatretvart.no | www.teatretvart.no Teatr Jelenógorski ul. Wojska Polskiego 38, PL-58-500 Jelenia Góra Tel: +48 75 642 81 14 | teatr@jgora.pl | www.teatr.jgora.pl Teatro O Bando Vale de Barris, POR – 2950 Palmela Mail: Caixa Postal 4117, 2950-055 Portugal Tel: + 351 212 336 850/9 geral@oBando.pt | www.oBando.pt Experimental Stage of Baltic House 4, Alexandrovski park, RUS-197 198 St. Petersburg Tel: + 7 - 812 314 09 86 | fc@baltichouse.spb.ru | www.baltichouse.spb.ru Astorka Korzo ’90 (Leading Organisation) Suché Myto 17 | PO Box 241, SL-814 99 Bratislava 1 Tel: +42 – 12 – 526 32 434 | dramaturgia@astorka.sk | www.astorka.sk Teatro Guirigai c/Virgen del Pilar no. 2, ESP-06230 Los Santos de Maimona / Badajoz Tel: +31 924 57 24 96 | guirigai@guirigai.com | www.guirigai.com Zürcher Hochschule der Künste Gesnerallee 11, CH 8001 Zurich Tel: +41 43 305 43 26 | petra.fischer@zhdk.ch | www.theaterderkuenste.ch Pilot Theatre Company York York Theatre Royal, St. Leonard’s Place, UK-York Y01 7HD Tel: +44 190 463 57 55 | info@pilot-theatre.com | www.pilot-theatre.com Tiyatro Oyunevi Lenger Sok 17/2 cihangir-beyoglu, TUR-34437 Istanbul Tel: +90 – 21- 225 160 60 | info@tiyatrooyunevi.com | www.tiyatrooyunevi.com Kleist Forum Platz der Einheit 1, D-15230 Frankfurt (Oder) Tel: +49 - 335 - 40 10 200 | a.bischinger@muv-ffo.de | www.muv-ffo.de Magic Net c/o Kleist Forum | Platz der Einheit 1 | D-15230 Frankfurt (Oder) Tel: +49 335 284 70 73 | dirk@magic-net.org | www.magic-net.org

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For exchange and co-productions to connect classic drama to a young audience

Leading Organisation Mecklenburgisches Staatstheater Schwerin, Germany under artistic direction of Peter Dehler

Management Committee (Advisory Board) Henriette Hörnigk, Peter Dehler, Mecklenburgisches Staatstheater Schwerin |��� Germany ������� Tiina Rebane, VAT Teater |���������� �� Tallinn, ��������� Estonia ��������� Jürgen Zielinski, Theater der jungen Welt |���������� �� Leipzig, ��������� Germany ������� Arnold Bischinger, Kleist Forum |���������������� �� Frankfurt ��������������� (O), Germany �������� Jan-Willem van Kruyssen, het MUZtheater |���������� �� Zaandam, ��������� Netherlands ����������� Carl Morten Amundsen, Teatret Vårt |�������� �� Molde, ������� Norway �������� Raul Atalaia, Teatro O Bando |���������� �� Palmela, ��������� Lisbon ������� Bogdan Nauka, Jelenia Góra Theatre |��������� �� Jelenia �������� Gòra, ������ Poland ������ Nataly Scorokhod, Experimental Stage of Baltic House |����� �� St. ���� Petersburg, ������������ Russia ������ Michail Bartenev, TJUZ Samara |�������� �� Russia ������� Peter Kerlik, Divadlo Astroka Korzo’90 |������������� �� Bratislava, ������������ Slovakia �������� Magda Arenal, Teatro Guirigai |������������� �� Los ������������ Santos, Spain ����� Petra Fischer, Theater der Künste Zürich (former: Theater an der Sihl)| Zurich, Switzerland Mahir Günsiray, Tiyatro Oyunevi |�� Istanbul, ���������� Turkey ������ Marcus Romer, Pilot Theatre Company | York, United Kingdom Odette Bereska, Literary Manager

Yearbook Editorial Staff Publisher

Dirk Neldner

Editor

Odette Bereska

English translation

Nicholas Wood

Layout & Design

andi.nu creative design, England

“One Day in Europe” poster and motif

Nina Cohen, Creativ Studio Bratislava, Slovakia

Printed in

Bratislava, Slovakia

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Š Magic Net 2008 Magic Net is a European Theatre Network supported by the European Commission.

Contact: Dirk Neldner | dirk@magic-net.org Magic Net | c/o Kleist Forum | Platz der Einheit 1 | D-15230 Frankfurt (Oder) www.magic-net.org

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ONE DAYIn euROPE

Yearbook 2008

Mecklenburgisches Staatstheater Schwerin | Germany VAT Theatre | Estonia Theater der Jungen Welt | Germany Kleist Forum | Germany het MUZtheater | The Netherlands

Teatro O Bando | Portugal Experimental Stage of Baltic House | Russia Divadlo Astorka Korzo ’90 | Slovakia Teatro Guirigai | Spain Theater an der Sihl | Switzerland Tiyatro Oyunevi | Turkey Pilot Theatre Company York | United Kingdom

www.magic-net.org

MAGIC NET 2008

Teatret Vårt AS Regionteatret i Møre og Romsdal | Norway

ONE DAY In euROPE a european theatre network yearbook

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