Yearbook 2010

Participating Theatres

www.platform11plus.eu

YEARBOOK 2009 / 2010

Divadlo Alfa Pilzenˇ, Czech Republic VAT Teater Tallinn, Estonia Oulun Kaupungin Teatteri Oulu, Finland TJG. Theater Junge Generation Dresden, Germany Kolibri Gyermek – És Ifjúsági Színház Budapest, Hungary Elsinor Teatro Stabile d’Innovazione Milan, Florence, Forlí, Italy Theater De Citadel Groningen, The Netherlands Brageteatret Drammen, Norway Teatro O Bando Palmela, Portugal Theatre Institute Bratislava, Slovakia Junges Schauspielhaus Zurich, Switzerland Jetzt&Co Zurich, Switzerland Emergency Exit Arts London, United Kingdom Pilot Theatre Company York, United Kingdom

YEARBOOK 2009 / 2010

ASSOCIATED PARTNERS Upebe Buenos Aires, Argentina University of Agder Kristiansand, Norway Europa Universität Viadrina Frankfurt (Oder), Germany

With the support of the CULTURE Programme 2007-2013 of the European Union

Platform 11 + Artistic Discoveries in European Schoolyards SEASON 2009 / 2010

PLATFORM 11+ – Artistic Discoveries in European Schoolyards is an artistic network in which 13 theatres from 12 European countries have joined together to collectively create new work for young people aged between 11 and 15 in both the Performing and Visual Arts. As the professional artists go about their work, the young people will be encouraged to express themselves artistically too.

At the end of the four year project, PLATFORM 11+ wants to present a multi-layered portrait of a young European generation, whose presence at the beginning of the 21st century will be reflected in numerous works of art.

Partner theatres

Represented in the Advisory Board by

Brageteatret (leading org.) Norway | Drammen

Terje Hartviksen

Associated partners

Divadlo Alfa Czech Rep | Pilsen

Tomáš Froyda

ATINA Argentina | Buenos Aires

Oulun Kaupungin Teatteri Finland | Oulu

Athi Ahonen

University of Agder Norway | Kristansand

VAT Teater Estonia | Tallinn

Tiina Rebane

City University Oulu Finland | Oulu

Theater Junge Generation Germany | Dresden

Felicitas Loewe

European Universtity Viadrina Germany | Frankfurt (Oder)

Elsinor Teatro Stabile d’Innovazione Italy | Milan

Stefano Braschi

Theaterstückverlag Germany | Munich

Kolibri Gyermek - És Iljúsági Színház Hungary | Budapest

János Novák

Theater de Citadel The Netherlands | Groningen

Rob Bakker

Teatro O Bando Portugal | Palmela

Raul Atalaia

Theatre Institute Bratislava Slovakia | Bratislava

Vladislava Fekete

Pilot Theatre United Kingdom | York

Marcus Romer

Emergency Exit Arts United Kingdom | London

Deb Mullins

Junges Schauspielhaus Zürich/Jetzt&Co Switzerland | Zurich

Petra Fischer

Platform 11 + Artistic Discoveries in European Schoolyards A collaboration of European theatre companies funded by the European Union under “CULTURE 2007– 2013“.

Season August 2009 - July 2010 Project Management Artistic Director

Dirk Neldner

Project Coordinator

Sven Laude

Literary Manager

Odette Bereska

Education / Engagement

Mandy Smith (Pilot Theatre)

Visual Arts

Andrew Siddall (Emergency Exit Arts)

Performing Arts

Terje Hartviksen (Brageteatret)

Playwrights

Giuditta Mingucci (Teatro Elsinor)

Financial Administration

Marit Holtet, Elin Henninen (Brageteatret)

Website Implementation

Marco Tralles

Website Maintenance

Britta Schöffel

Translation/English Corrections Peter Scollin

Contents

Schoolyard Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preface Jorge Barreto Xavier, Director-General for the Arts, Ministry of Culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preface Ana Teresa Vicente, Mayor of Palmela . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preface João Brites, Artistic Director, Teatro O Bando . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preface Dirk Neldner, Artistic Director PLATFORM 11+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

8 10 11 12 13

Schoolyard Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2nd Annual Encounter Programme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2nd Annual Encounter Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Interdisciplinarity in Platform 11+ Plein Air at Teatro O Bando, Palmela . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Visual Artists participating in the Plein Air (Concepts and CVs) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2nd Annual Encounter Midsummer Night’s Theatre – A European Theatre Event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Advertisement City Palmela / Golf Resort Palmela Village . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

16 18 19 20 22 28 31

Schoolyard Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Brageteatret (Norway) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Divadlo Alfa (Czech Republic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

VAT Teater (Estonia) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

TJG.Theater Junge Generation (Germany) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Elsinor Teatro Stabile d’Innovazione (Italy) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Theater De Citadel (The Netherlands) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Theatre Institute Bratislava (Slovakia) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Oulun Kaupungin Teatteri (Finland) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Emergency Exit Arts (United Kingdom) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

32 34 40 46 52 58 64 70 76 82

Teatro O Bando (Portugal) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Pilot Theatre Company (United Kingdom) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Kolibri Gyermek – És Iljúsági Színház (Hungary) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Junges Schauspielhaus Zürich / Jetzt&Co (Switzerland) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

88 94 100 106

Schoolyard Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 University of Agder (Norway) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Europa Universität Viadrina (Germany) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Schoolyard Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Schoolyard Stories in Ibero America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Schoolyard Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Advisory Board Meetings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1st Annual Encounter 2009 Budapest / Hungary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Teachers Workshop Salo / Italy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Playwrights’ Meeting Oulu / Finland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Stepping Exhibition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Evaluating PLATFORM 11+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

124 126 128 134 136 140 146

Schoolyard Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Timeline PLATFORM 11+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Addresses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Imprint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

148 150 151 152

Contents

PLATFORM 11+ ARTISTS’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PREFACE

School Playground and Arts

Jorge Barreto Xavier Director-General for the Arts, Ministry of Culture, Portugal

If nowadays the relationship between the classroom space and the playground space has, in Portugal, a design that has been, so to speak, static over the last

recognize the playground as more than just a ‘break’, the truth is, that the playground is a crucial space of socialization in childhood and adolescence. It is in the playground that children and adolescents find themselves, without the supervision of their families, face to face with oral communication and its weight, and with the introduction of the inner self in relation and confrontation with the other, with the physical challenge and its limits, with the structural idea of ‘group’ and the problem of authority, leadership, fidelity and betrayal, with the dynamics of acceptance and seduction, with the issues of sexuality, game, limits, risk, with breaking rules, punishment and concealment, humiliation, achievement, sadness, joy. Obviously, the playground is the Agora of childhood and adolescence, the space where one creates one’s identity and grows up (because even

hundred years, if the republican school of the 20th century, and before that, the parish school didn’t

when one suffers, or occasionally when one suffers, one grows). It’s not the only place to socialise, since

School playground is a part of the daily routine memory of millions of Europeans who attended school in the European educational system in the 20th century. Playground may summon, whether in the design of scholarly architecture, in the conception of a ‘school space’, or in the intersection between entertainment and pedagogical fields, a history as old as time.

10

the classroom and its rules as well as the family environment are also critical places of socialisation. But it is the place with the widest range of opportunities, because even the observant eye of an adult who watches over the playground can’t see everything, can’t understand everything, can’t control everything.

The school playground is not, therefore, a break, an emptiness between classes, a pause. It may be that, in a small part. It is a lot more, in an active way. It’s where the first big challenges of social life happen.

PLATFORM 11+ chose school playgrounds as questioning points, enabling artists from 11 European countries to deal with real issues concerning the life of adolescents, aged 11-15, in the framework of a four-year project recognized by the European Commission.

PREFACE

It is a fantastic challenge. Ages may be transitory.

Ages, any age is by nature transitory. However, at every age a distinct manner of looking at the self and at the outer world is used. That option is not an unchangeable crystal but it matches a certain way of looking at a certain time. Finding that face and dealing with it, acting towards the opening of perspectives and elaborating time and space through the specific system of approaching the world to which the artistic device corresponds, is exciting.

Therefore, hosting the 2nd annual meeting of this network in Vale dos Barris, the homeland of Teatro O Bando, with the presence of more than one hundred creative people from 11 European countries, is a task that I welcome most enthusiastically.

Let us hope that the reflections and results of this work can reach everyone, every professional

engaged in bringing the arts to schools, not from the point of view of being a mere assistant, but believing that the arts belong to a life project in the 21st century, which is part of being and wanting to be, and not just a mere lingering or seeming to be.

The municipal project which we are developing in Palmela, is based on a deep connection with our environment and the participation of the people who inhabit it, their memories and knowledge, their daily life and their dreams.

The partnerships and networking which we have developed and encouraged â&#x20AC;&#x201C; and to which Teatro bando, by setting up in Vale de Barris, has made a remarkable contribution â&#x20AC;&#x201C; clearly demonstrates that the streets can become a privileged space for art and communication with the community and democratises their connection with the others. An act of sharing which also aims at creating a freer world.

The choice of Palmela, due to its dimension and nature, as home of this project, is a reason for great satisfaction and pride. Our municipality and people will be an enthusiastic part of this project.

We hope that you feel at home here in Palmela.

So the relationship with all the representatives of Platform 11+ may add new challenges to our cultural identity, by broadening our knowledge, experiences and tastes. It also has a particular significance in the development of the cultural policies.

Ana Teresa Vicente Mayor of Palmela, Portugal 11

PREFACE

It will be full moon

The wind that blows around these parts, fondles and scratches the faces of those who behold from the highest site of this Serra do Louro, one of the most beautiful and sensual valleys in Europe skilfully sculpted by a glacier. Others like us, thousands of years ago, had this same feeling and started building their stone shelters here. On the summit we can still find the remains of those houses where they ate and slept, where they got angry and loved for several generations of distinct communities.

They might also have told stories and drawn on clay.

The moonlight may have lightened the bodies that warmed up by dancing. The wind may have made the echo of their carols travel along.

Now it is us who have this legacy in our hands and who give it continuity. We will hear, in this same magic place, different grades of the sound of unexpected voices amidst the bells of the strolling flocks.

Even though each artist treads his path, most times alone, in this Europe that anxiously lives out its puberty, we believe that this summer solstice will give us collective and reinforced will to live and create a closer relationship with the different communities.

Yes, here we still say that our experiences and convictions are capable of changing something in the world. Who would say that it would be possible to receive under this Teatro bando shelter, itself decentralized within a neighbouring country, so many project mentors, directors, actors, artists and pedagogues engaged in contributing to this change.

12

Here, new material traces of your presence will remain, but the marks that are left to last and guide the path that we keep covering, are the same ones that will be immaterially carved in the memory of each and everyone. Those will be encrypted on the bodies as if they had been deeply scratched into the skin by the spoken wind that fondles and opens inexorable wrinkles on our faces. It will be full moon.

Welcome.

Jo達o Brites Artistic Director, Teatro bando

PREFACE

An idea is circulating all around the world

Political discussions in Europe at present are marked by the financial crisis. Like never before, politicians from every country are calmly juggling sums of money which make one feel giddy. The system of order appears to be out of balance, other themes are being pushed into the background. Everyone knows that the money will have to be paid back in the not too distant future. So everyone’s worried that Culture and Education, the favourite target areas for budget cuts, will be hit the hardest.

In nearly all European countries people working in the Arts are preparing for a nerve racking defensive struggle. So it seems timely that our Platform 11+ Network can deliver good arguments and evidence why it is and must continue to be, that culture for young people is an indispensible part of the many facetted cultural options of our countries and regions.

The future of Europe in the 21st century is already being shaped in the minds, attitudes, hopes and ambitions of today’s adolescents. To fully prepare them for the years ahead, it is essential they receive not only a thorough knowledge-based education, but also the opportunity to explore their cultural heritage and how they can map out their own life journeys and contribute positively to the European society of tomorrow. Encounters with art are key factors in the development of fully rounded and questioning personalities, as they develop from childhood into young adulthood. Such encounters can provide young people with the life-long skills, adaptability and vision to lead positive, productive lives and to imagine new and exciting possibilities for a world they will soon be in a position to influence.

It is therefore amazing how few cultural offerings and interactive artistic experiences are available for

the 11 – 15 year old age group across Europe. At this stage in their lives, they have a special need to discover their own reality and their place in the world through art. Exposure to and involvement in a wide range of cultural activities can encourage them to explore possibilities, choices and values that will have an impact on their lives and the kind of European society they build for the future. Yet, this key aspect of supporting the next generation on their journey into adulthood - together with the valuable opportunities it provides to catch a glimpse of what sort of society may develop during the next half century – has, so far, received very little acknowledgement throughout Europe.

In order to fill this gap, 13 established theatres, each representing a high level of excellence in their countries and in their field, have united, in partnership with local cultural institutions, schools and universi13

ties, to form PLATFORM 11+. All partners have years of experience in developing, producing and delivering projects for and with young people. A European platform that could enable mutual exchange and cooperation was missing. The network gives artists, as well as their institutions and specifically the youth, a common European voice.

This voice became more powerful when the European Union decided to provide Platform 11+ with a substantial European funding grant for the next four years. This fact makes the position of every single national partner much stronger, politically, culturally and artistically.

The financial backers and the artists are convinced by the idea that precisely young people in this age group must be offered excellent artistic products.

The so called ‘gap children’, those too old for fairy tales but too young for classical dramas, need to be addressed in a special artistic form. The initiators of Platform 11+ have been searching for suitable plays January 2002 Sydney Festival – Co-Production “Kinderspiel – Out of Bounds” carrousel Theater an der Parkaue Berlin / Germany - ATYP, Sydney / Australia

for young people aged between 11 and 15 for years.

This is a complicated age, an age in which a lot of growth occurs.

In Berlin, back in the 90’s, seven authors were commissioned to write contemporary plays based on extensive research with young people. Then as now, the uniting theme for the common task was and is ‘the schoolyard’. This almost magical place, which all of us can remember, the scene of the first kiss, the first disappointment, of mobbing and group forming, is also a place where violence and discrimination occurs. Above all it’s a place where the ethnic, social and religious groups in the society are mixed.

In short, the material with which playwrights can weave their dreams is there for the taking, in the schoolyard.

Following on from the success of this regional project, a European initiative was born in 1999. In this initiative, theatres from seven countries also commissioned authors to write contemporary plays based on their own research. These plays were then presented to a wide audience in two international festivals in Berlin and Lyon.

PREFACE This proved that the concept carried weight internationally. In addition to the Berlin model, productions were devised together with young people, thereby enriching the artistic dialogue with the target group with a decisive component.

In 2001 ‘Schoolyard Stories’ left Europe for the first time. A play called ‘Kinderspiel – out of bounds’ was created in co-production with the well known Sydney Festival. The play was written by two authors who created the script solely by e-mail exchange.

The play was then presented by a cast comprising of a mixture of young people and professional actors, as an Australian-German co-production in the Sydney Opera House.

Even ‘down under’ audiences and the project creators were ecstatic about the exploration of both past and present schoolyard experiences.

Through Platform 11+, the scope of the schoolyard stories has been widened so that it includes not only the Performing Arts but also the Visual Arts. Our experience was that it’s especially young boys of this age group who are inhibited about performing on stage. The concept was extended

to the visual arts in order to include them. We hope that the convergence of the two art forms will add zest to the project. Visual artists embark on the schoolyard research together with authors but they should also encourage young people to articulate themselves artistically. The visual artists will also enrich the forthcoming co-productions.

The Annual Encounter in Palmela will present this combination of art forms in public for the first time.

For three weeks, thirteen visual artists will live and work in Portugal in the company of young people from the host town Palmela. The presentation of the art works on the hillsides above Teatro O Bando will mark the start of the Annual Encounter 2010.

Actors from all the theatres will present their performances from the first Platform 11+ season on stages designed and created by the visual artists.

The artistic crossover concept that we are pursuing will be clearly visible here.

Platform 11+ will also be exploring new territory in another way. In a parallel project in South America, authors from eight countries were commissioned to write plays based on schoolyard stories. Directors

worked on these plays during a workshop in March 2010 in Buenos Aires. They will now be performed all over Latin America.

An idea is circulating all around the world: thanks to the funding of the European Union, it’s possible for artist from all corners of the world to exchange ideas on this theme and to bring the results of the work with young people into a global discussion.

The Annual Encounter of a large theatre network like Platform 11+ is only the tip of the iceberg. This bringing together of a huge number of artists is in itself a visible sign of creativity and productivity.

But it’s also worth taking a careful look at the daily work process. In the case of Platform 11+ it encases the work of nearly twenty professional theatres in Europe and South America and numerous youth theatre groups. This yearbook provides an overview.

It presents the artists, their organisations and the first results of the multi-national co-operation.

Dirk Neldner Artistic Director Platform 11+ 15

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2nd annual encounter

Programme 2nd Annual Encounter 2010 Palmela, Portugal 6 – 23 June Plein Air with Visual Artists from 12 European countries at Teatro Bando in Vale de Barris 23 June Arrival of the participants at the Annual Meeting 20:00 Welcome 24 June 10:30 Presentation of the National Productions in Palmela City Theatre S. João (part 1) 15:00 Presentation of the National Productions in Palmela City Theatre S. João (part 2)

19:30 Opening of the PLATFORM 11+ – Open Air Exhibition at Teatro Bando Reception 22:00 Rehearsals for Midsummer Night’s Theatre – A European Theatre Event 25 June 10:30 Advisory Board Meeting Palmela City Library 10:30 Rehearsal for the Finale of Midsummer Night’s Theatre – A European Theatre Event (Palmela City Theatre S. João) 19:00 Set up stages for Midsummer Night’s Theatre – A European Theatre Event 21:00 Dinner at Teatro Bando 22:00 Performance Nós matámos o cão tinhoso (We Killed the Mangy Dog) by Teatro O Bando

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23:00 Rehearsal Finale Midsummer Night’s Theatre – A European Theatre Event 26 June 11:00 Advisory Board Meeting (Hotel) Meeting Co-Producers 21:00 Midsummer Night’s Theatre – A European Theatre Event till 6:14 Sun rise with breakfast on the hill 27 June 15:00 Excursion to Lisbon (optional) 20:00 Reception by the City of Palmela at Teatro Bando and Farewell Party 28 June Departure

2nd annual encounter

Organisation Team Annual Encounter 2010

Artistic Directors Teatro O Bando PLATFORM 11+

João Brites Dirk Neldner

Home Management Coordination Home

Miguel Jesus Manuela Mena

Technical Direction and Settings Technical João Cachulo Settings Fátima Santos

and as volunteers from the European University Viadrina, Frankfurt (Oder) Kathleen Brendel, Natalia Cicio, Ariana Dongus, Eva Kese, Christiane Kölm, Tina Küchenmeister, Ina Oettel, Nastasja Rykaczewski, Stella von Rohden and Esteban Alfaro Salas

Team Teatro O Bando PLATFORM 11+ Team

Coordination Artistic Direction Visual Arts Project Leader PR Manager

João Brites Rui Francisco Raul Atalaia Hugo Sousa

Production Coordination Visual Arts Assistance

Tati Mendes Pedro Antunes Marta Pires / Eleanor Júnior

Project Coordinator Coordinator Plein Air

Sven Laude Andrew Siddall (Emergency Exit Arts) Literary Manager Odette Bereska Festival Coordinator Isabel Atalaia Festival Assistance Johanna Malchow Scholarship Holder Dana Gierke Assistant to Coordinator Marta Abreu

With the support of the CULTURE Programme 2007-2013 of the European Union

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Interdisciplinarity in Platform 11+ Plein Air at Teatro O Bando, Palmela It’s fashionable to work in an interdisciplinary way in the world of Art. Amongst the many reasons for this one is surely the continual search for new forms of artistic expression. But what is the definition of “interdisciplinary?” At what point can one really speak about an “artistic mixture?”

Platform 11+ seeks answers to these questions. The project makes a point of requiring all the partners to include Visual Artists in the activities. The idea behind this is that the 11-15 year old target group should be exposed to a wide range of artistic expression. Authors, actors, directors and visual artist: representatives of all these disciplines take it on themselves to search collectively for themes in schoolyards of today. But is this schoolyard research interdisciplinary?

It is interdisciplinary when the Estonian set designer creates masks with young people for a national Plat-

form 11+ theatre production and when together they present an exhibition about the themes of the play at the premiere. It is interdisciplinary when the Norwegian artist produces stained glass pictures to the theme of a national Platform 11+ production.

It is interdisciplinary when the English set designer builds the set together with the same young people who are acting in the play. Also when a Finnish Visual artist conducts workshops in schools together with actors, directors and authors.

The target group and the research are the binding forces between the artistic disciplines in this experiment. Each of the art forms involved in Platform 11+ will be the point of focus once during the project.

At the beginning of the project, the focus was on the authors, in the second year, the visual artists are in the foreground.

2nd annual encounter While searching for the appropriate host for the planned Visual Arts Plen Air, it soon became clear that Teatro O Bando in Palmela, Portugal, would be the ideal partner. The style of the theatre is strongly visual, thanks to the artistic director Joao Brites who comes from the Visual Arts. Time and time again, sculptures, installations and machines are featured in his productions. These objects will be exhibited for the first time on the 6th June 2010 in the olive groves. The opening of the Exhibition marks the beginning of the three week long Plein Air, in which all of the projectâ&#x20AC;&#x2122;s visual artists are represented. All these artists are invited to confront the unique landscape as well as with the artistic philosophy of the host. To feel the past, present and future in this quiet and sensual place, in the direct proximity of the four elements-thatâ&#x20AC;&#x2122;s the starting point for this adventure.

The concepts that have been handed in by the artists demonstrate the high artistic standard and professional experience but also the major openness to the special quality of this magical location.

The visual artists will work for three weeks in Palmela, each for her or himself, but in close prox-

imity with one another and always together. At the end of the Plein Air it will be interdisciplinary again when the visual and stage artists meet each other at the 2nd Platform 11+ Annual Encounter.

Vale de Barris, Teatro O Bando Exhibition Scene Machines of Teatro Bando: Boat

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Visual Artists participating in the Plein Air Teatro O Bando, Palmela. June 2010 Nuno Gabriel de Mello

Maija Tuorila

(Portugal)

(Finland)

BOX OF SECRETS My plan is to create a ‘Box of Secrets’: a rotating bird feeder with internal sound recordings. Wind powered, and positioned high on the hillside: where the passenger can send his message or secret to the Gods.

THE FRAME I want to work on a frame of wood and metal, positioned at head height, a frame in which a plant grows.

N. studied in schools like: António Arroio Visual Arts School, National Conservatory Theatre and Cinema Superior School in Lisbon and Arsenal School in Barcelona. He keeps a tight connection to the Visual Arts , Cinema, Theatre and also with Music.

He is doing Art Direction, Set Designing, Advertising, Television entertainement, Graphic Design, Video, ‘The Frame’ by Maija Tuorila 22

Music, Conceptual Installation, Stands, Kinetic Sculpture and Fine Arts.

M. finished Art High School Helsinki. She has been working in Kemi City Theatre 1990 and has staged musicals, for example, The Fiddler on the roof and Annie.

She is permanently in Oulu City theatre since 2004.

Here she has planned several operas, for example The Marriage of Figaro and great variation of plays from classical dramas such as Anton Chekhov’s Seagull as well as plays written for the Kemi City Theatre.

2nd annual encounter Michiel Johannes Jansen

Sabine Beyerle & David Reuter

(The Netherlands)

(Germany)

HIGH WORDS ‘There is no culture without translation. Our western civilization is based on translated books’.

My contribution will be an artwork inspired by the works of the Dutch writer and translator August Willemsen (1936 – 2007). His colourful life and the inestimable value of his translations from Portuguese and Brazilian literature are of unprecedented value for the European civilization in general and that of the Netherlands in particular.

M. is an artist with a wide variety of experience. He is guest teacher at Minerva Art Academy in Groningen and works for the project Professional Artist in the Classroom. Michiel is a designer and theatre maker and since 1990, has worked with many Dutch theatre companies.

BUILDING A NEST (Working title) We would like to create a land art sculpture, which can be used as a performance space and entered as an installation for special events like at the opening. The visitor will see a huge oversized birds nest.

When the visitor walks around the nest, it will seem to have no entrance.

The only possibility to view the inner space of the nest will be by climbing a ladder that leans on the nest. The visitors may climb on and view what is inside or even enter the nest. In strong contrast to the outer shape, the nest inside will look like a miniature apartment, consisting of a little kitchen, a sleeping area, bathroom, living room and children’s room. Inside there will be doors, seemingly leading outside but not to be opened in reality.

Sabine graduated from the University of Fine Arts in Berlin in 2003. She works as a painter and had several group and solo exhibitions. She also does stage designs, video and slide projections for theatre pro-

ductions and often works together in many collaborative art projects with David.

David works as intermedia & performance artist and was professor for Art in Action, Performance and Drama at the Braunschweig University of Art. He is the initiator of several international projects, festivals and exhibitions in different countries. He also is a member of the artists network InterArte, Choroso and Kulturkontakte e.V.

Stuart Childs (United Kingdom)

& Ilaria Ariemme (Italy) FIVE ELEMENTS The four elements are the basic language and building blocks of our life, the same for all.

Inspired by our own contrasting artistic sensibilities – from the warmth and life of Ilaria’s ‘concrete’ materials to Stuart’s digital and interactive technologies – we will create a meeting place composed of 4 installations (one for each element). An envi23

ronment in which people can speak a common language, the language of the four elements.

By exploring and discovering what unites the ‘four elements’ we are seeking to find the mysterious fifth element, or what makes us human, in the spaces between.

The expressive use for colors, tissues and materials is a constant in her work.

She loves theatre and music and she absolutely agrees with Dostoevskij who said that “Beauty will save the world”.

Inga Vares Stuart gained a first class degree in Creative Sound and music technology and has since then worked in theatre in a range of roles from actor to technician to composer to scenic artist. He currently works as a freelance artist including work as a graphic designer, artist in schools and co-director of the jam jar collective. stuchilds@gmail.com Ilaria graduated in set design and costume design for the theatre at Brera Academy of Fine Art in Milan. She worked for many theatre plays with different Italian companies and over the last year she’s been the assistant of an important costume designer for the Opera.

‘Red Grass’ by Inga Vares 24

(Estonia) RED GRASS Inspired by abstraction in natural landscape, and the emotional themes of ‘The Paperclip Belt’ (National PLATFORM 11+ Production) I try to realize my vision of RED GRASS growing by the path – a sound and light installation affected by human contact and wind.

Inga studied scenography at the Estonian Academy of Arts. During the last 10 years she worked as freelance scenographer with dance, drama and opera productions; she designed costumes for film productions, studios for TV programs and different events.

She is lecturer at the Scenography Department of the Estonian Academy of Arts.

2nd annual encounter ˇerníková Marie C (Czech Republic) IN / OUT I started searching from one theme, which our writers pointed out: the search for one’s own identity.

Inspired by young people trying or being forced to ‘fit in’ to society through their physical looks and their fashions, I’m going to create IN / OUT: playing with making nature invisible through camouflage – as an interpretation of human behavior.

Marie has a Masters degree: She graduated at the department of Scenography at the Academy of Performing Arts, Prague, Faculty of Alternative and Puppet Theatre. She is now a doctor and is doing research on: Costume determination in staged reality and living reality.

Also researching scenography techniques of the Secondary Arts and Crafts School of St. Ann in Cˇeský Krumlov. She worked as a lector in several workshops at Puppeteer’s Chrudim Festival. Creations of her own stage, Scenography, directorial projects were done in Lidé z maringotek. She designs masks,

puppets, posters, drawings, paintings, making mock-ups. She has created a few comics as well.

Marianne Loraas (Norway) BEFORE THE BELL - KALEIDOSCOPE Uneasyness; Dream; Expectation; Falling in love; Frustration; Hope; Desire; Humiliation; Shame; Approach; Attempt; Step; Perspective; Weight; Completeness – All words describing expression of feelings that are reflected in the nine scenes in the play ‘Before the Bell’ (National PLATFORM 11+ Production).

Throughout the school year 2009/10 pupils in Galterud school have made nine glass paintings to visualize all these feelings. Glass technique shows paintings created in mosaic form. I will make an adventure sculpture, shaped like a kaleidoscope (size approx 2 m). The nine scenes continue in the kaleidoscope and mosaic-shaped images that are made inside the sculpture. Using spotlights, images can be made in the kaleidoscope during the night, as well as during the day.

M. studied at The National College of Art and Design and the School of Graphic Design, Oslo. She had several collective, group and solo exhibitions. She gives workshops for primary school children in Drammen.

She does photo, layout and illustration work for various magazines. She is member of the Norwegian graphic designers and illustrators association.

Zuzana Hudekova (Slovakia) BOYS AND GIRLS My plan is to focus on the differences in childhood. I am very interested in the differences between boys and girls and their unsteady opinions and interests which keep changing rapidly from minute to minute.

My inspiration comes from my everyday work in school. I chose this theme of unexpected ‘movements’ in children’s lives because it opens plenty of possibilities for visualisation and it’s a big challenge.

Zuzana studied stage and costume design at the Academy of Music and Performing Arts in Bratislava.

She spent several training study periods in Krakow 25

and Groningen. She made set design and costumes to several productions in Slovakia and Netherlands.

During her master study in Groningen she won the prize of the Jonge Harten Festival and consequently realized her independent projects 15 minmum and ANDEND. Her productions are ‘peeps’ into a secret space where everything is temporal; appearing and vanishing.

Theatre Festival, Pécs he created set design exhibitions. Further works were done at the National Hungarian Theatre, the Ericsson Gallery and the Prague Quadrennial – International Exhibition of Theatre Set Design and Architecture.

Patrick Bullock (United Kingdom)

˝ rinc Boros Lo (Hungary) THE TRAM Inspired by Trams in Budapest and Lisbon, as well as in the play text ’Emil and the detectives’ (Hungarian National PLATFORM 11+ production) I want to create a Tram coming out of the hillside – an interactive structure where audience and actors can be inside or out.

Lorinc studied at the Hungarian University of Fine Arts/ Faculty of Set Design. He has had exhibitions at the Hungarian National Gallery. At the National Drawings by children 26

SINK OR SWIM This interactive installation, inspired by the theme of ‘the playground’, consists of a child’s head, 1.5m in diameter, exposed to the bottom lip and flush to the ground. It is set within a series of raised concentric broken circles. The eyes are open and focused slightly upwards, and the hairless scalp is patterned with images, blank areas and shallow recesses. In this vulnerable state, it is as if all thoughts, needs, passions, morals etc, are exposed. The audience is invited to remove or replace objects placed within the head and write on the blank surfaces.

As the viewer moves towards and around the head, the work aims to provoke such questions as: Is the head rising up or about to sink out of sight? Are

2nd annual encounter the concentric rings surrounding it a barrier, a maze to confuse, a game or a set of rules to follow? I want the audience, through its interaction with the work, to reflect on how ideas and prejudices are implanted into the minds of our youth and indeed what ideas, prejudices, hopes, desires and dreams have been written and implanted in our own minds.

The work expresses the conflict between conforming with the norm and finding your own route.

Patrick studied at St Martins College, London and at the University of Brighton. Graduated BA Hons in graphic design and illustration. He likes to challenge the limits of what is possible, whether it be working within the framework of an exhibition, a commissioned art work, or a community arts project.

He has a broad range of skills and experience which include illustration, sculpture, ceramics, jewellery making, physical and vocal performance. He has exhibited in Brighton and London, including at the V & A. His most recent work includes large moving parade sculptures and theatre set design.

Maude Hélène Vuilleumier (Switzerland) PLAYGROUND (SCHOOLYARD) Inspired by research into different playgrounds, according to what structures are there created?

What is going on during the night on a playground?

Inspired by Shakespeare’s Midsummer Night’s Dream, where the forest turns during night into a world of fairies. You can’t influence, what happens around you. I like to create a playground high on the hillside – using both natural and unexpected materials.

Maude was born 1983 in Switzerland. She trained as a tailor and worked for four years as a theater tailor at the Theater Biel Solothurn. At present she studies Scenographical Design in Zurich at the Zürcher Hochschule der Künste. She has put on different exhibitions, costumes and scenes. It all began in childhood. During her involvement with a youth theater group she started to create costumes for the kids. maude.vuilleumier@zhdk.ch

Sink or Swim: Reference by Internet /Phrenology Head 27

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2nd annual encounter

Midsummer Night’s Theatre A European Theatre Event Whereas to begin with it was the visual artists who filled Teatro O Bando’s magical space with their diverse works of art, in the days of the Annual Encounter, it will be the actors and their theatres who will be presenting themselves.

The foremost goal in the first year of PLATFORM 11+ was the development of the so called ‘National Plays’ in each of the participating countries.

After extensive research in schoolyards and amongst young people in their home towns, the authors, who had been commissioned by the theatres, wrote their plays. The ‘Play Fairs’, which took place in Budapest, Oulu and London, gave the PLATFORM 11+ partners the chance to get to know excerpts of the play scripts in staged readings.

Vale de Barris – hillside, in the background Palmela Castle

The majority of the plays will be put on stage in the theatres in the 2009 / 2010 season. A wide range of productions have arisen out of the project: monologues and plays with big casts, some productions extravagant and others minimalistic, some for big stages, some for classrooms: Conflict laden, tragic, pointed stories as well as light, entertaining collages.

Europe will come to Palmela on the ‘Midsummer Night’, 26th of June, during the Annual Encounter.

Excerpts from the National Plays will be able to be seen in shortened versions.

It was the idea of João Brites’, Artistic Director of Teatro O Bando, to transform the picturesque Barris Valley, home of the theatre group for over ten years, into a giant Open Air stage.

The theatres have the opportunity to present their national productions on 13 small stages. This is a big challenge for the theatre groups who are used to performing under very different conditions in their well equipped theatres. In the Barris Valley there will only be tiny open air stages with a minimum of technical equipment. The duration of the performPalmela surroundings 29

ances will be limited to fifteen minutes so that all the audiences can see all the plays. The short plays will be repeated many times and the stages will be so close to each other that the actors and audiences will be able to hear the foreign language being spoken on the neighbouring stages.

The fact that all the partners were quick to agree to this unusual artistic challenge says a lot about the creative, trusting atmosphere amongst the Artistic Directors of PLATFORM 11+.

The audiences have good reason to be excited.

They will be witness to a one and only, never to be repeated Theatre Event. Each audience member has the chance to pick and chose between all the different presentations and because of this will thereby be able to experience their very own personal European Theatre Event.

There will be even more going on than the theatre performances. For those who are still fit, the secMidsummer Night’s Theatre: 13 stages in Vale de Barris, Teatro Bando 30

ond part of the night begins at 11 p.m. when the theatre lights go out. There are more surprises in store for those who are still full of energy. These surprises will be in the olive groves which stretch along the hillside and in which the artworks of the visual artists will be exhibited. There will be a night workshop in artistic glass production conducted by the Norwegian artist Marianne Loraas. Perhaps there’ll be a short Estonian language course, singing lessons with German Folk songs, or simply relaxed conversations about fishing whilst drinking Finnish liquorice liquor … and for those who run out of steam, there’ll be garden lounges upon which they can recharge their batteries in the lively stillness of the full moon night.

At around 5.30 a.m., when the last courageous survivors greet the rising sun on the hill top of the valley, and drink their first coffee of the day together, they will be able to look back on a unique experience :Theatre performances, visual arts, challenges to their own creativity, and definitely a lot of fun and a lot of interesting encounters.

Palmela, Land of Culture

PALMELA VILLAGE GOLF RESORT

Palmela, 30 minutes away from the capital Lisbon, is a wide territory, full of contrasts – between urban life and rural peacefulness; between centuries of rich heritage and the modern challenges of a developed territory.

Located in Portugal, between Palmela and Azeitão, surrounded by the Arrábida Natural Park and by stunning beaches, you will find Palmela Village Golf Resort, the perfect location for your holidays in an idyllic setting.

Known worldwide for its award-winning wines, Palmela’s municipality has a lot more to offer. The breath-taking landscapes of Arrábida’s Natural Park and River Sado’s Estuary Natural Reserve are home to preserved fauna and flora species.

This four-star resort is the perfect place for a relaxing vacation. You can enjoy the nature and the fascinating region, and all of this so close from Lisbon. Contemporary architecture, services, sports and leisure facilities for your total enjoyment and a surprising region full of traditions.

The fertile soils and strategic location justify its early occupation in pre-historical times. A visit to Palmela’s archaeological sites and historic monuments – the majestic Castle which was the headquarter of Santiago’s Military Order for more than four centuries being a strong example – is a voyage through different eras, from ancient civilizations to Arab dominium, from the beginning of the Portuguese nationality to the medieval charm still expressed at the town’s Historical Centre.

This is a stage that, year-round, receives multiple cultural activities. With more than one hundred cultural associations and a vibrant calendar, filled with music, theatre, dance, literature, plastic arts and street performance, Palmela is host to traditional initiatives, popular festivities and contemporary festivals like FIG – Giants International Festival or FIAR – Street Arts International Festival.

Home to the O Bando theatre group, Palmela awaits your visit.

Palmela Village Golf Resort, a four start resort, offers you a variety of accommodation, activities and services for complete vacations. From villas to apartments, Palmela Village Golf Resort is an excellent choice for those who are seeking the natural and historical richness of Portugal, and in particular, this region. And with Lisbon only 30 minutes away by car, the options for leisure activities are endless.

Discover the region, the golf course and the diversity of activities that the resort has to offer you and enjoy an unforgettable holidays at Palmela Village Golf Resort.

Pelicano Hotels & Resorts Av. José Manuel Eça de Queirós 2950 - 580 Quinta do Anjo Portugal Tel.: + 351 21 044 26 01 Fax: + 351 21 044 26 09 www.palmelavillage.com

OPL is a joint initiative of WWF and Bioregional www.oneplanetliving.org

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BRAGETEATRET Drammen, Norway Brageteatret is a professional theatre, run

by Buskerud County and Drammen City, founded by the owners and the Norwegian State.

Brageteatret’s main purpose is to produce and play theatre from the perspective of children and young people, as well as theatre with a multicultural perspective.

Brageteatret started as a project run by the culture office in Buskerud County in 1998, with the intention of building up a professional theatre in the county.

In 2001 Brageteatret became a Public Organisation, with its own board with members from the owners.

Heie Hallem and Igor Necemer in a scene from ‘Mirad, the Boy from Bosnia’.

Brageteatret presents more than 350 performances each year. The theatre plays for +/- 40 000 children and young people every year.

and dance performances, concerts, exhibitions, literature and cultural heritage. This means a total of 150,000 ‘Cultural Rucksack Experiences’!

We look forward to bringing our philosophy of children and youth theatre into the project Platform 11+, learning from other theatre institutions and cultures and developing new ideas about playing for this audience.

The Cultural Rucksack

Brageteatret is responsible for offering a variety of theatre and dance performances, both plays we have produced ourselves and productions we have bought from other companies. ‘The Cultural Rucksack’ is a very well-organised project. It could be interesting to bring our experiences into this project, as well as learning from other countries, how they have succeeded their work.

In 2001 Norway established a new concept with the purpose of giving all pupils aged 6 –16 quality encounters with art – ‘The Cultural Rucksack’.

In our region there are 146 schools, with a total of

We are looking forward to an inspiring and creative cooperation with dedicated theatres in Europe, sharing the hope that together we can both strengthen and lift Performing Arts for this challenging target

32,000 pupils. Through this program, the pupils are guaranteed 5 cultural encounters with art: Theatre

group, pupils aged 11–16.

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Mirad, the Boy from Bosnia

by Ad de Bont

This is the story about Mirad, a young boy growing up in Bosnia as the war started there in the 90s. On his 13th birthday he has one wish; peace.

which then suddenly stops. Without warning. It just stops, and then everything is quiet. The silence that surrounds you makes you uneasy, and can be

But instead he is witness to the rapidly growing conflict between the Serbs, Croats and the Muslims; people who used to live in peaceful understanding, without questioning each other’s faith and religion. After losing his dad and sister, and his mother being imprisoned, Mirad flees from the war, all by himself. In our story, he ends up in an asylum camp in Norway.

unbearable. Because it’s quiet, all quiet. Everything is safe and well. Suddenly you are a prisoner of freedom…”.

In our play, Igor Necemer plays the part as Uncle Djuka. Igor himself ran from the war in Bosnia, and was granted asylum in Norway when he was 16. He emphasizes that Mirad’s story is not his story, but says: ”to arrive in Norway from a land at war can be compared to being on a rollercoaster at 100 kmh Heie Hallem and Igor Necemer in a scene from ‘Mirad, the Boy from Bosnia’.

Mirad’s story represents all children on the run, fleeing from conflicts throughout the world. In 2009, 2,500 minor children (Unaccompanied Refugee Minors) sought refuge in Norway. Most of them are from Afghanistan.

Director Cast

Trond Birkedal Heie Hallem, Igor Necemer

Mirad is performed for all pupils aged 12 –16 in our county, Buskerud. Mirad also tours in other regions in Norway, and is among the finalists for the BEST PRODUCTION IN THE CULTURAL RUCKSACK 2010.

BRAGETEATRET

Before the Bell

by Liv Heløe

The secondary school student Janus, lives with his mum in an apartment block in a suburb somewhere.

He is not the coolest guy in the class, but neither is he one of the nerds. Actually, he is quite average.

But he has a crush on someone. He has a crush on Dina. A distant crush. Dina started in his class last autumn, and she has the most beautiful neck he has ever seen. Today it’s Dina’s birthday and Janus has bought her a gift. He has planned in detail how he’s going to surprise her with it, behind the gym after school. All this he’s thinking about, as he is standing by the window eating his breakfast this particular morning. Then he looks over to the neighbouring block, and in the windows to Leo’s flat. That bastard Leo. The bully in his class, always picking on someone. On people like Janus. He can see that Leo is smiling. Why is he in such a good mood? Has he got a new dog or something? He can see him stretching out his arm to someone. And then, in the window he can see Dina. In Leo’s room…

Nothing turns out the way Janus planned this day.

Everything changes, everybody can change. No-one is just the way they are, they are also the one they can be.

Before the bell will be performed for all pupils in our county, Buskerud.

Director Set/Costume

Cecilie Mosil Yngvar Julin

Cast

Oddrun Valestrand, Line Heie Hallem, Sulekha Ali Omar, Lasse Valdal, Kim S. Falck-Jørgensen

Review from the local paper Drammens Tidende, 22. January 2010

Educational Work Student work and exhibit: Before the Bell

Alone in a jungle of concrete We laugh – but why are we laughing at someone who bullies others?

That’s a question which the audience must answer.

‘Before the Bell’ is to be played at all the secondary schools in Buskerud during 2010.

Both pupils and teachers can look forward to a great experience!

The play ‘Before the Bell’, which is performed by professional actors, is based upon encounters with pupils and their thoughts and ideas.

Brageteatret has engaged a visual artist, Marianne Loraas to design the visual artistic expression for Platform 11+. She is working on an artproject with the pupils. They are making glass paintings referring to 9 headliners from the play.

One of these glass paintings will be sent as a gift to a country from the EU project Platform 11+.

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Galterud School wanted a decoration of their common areas. In this connection it was desirable to make decorations for the pure great walls of the school. That’s why we created the project to show a decorative task. About 100 children were involved, three teachers at the school and myself.

As an artist I believe it is important that students get the opportunity to work with good materials that are durable and professional. Therefore we started working with artist Kjell Nupen, who gave us the race from his artistic glass production, so that his art glass was reused (www.kjellnupen.no). Since the glass was fired at the school in the kiln, it was natural with small glass tiles of 20 x 20 cm. These we had bought at a cheap price and shipped free to the school by Kjell Nupens glassworks place in Kristiansand in southern Norway.

The piece, ‘Before the Bell’, consists of nine scenes.

These all have a mood and a theme. Writer Liv Heløe

Oddrun Valestrand, Line Heie Hallem, Sulekha Ali Omar, Lasse Valdal in ‘Before the Bell” gave all the parts in his piece a name for a feeling and students visualised them. Initially, this visualisation was non-figurative, but it proved to be challenging and therefore some of the images had figurative elements. The glass pieces were mounted in steel frames that vocational school students at Åssiden made.

BRAGETEATRET The nine scenes in the play are: 1. Uneasiness. Dream.

2. Expectation. Falling in love.

3. Frustration.

4. Hope.

5. Desire.

6. Humiliation. Shame.

7. Approach. Attempt.

8. Step.

9. Perspective. Weight. Completeness.

We put the glass pieces above each other and got 9 elongated images, each 20 x 180 cm. The works were exhibited at our Culture House Union Scene. Solemn unveiling on the opening day of Before the Bell, with speeches from the head of the Brage Theatre Terje Hartvigsen and Artistic Director Dirk Neldner.

The project inspired the teachers at the school for further work with glass material for next year’s students. The Culture House still holds the paintings, so the school must still wait a bit to make use of them.

Marianne Loraas (Visual Artist) Young artists from Galterud Secondary School Drammen with their glass images 39

ˇ , Czech Republic Divadlo Alfa Plzen The professional theatre for young audiences in Plzenˇ began in 1966 as The Children’s Theatre. In the 70s and 80s the renowned stage directors and repertory advisers (J. Strˇeda, J. Krofta, K. Brožek, K. Makonj, P. Vašícˇek and others) and stage designers (P. Matásek, A. Tománek, I. Nesveda, I. Marecˇková and others) cooperated with ALFA.

Scene from ‘James Blond’

Tomáš Froyda took over the position of managing director in September ‘06. The present artistic team, art manager and stage director T. Dvorˇák, dramaturgist P. Vašícˇek, art designer I. Nesveda, together with freelance colleagues and a 15-member ensemble of actors, prefers the comedy concept of stage work, in which a puppet is still chosen as a dominant and an extraordinarily attractive stage phenomenon.

The theatre shows address a large variety of audiences ranging from pre-schoolers to youth and adults. They offer an alternative to prevailing cultural trends – quality literary and art design, original stage sets, various puppetry techniques in combination with actors, synthetic form on the stage. Music, often live, always plays an important role. Especially important is the irreplaceable emotional contact with live art in a real cultural environment. The Alfa repertory includes a variety of genres and themes –

from classical and modern fairy tales to classical world-famous comedies.

The Theatre has visited Slovakia, the Ukraine, Switzerland, Austria, Hungary, Slovenia, Italy, France, Germany, Poland , Serbia, Croatia, Spain, USA, Finland, Portugal and Japan. The Alfa Theatre has been the organiser of the Skupa’s Pilsen Festival since 1967, the bi-annual Czech professional puppet and alternative theatres competition.

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Divaldo alfa

James Blond

By Vítek Perˇina

James Bond is everything that an ordinary human being cannot be. What’s more, he always emerges victorious from his highly dangerous escapades!

It’s the world’s longest running and most successful one-hero film series, with stories that came to be written by other authors, and with Bond played by a variety of actors. The bullet-proof super-spy, with his inimitable style, is clearly a figure calling out to be parodied – indeed, the film “dream factories” are also a rewarding target of parody.

Young Liberec author Vítek Perˇina has attempted to join these two phenomena together in his very funny persiflage “James Blond”. Perˇina paraphrases the most typical characters, motifs and “sounds” of the Bond myth, as well as taking aim at the bizarre behind-the-scenes life of the film studios. In one such studio, a film about Blond is being made, accompanied by considerable problems, mostly to do with the actor in the title role and his “blonde girl”. The production is designed for children aged 13+ and for adults.

Director T. Dvorˇák Set M. Zákostelecký (guest) Czech premiere 14th December 2009

Scenes from ‘James Blond’ 43

Now 55 31 13 Me The idea and aims of the project are connected with the principle of a balanced dialogue with young audience members as part of the resulting production. We categorically refuse to underestimate their abilities of perception and critical thought, and also refuse any form of manipulating them, trivialising or simplifying their world and the problems they encounter. The production and its text will also provide evidence of these problems.

The director working on the project is Petra Tejnorová, who together with dramaturg Mateˇj Samec is communicating with the two authors: writer Blanka Lunˇáková and writer and translator Bára Gregorová.

Gregorová and Lunˇáková’s role in the project is that of ‘literary professionals’, who are able to transform the collected and useable material into a literary Authors Director Set design Dramaturgy

Blanka Lunˇáková, Bára Gregorová Petra Tejnorová Máša Cˇerníková, Antonín Šilar Mateˇj Samec

Premiere

June 2010

and dramatic text. The material is, above all, a communication with the actors who will be taking part in the project, and the writing process is likely to partly overlap with the rehearsal process. The director and dramaturg are taking an active role in the creation of the text, not as joint authors but more as a leading, uniting and defining element.

The creation of a literary text is a phase that already assumes the potency of the situation, and which is also connected to the conception and the creation of characters for the actors. At the same time, the text should take the form of a theatre play that can be used in another theatrical or literary context.

This is what set designer Máša Cˇerníková has to say about about her work: “I started searching among the themes and ideas that our script writers are mapping: first, generational problems, second – the issue of the search for one’s own identity. I am starting with the second. For the workshop, I am looking at websites and teenage blogs all over the internet, where a lot of people explain what real Gothic is, who is totally out, what you need to wear to be a sweet lolita

haraiuku tokio… for example. But this is just junk surrounding the theme – in the workshop I will be searching more deeply for answers from the teenagers… how to exist in society, how to be visible, invisible, or… is there any permission, or prejudice, or do I, as a girl, have to be slim if I want to be successful? There’s been a case in the Czech Republic involving teenagers who took photos of teachers they hated and wrote very cruel comments, like the fashion police… one teacher wants to take a pupil to court…

There is oppression, compression … people are pushed by society to look a certain way.

The second thing is their own wish to look a certain way.

The third thing is what they themselves feel their own selves to be… self– examination, introspection.

The fourth thing is self-presentation - social networks (Facebook, Twitter), DIY video clips, photos taken by hand under the head to make them look thinner and cooler.

The fifth thing is to be visible/invisible.

How can I survive in this world even when I look how I look?… I will be searching for the answer to this question in the art workshop.”

Divaldo alfa STUDENTS FROM ST. NICHOLAS HIGH SCHOOL IN THE 11+ PLATFORMS CAME RESOLUTELY

Alfa Theater (Plzen) invited high school students from the Nicholas Square.

And will we also watch the game going on in the Alfa theatre?

And will we really ask ourselves what we have experienced?

And could be somebody like our Thomas be a character in the play?

And will real a theater director teach us ?

And will we be in an Alfa play too?

And could we play abroad?

In the Czech language?

The starting point of all artistic and educational activities of the project is a school hall, school garden or other meeting places for pupils and students, since they are the perfect places for inspiration and research.

Interesting topics should be uncovered. Subject matter that could be a source of interesting productions will be sought after. There should be a willingness to go into themes in depth. High school students will come up with material for adult editors and authors in creative workshops through their improvisations, comments, memories and fantasies.

They will also learn how what they have acquired and discovered can be the foundation of the show.

For the university students involved in the Platform 11+ project, it’s a great chance to gather experience in this area, to work with the current widespread issues that confront the high school students themselves, and to work with their teachers and leaders, as well as with fellow theater-makers.

High school students are invited to an unusual dialogue between artists and educators to discuss the

The first meeting with the Pilsen Nicholas School students provoked whirlwind questions, comments and twisting heads of disbelief. Leaders of the student theater group, teacher Tomas Otava, and his assistant Lucie Beránková, student of the teaching faculty, explained to the participants what could be awaiting them in the new year. The project leaders also introduced Roman Cernik, leader of Drama Studio at Teaching faculty of West Bohemian University. Mr. Cernik guarantees the educational part of the European theater project Platform 11+ on which

Students from Pilsen Nicholas School participating in a theatre workshop objectives and purposes of both the artistic and creative educational work. And this of course, is an integral part of the work on their own theater project and a way to express their views, feelings, opinions and attitudes, to understand each other.

The High School in the Pilsen Nicholas Square is one of the most important and most prestigious High schools in the Pilsen Region, founded in 1906 as II. Czech state secondary school in Pilsen.

45

VAT TEATER Tallinn, Estonia

VAT Theatre, the first independent Estonian theatre group, was formed on October 1, 1987.

The theatre company has a staff of 13 people and offers performances at home on stage at the National Library, and also at other theatres and cultural institutions.

Mask Workshop by Inga Vares

VAT Theatre is a small repertory theatre company with performances visited by 25,000 people annually. In the theatre’s repertoire there are adult plays and plays for youths. VAT Theatre is truly Estonian, as one million Estonians are regular theatregoers. In the theatre’s work there is a special place given to modern plays and plays of contemporary Estonian playwrights.

VAT Theatre tries to touch each spectator’s soul. The company’s main direction can be described as theatrical minimalism and it has adopted the epic and physical theatre principles. The Forum Group at the VAT Theatre, influenced by the Brazilian Augusto Boal who renewed theatre with the Forum-theatre technique, has been performing there since 1999.

VAT Theatre is supported by Estonian Ministry of Culture and Municipality of Tallinn.

47

Robinson & Crusoe

by Nino d`Introna and Giacomo Ravicchio

“There are so many people I could have met here in the middle of the sea, right? And then ... someone who doesn’t speak my language. Or me his language. And who will attack me to top it all! It is nonsense.”

The only thing in our story that has something in common with Daniel Defoe’s novel Robinson Crusoe is that two men meet on a restricted territory in the middle of big water. They don’t speak each other’s language. They are enemies.

Translator Director Set /Costumes Music Stage Fighting Cast

Ago Soots and Meelis Põdersoo in a scene from ‘Robinson & Crusoe’ 48

Kirke Org Aare Toikka Kaspar Jancis Ago Soots Tanel Saar Ago Soots, Meelis Põdersoo

The play is in one act and lasts 1h 30 min Target group: starting from the middle school age Premiere: 27.11.09 National Library Theatre Hall

VAT TEATER

Paperclip Belt

by Mare Sabolotny / Rein Agur

Awarded second prize at the Youth Novel Contest organized by the Estonian Children’s Literature Centre and the publishers Tänapäev in 2006, this production is an insight into the thoughts and activities of today’s youth. The main character, Kati, seems to be a normal rebellious teenager. The author has said in an interview: “I made a paperclip chain once and fingered it until it broke. Then I associated it with Kati’s personality. It is also made of small bits, seems strong, but can fall into pieces very easily.”

Director Set /Costumes Composer Choreographer Cast

Rein Agur Inga Vares Rivo Laasi Olga Privis (Russian Theatre) Katariina Kabel (guest), Margo Teder, Ago Soots, Meelis Põdersoo Musician Rivo Laasi The one act play lasts 1 hour and 45 min Target group: from the age of 12 upwards Premiere: 8th April 2010 National Library Theatre Hall

Scenes from ‘Paperclip Belt’ 49

Educational Work From October 2009 to April 2010 many activities that link youngsters and professionals, have been set in motion in Estonia. Ours first goal has been to engage 2 groups of youngsters in PLATFORM 11+ activities and work with the play ‘Paperclip Belt’, based upon a novel written by the 15 year old Estonian schoolgirl Mare Sabolotny.

work were born and were used in their play. The play ‘Paperclip Belt’ (directed by Margo Teder) premiered on the 1st of April 2010. Under the guidance of teacher Marika Reinmann, the theatre class has also been involved in the PLATFORM 11+ web activities. Dramaturg Marion Jõepera has been following the results of the workshops zwith theatre class.

The first group is Tallinn 32nd Secondary School’s theatre class group. The idea has been to give youngsters the possibility to observe ‘Paperclip Belt’ using different methods. Important was to develop their social sensibility on the topics of the play and to give them a chance to get to know themselves better. During forum theatre workshops (conducted

by Mari-Liis Velberg) young actors participated in forum play and also found their own conflict stories, which can often appear in their school environment.

During the visual art workshop (fascilitated by Inga Vares) the youngsters observed the characters of the play through art techniques. Fascinating pieces of

The second youngsters group is the VAT Theatre forum group, which has also been working with ‘Paperclip Belt’. A problematic scene was chosen and directed with the assistance of Mari-Liis Velberg and Margo Teder. The scene was played with two youth groups in Tallinn. For the forum group it has also been a new experience how to take material from a traditional play and work with it using forum theatre techniques. The forum group has also started cooperation with the dramaturge, with whom the group had a fruitful meeting in order to help dramaturge develop the play ‘Paperclip Belt’ more authentically for youth of today. The forum group met Inga Vares as well and got the first taste of how a visual artist works in theatre. The second aim has been to

Theatre workshop

VAT TEATER

use the forum theatre as a research method to discover real and touching stories from the youngsters, that can be interesting material for the dramaturge.

As well as this, the director of the VAT theatre play, Rein Agur, gave a lecture workshop for youngsters about masks. Both the theatre class and the forum group took part.

On the 8th of April 2010 Inga Vares opened the exhibition in the lobby of VAT Theatre. The name of the exhibition is 11+ t-shirts ‘Your Life is in Your Hands’.

There are eight t-shirts, that present creations of theatre class youngsters done in the art workshops.

They also wore these t-shirts in their schoo play as costumes. Masks, that the youngsters made, are part of the VAT Theatre play set-design. Seven t-shirts are Inga’s personal vision of the world of the characters from ‘Paperclip Belt’ and inspired by the theme of the exhibition.

Art workshop by Inga Vares 51

tjg. theater junge generation Dresden, Germany Founded in 1949 as „Theater für Kinder, Dresden, Deutsche Volksbühne“ tjg. theater junge generation (Theatre for the Young Generation) is Germany’s second oldest and one of the biggest children and youth theatres.

Florian Rast in ‘Rico, Oskar und die Tieferschatten’

The company comprises an ensemble of 18 actors and actresses, four musicians and since 1997, following the fusion with the Dresden Puppet Theater, seven puppeteers in the second section of tjg, the puppet theatre.

In 1950 the theatre moved into the former ballroom ‘Constantia’ in the western part of the city, close to banks of the Elbe river. The ensemble works in this very place and performs there on three different sized stages, one big hall and two studio stages.

These stages offer seating for about 650 spectators.

Puppet Theater performances take place in the city’s centre. The studio theatre on Prager Straße has a capacity of 100 seats.

In the tjg’s repertoire one can find fairytales, classics, contemporary literature and, since 2008, the so-called „Theater für die Allerkleinsten“ (Theatre for the Very Young), with performances for children from 2 years of age. Every year about 90,000 visitors

of different ages find their way to one or more of the 650 performances of 30 plays. There are about 20 premieres per season.

At the beginning of the season 2008/09 the Theatre Academy (tjg. theaterakademie) was founded. It’s a conceptional development arising out of the department of theatre in education at the tjg, created for new requirements regarding practical experience. A central aspect is intensified participation – the Theatre Academy is a modern offer to play for kids, teenagers and young adults – but most of all – to play WITH them, to let them become an active part in every stage of the creative process of playmaking.

Since the beginning of the 90s the tjg performs during the summer on several open air stages all over the city, ranging from a stage inside the city’s castle to a stage in the zoo and one in the park.

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Rico, Oskar und die Tieferschatten

by Andreas Steinhöfel

The bestseller „Rico, Oskar und die Tieferschatten“ written by Andreas Steinhöfel was adapted by Felicitas Loewe, the Artistic Director of tjg, and premiered on October 10 2009 on the main stage.

The story: Rico is ‘lowly gifted’. This means he needs a little bit longer for everything. But he has Adaptation Direction Set /Costumes Cast

Music

Felicitas Loewe Philippe Besson Henrike Engel Puja Behboud Roland Florstedt Benjamin Mathis Florian Rast Boris Schwiebert Bettina Sörgel Ulrike Sperberg Bernd Sikora

Target audience from 10 years

great powers of observation and he knows his way around his world. But when his friend Oskar is kidnapped, Rico must leave behind all that he knows… „Rico, Oskar und die Tieferschatten” is a mixture somewhere between a big city adventure and a children’s crime novel. A thrilling story about friendship, crime, treason, understanding and courage; a story in which the world isn’t an ideal one but one with space for problems that can be managed. A story which conveys to its reader that it is possible to be special, not just despite a handicap but even because of it. That one can master the tasks given by life with courage, curiosity and first of all – the help of a good friend.

Florian Rast in ‘Rico, Oskar und die Tieferschatten’ Scene from ‘I’m Sorry Dad, But I Have To’

THEATRE NAME

I’m Sorry Dad, But I Have To / Tower E

by Laura Naumann and Jan Liedtke

School is coming to an end, plans change and a new life begins. But how should you know it all works?

Where you should go? What you should do? And how to mess up?

Who are we and where do we want to go? What is important to us? What is our attitude towards things? And how far do we really want to go for it? Two young men try to figure out their position.

With one foot still under their parents’ table and the other out the door into the world, they try to find their own way between what they want and what is expected of them. Between the longing for the little luck and the wish to really change something in this world. To make a difference. On this journey they must leave something behind, something that has been part of their lives the whole time and decide who is going to have influence on their life. Who will be important, who will really have something to say?

With the premiere of this play by two young authors, tjg reflects upon the fears that worry young people and the thoughts and hopes that might urge them on as they cross the threshold to adulthood.

No question – the young authors have found a way to make a difference for themselves, to really have something to say. If that is making them happier, nobody is supposed to judge. But it brings them closer to those who we as theatre want to meet at eye level – and have to. To be able to meet them in their world of experience, at their fears and hopes.

Director Ania Michaelis Stage /Costumes Grit Dora von Zeschau Music Bernd Sikora Cast Herrmann, Marja Hofmann, Manuel Krstanovic, Babette Kuschel, Benjamin Mathis, Florian Rast, Ulrich Wenzke Musicians Jan Berthold and Bernd Sikora Target audience 14 years+

Educational Work Being the heart of the educational work, tjg’s theatre academy reaches out to non-professionals with a special interest in the theatre. The academy opens the doors of the theatre for people of all ages. Young children can participate in programs to develop theatre forms for children from two years up. Young people and adults can choose from a variety of workshops and trainings all the year round.

Teachers can benefit from professional training and support for school theatre projects. Schools can make partnerships with the theatre in short or long term co-operations to develop the artistic and social skills of students, as it can be seen, for example, in the actual work of object artist and director David Reuter, theatre educators Armin Beber and Katrin Jung of tjg at a school in the city’s heart, called Gymnasium Bürgerwiese for Platform 11+.

After talking to their parents and grandparents about what the GDR was all about and how everyday life felt, pupils of 5th and 6th grade teamed up with the tjg.-crew to build an in-classroom time machine, filled with objects – touchable memories – 56

documents and costumes. A room, in which a short journey through what was reflected by the kids was staged, handling memories as well as stereotypes, both as natural part of the also so called „oral history“ project. After the project premiered, several other classes of the school came visiting and experienced the ‘time machine’ as well as teachers, parents, the press and public.

In this way the work within Platform 11+ also becomes part of several site-specific theatre shows the theatre academy creates for unusual places in Dresden during each season. One of them, for example, took place as special happening in the changing rooms of a big fashion store in downtown Dresden. With this production the theatre academy was invited to the German national school theatre festival.

Rehearsal with costume check in classroom at Gymnasium Bürgerwiese Boy from 6th grade wearing a GDR military hat, found in the parents’ attic.

ELSINOR TEATRO STABILE D’INNOVAZIONE Milan Florence Forlì, Italy Elsinor Teatro Stabile d’Innovazione is the first interregional centre of theatrical production and performances in Italy.

Elsinor offers plays and children’s theatre, as well as organizing theatrical seasons and training laboratories, carried out in three regions considered highly influential for Italian theatre: Lombardy, Tuscany, and Emilia Romagna. Elsinor is represented by ‘Teatro Sala Fontana’ in Milan, the ‘Cantiere Florida’ theatre in Florence, and the ‘Giovanni Testori’ theatre in Forli.

Exposition in the theatre in Milan

Elsinor’s strong commitment to the exploration of contemporary theatrical prose, and the exchange and synergies inspired by traditional and new approaches to theatrical classics, is shared by all the artists, directors, scenographers, set designers, costume designers and actors of various backgrounds who make Elsinor what it is today.

Elsinor has also presented the historic event ‘Cento Canti’, a public reading of 100 hundred verses of Dante’s Divine Comedy, performed in special locations in the cities of Milan, Bologna and Florence, where the event is already in its fifth season.

Through diverse collaborations between artists, local governmental institutions, universities and schools, in response to the increasing demand for access to theatre as a didactic tool, Elsinor offers theatrical training, workshops and special events to schools and universities.

An important example of this is ‘Segnali’, a children’s theatre festival organized in collaboration with ‘Teatro del Buratto’ and the Lombardy Region.

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The Paul Street Boys

by Ferenc Molnar

In June 2009, the Mandelli secondary school in Milan, opened the show with an adaptation of Ferenc Molnar’s novel ‘The Paul Street boys’. The novel was adapted by Giuditta Mingucci in collaboration with the pupils of the school, who then became the actors in the play under the direction of Stefano Braschi.

Two classes, divided into four different casts, presented the play for four different groups of audience simultaneously.

The performance started in the beautiful setting of the schoolyard, then each group, lead by two of the young actors, moved trough the classrooms and corridors of the school, to follow the story and then returned to the schoolyard for the final battle among the Paul Street boys and the Red Skirts, and the conclusion.

Scenes from ‘The Paul Street Boys’

Adaptation Giuditta Mingucci Direction Stefano Braschi Cast

It was a great experience that was repeated in February 2010.

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classes II A and B of the year 2008-2009 of the school Secondaria di Primo Grado Andrea Mandelli, Milan

ELSINOR TEATRO STABILE D’INNOVAZIONE

The man on the horse (working title)

by Giuditta Mingucci

In the yard of a secondary school there is a statue: a man on a horse. A king, maybe, or more probably a general; Garibaldi, Cadorna, or Lamarmora… who knows? The name on the plaque is illegible, and the man on the horse doesn’t remember anymore who he represents. Trying to discover it is his favourite occupation, when the lively routine of the institute gives him the time to do it.

But he remembers a lot of other things, and he is surely able to introduce us to the life of that school, because he has been an attentive and passionate witness of it for some decades.

No one takes him and his horse into account, but everybody loves them, and some even open their hearts to him.

Human beings are really strange, this is the opinion of horse and horseman. But the horseman loves to

have human beings around, with their stories and liveliness. It’s necessary to take care of them.

Especially now: there is something strange in IIIA. Unusual behaviours, silences, elusive looks, whispered sentences among the kids … what can be behind this?

Our solitary hero can’t avoid noticing what’s going on with the kids, so he immediately starts to try to help them, doing what he can do best: watching and listening.

The play will be presented by a mixed cast of professional actors and young people. The opening will be in September 2010 in a schoolyard in Milan.

Exposition in the theatre in Milan

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Educational Work Elsinor’s educational work in schools is particularly focused on theatrical workshops for the creation of performances with the kids, often starting from classics they study. To be the protagonist of a theatrical event is an incredible experience – and something you can share with those that come to see the show; so that, in a school, the theatre workshop is important not only for the classes that do it directly.

It’s an event for everyone.

Beside the usual theatre work, this time we had the research of the playwright with young people.

This research consisted of conversations, interviews, rehearsals with professional actors, readings, and then a workshop with the set and costume designer Ilaria Ariemme, in the case of the ‘Stepping Exhibition’. Here are some notes she wrote about this experience:

Art workshop at Mandrellli school in Milan by Ilaria Ariemme 62

What does it really mean to stage a show, to present a character? Simply copying life it’s impossible to enter it until the end. Theatre should come into reality, to experience things, wondering where they come from, what they are... You need to know things, to reinvent and offer them to the viewer. I wanted to say this to the children.

“If you had to represent the devil, what would you imagine the devil would look like?” “wearing red! with horns, tail, a pitchfork!”

So I told them of the ‘Faust’ directed by Eimuntas Nekrosius, where the audience recognized the devil only seeing the bright red soles of his shoes - the single colourful detail in an otherwise black costume. A little detail, but a detail full of meaning and poetry that makes one feel the truth of that character.

The enthusiasm exploded. Thus the idea of making masks was born.

Some of the funny results: A man on a horse: “I don’t know who he is because he doesn’t know who he is – so he doesn’t have any face!”. So the mask is completely white, abstract,

and made of gauze to represent the evanescent reality of this man.

The King is giant, full of himself; so the mask has evil eyes, blue beard like a pirate... but he is also inconsistent because he exists “only in the imagination of a boy”.

Video Jack has a paper face with sad expression and above it a transparent level (the camera eye) upon which is drawn a happy expression that can change Jack’s emotion.

Gesine: nobody in this story loves himself, everyone wants to be some one else. So her mask is composed by many pictures cut from magazines - a strange collage of different and contrasting details.

Armando: happiness, Italian appearance, passion for work and for ice cream... So his mask has a big icecream-hat; or is made with cup, plastic teaspoon, little cherry...

Scene from ‘The Paul Street Boys’

THEATER DE CITADEL Groningen, The Netherlands

Theater De Citadel was founded in 1992 by artistic director Rob Bakker and since than it has been the professional theatre company in the North of the Netherlands, making productions for children and teenagers.

TEAM Artistic Director Visual Artists Art Education Playwright

Meeuw (Seagull)

Rob Bakker Michiel Johannes Jansen Roos Glastra Bouke Oldenhof

The company works with professional actors and makes about three productions a year, which are suitable for people aged 4 upwards. One of these three productions is specially designed for the 11–18 year old age group. On average, the company performs 120 shows a year, mainly in the North of the Netherlands. Most performances are take place in schools, gyms or classrooms, and there is a strong relationship with the teachers at the schools. Each production has an educational program especially made for the production and its audience. Besides this, De Citadel plays in their own theatre or in other theatre locations.

It is a political choice to work like this, and De Citadel is the only company who makes such a choice.

Through our work, children from all layers of society get in touch with theatre. The choice to bring theatre to the schools is not a random choice. School

is first and foremost a place to learn subjects such as maths and writing, but it’s also a place for social skills and creative activities. On top of that, it’s the place where you meet your first enemies and friends, or where you get your first kiss.

65

There is a lot happening in a child’s life. A child not only experiences disasters displayed on the TV news, it also experiences other troubles close to home, like arguing parents. Our theatre can be a way of putting an arm around childrens’ shoulders, giving them a pat on the back.

Theater de Citadel wants to confront children and youth with beauty. Especially in this age. Especially in this world. Theater De Citadel wants to teach children and teenagers to read the theatre, to love the theatre, give them insight in theatre so they can learn to distinguish between styles and genres.

Meeuw (Seagull) Based on Anton Tsjechov. Edited by Bouke Oldenhof

The story: Nina lives in the country, by a lake. She would love to become an actress. When a family from the city spends their summer by the lake, Nina feels as if her life is finally starting. The son of this family has written a play and asks Nina to play the leading role. Nina doesn’t know what’s happening to her and lets it all wash over her. It tingles, it is light, it is big. How beautiful life can be.

Meeuw is about people who dream of happiness and the fragility of it. Those who dream of happiSaskia Driessen in a scene from ‘Meeuw’

ness and try to form their selves will surely be disappointed. But are you better off when you don’t try at all?

Direction Choreography Costume Lighting Design Décor

Rob Bakker Carla van Zanten Arien de Vries Hans Boven Martin Versteegh

Cast

Raoul Copier, Saskia Driessen, Brenda Hauer, Koen Jantzen, Ijbert Verweij

THEATRE NAME

De moeder, de vader en de rest (The mother, the father and the rest)

by Bouke Oldenhof

The Mother, the Father and the Rest is a play about the need to see our own lives as meaningful stories, because if we don’t see this, we regard our lives as worthless. Two actors investigate the disturbing life of Eric van der Vorst, a young boy whose life is already in a state of disrepair, even in the early years of his upbringing.

This play is about the determination of a brave boy who will hold on to his integrity, so that it won’t be taken. In the intimacy of the classroom an unexpected reality appears.

Director Rob Bakker Cast

Erik Koningsberger, Lies van de Wiel

Erik Koningsberger in a scene from ‘The Mother the Father and the Rest’ 67

Educational Work We’ve adopted two first and two second year classes at Zernike College in Haren for the project. These classes will be connected for all four years.

Our visual artist Michiel Jansen has begun work with them on a weekly basis. In his words: armed with six tiles and pieces of chalk they create their own fundamental box. Together they develop the content of that space. All sides painted as colorful blackboards. By constantly reworking the model they fill it with opinions and ideas and start the collection of ingredients of a story they have to tell.

All four classes have taken part in these classes. Each class has had six lessons. Both the ongoing process and the final result have been photographed.

‘Meeuw’ was performed for children aged 10 –15.

Before coming to our theater each school received an educational booklet. There was information about the original writer, each of the actors answered questions about themselves and their role, there was a writing assignment and questions for the Workshop by Michiel Johannes Jansen

teacher to ask the children after seeing the play.

Also the schools could book a workshop from our educator. Here they got to know the characters and texts of the play by playing an especially designed large board game.

Our national production ‘De moeder, de vader en de rest’ is touring now. Educational material has been sent to every school where the play will be performed. Four performances have been given at our adoptive school, Zernike College. The teacher guiding the project will also make use of this material.

The classes will each write their own biography. By picking cards from the material, the age, sex, job, and an important event in the life of this person will be determined. Then by using a list of questions the class will form this life story.

After this, the class can choose one of three processing assignments: draw the cover of the book to this biography, write a diary page of this person, draw a cartoon of the important event. When this is all done there is also the possibility of dividing the class into 5 groups. Each group gets a card saying which part of the biography they have to write down.

Thus they form their own book.

THEATRE INSTITUTE Bratislava, SlovakIA The Theatre Institute (founded in 1961) is a modern European institution under the Ministry of Culture of the Slovak Republic and its mission is to provide public with complete information services regarding theatre. The priority of the Theatre Institute is its scientific, research and publishing activity.

Scene from ‘Milkteeth’

The Theatre Institute organises cultural and educational events, either independently or as part of a co-operation – using, for this purpose, its own multimedia space, The Studio 12.

The Studio 12 was founded in December 2001 in order to establish a theatrical setting for the presentation of new Slovak and world drama as well as contemporary art.

Originally founded for the presentation of contemporary theatre plays, it became home to a wide range of contemporary theatrical content and a space for the presentation of different cultural or social groups, especially young artists and civic associations who orient on new tendencies and authorial work.

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EDUCATIONAL PROJECT

NEW WRITING DRAMATICALLY YOUNG (Dramaticky mladí) For pupils from primary and secondary schools, a 3 year long project of the Theatre Institute called ‘Dramatically Young’ has already been established.

One main goal is educational work in the field of script writing to give participants the right kind of environment where they will be able to develop invaluable skills and grow in confidence, gain team working abilities, improve communication skills and to offer an outlet for their self-expression.

Between 2007 and 2009 the Theatre Institute established and supported several afternoon drama writing classes for young people, without age limits, in different cities across Slovakia.

Finally, at the end of each school year, there were stage readings arranged by professional theatres.

Each year the results were outstanding, there were a high number of new drama texts written by kids Stage reading, Dramatically Young 72

THEATRE INSTITUTE THEATRE PROJECTS

ˇ ne zuby) MILK TEETH (MlieC Another reference project for the Theatre Institute is a laboratory of a contemporary drama called ‘Milk Teeth’.

It is a cycle of introducing new authors and staging their authorial projects. This platform for young artists was established in the spring of 2007 and its ambition is to support authorial projects of future professional theatre artists. Studio 12 is a home theatre stage for the young creators.

Stage reading, Dramatically Young and a professional level of the events of stage reading where young writers had a great opportunity to see their literary work on the stage. The main aim is improved literacy skills, leading to increased confidence in writing. These opportunities often provide a lasting relationship between the participants and the theatre.

During the first year of the international project ‘Platform 11+’ two plays were written for young audiences by professional young playwrights from the Slovak Republic.

Scene from ‘Milk Teeth’ 73

JUMP OUT OF THE SKIN ˇ iT’z kože) (VyskoC

ONCE IT HID ME ˇ a kedy’s) (MN

ON THE YARD (Na dvore)

by Zuza Ferenczová

by Michaela Zakutànská

by Dávid Šimon

The second play written by Michaela Zakutànská takes place among the 14 year old classmates in the ninth grade of elemantary school. The characters meet up at school, at home or at the tenement between the houses. The story begins at a traditional Slovak recitation contest, Hviezdoslavov Kubin, where each one declames their texts, through which the nature of characters is exposed. The production of ‘Once It Hid Me’ is a site-specific project which takes place in a typical elementary school in the places of school class, cloakroom, hallway, etc.

A short movie shown before ‘Once It Hid Me’. The storyline comes from the script by 14 year old Dávid Šimon from central Slovakia, who wrote the text during our drama writing classes. A short story about the main character Dávid and his everyday life when he was 12 is interlaced by statements and opinions from real children and young people on different questions about the story in the movie, its characters and theme. It also contains their ideas about the kind of theatre and themes that would interest them. It is a kind of sociological review about young people, what they really like and what actually interests them.

‘Jump Out of the Skin’ is a very present-day poetic story of a main character with a general name GIRL who is trying to find the best way out for her private and a secret problem – an unwanted pregnancy.

Workshop with the Visual Artist Zuzana Hudekowá

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Director Dramaturgy Visual artist Video art

Júlia Rázusová Michaela Zakutànská Zuzana Hudeková Lukáš Kodonˇ

Cast

Judit Bardos, Marta Matòvá, Adam Hrapko, Peter Brajercˇík

Director Dramaturgy Visual artist Video art

Lukáš Kodonˇ ˇ urcˇová Katarína D Zuzana Hudeková Lukáš Kodonˇ

Cast

theater ensemble Klasik

THEATRE INSTITUTE

Educational work Permanent workshops of creative drama writing The project’s main educational priority at a national level is to support creative drama writing for young people. Theatre Institute invites professional theatres to co-operate in the educational field. Four professional Slovak theatres from different cities agreed to a close co-operation: Slovak National Theatre Bratislava, Municipal Theatre Žilina, Slovak Chamber Theatre Martin, The Old Theatre of Karol Spišák Nitra. Each theatre runs workshops in creative drama writing for young people aged 11–15.

Everyone who joined the workshops received a backstage pass which allowed them to visit performances where they are taking classes and become a virtual, imaginary member of the professional theatre company.

The aim of running the workshops in professional theatres is to bring youngsters to the theatre. The other side of the coin is that theatre makers can be closer to young people – their potential audience – and can start to understand them better and listen to them closely. To deepen the relationship between the theatres and young people we asked professional dramaturges from the theatres to become a lectors and heads of the workshops.

Special parts of the creative drama writing workshops were devoted to work with visual artists and with professional playwrights. Visual artists were working with the language of new media (digital cameras, etc.) and how to use them as an aid to create attractive stories. At the same time professional, well known playwrights analysed texts written by the kids from the group and helped them to move forward with the new ideas, different inspirations and talked about personal writing methods.

During the biggest national theatre festival ‘Dotyky a spojenia’ in Martin, which takes place in June, there will be an annual meeting of creative drama writing workshops arranged for mutual meetings with kids from the groups, an evaluation meeting for the lectors of the workshops, stage readings and presentations, made by professional actors, of the texts written during the year, and an award ceremony for the competition ‘Dramatically Young’ and the production ‘Once It Hid Me’.

Dramatically Young (DRAMATICKY MLADÍ) COMPETITION The Theatre Institute announced a national competition for the best drama play of young authors up to 18 years old with the main theme being a schoolyard. Anyone who was willing to try something new, creative and had some ideas to share could take part by sending the play to the Theatre Institute. The jury was made up of the well known writer Daniel Hevier, a head of a dramaturgy in Bibiana, International House of Art for Children’s Eva Cˇárska and playwright Zuza Ferenczová.

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OULUN KAUPUNGIN TEATTERI Oulu, Finland Oulu City Theatre is located on the island of Vänmanninsaari in the estuary of the Oulu River, close to the commercial centre of the city and just beside the Market Place. There is also a bridge connecting it to another island housing the idyllic artistic community of Pikisaari. Since the theatre is somewhat larger than the island on which it stands, part of it is built out over the water.

History 1931 1951

Oulu NäyttämĂś (Oulu Stage) is established The theatreâ&#x20AC;&#x2122;s name changes to Oulun Teatteri (Oulu Theatre)

Scene from â&#x20AC;&#x2DC;Schoolyard Storiesâ&#x20AC;&#x2122;

1965

The municipal Oulu City Theatre is established, performances are held at todayâ&#x20AC;&#x2122;s City Hall.

1972 The theatre hall, designed by architects Marjatta and Martti Jaatinen, is built.

2002â&#x20AC;&#x201C;04 The old theatre hall is renovated and an extension added. During this time the Oulu City Theatreâ&#x20AC;&#x2122;s main stage is at Teatria, a former Atria meat packing facility.

Technical Facts Architect Sampo Valjus was in charge of planning the renovation of the old theatre hall and an extension was added, increasing the space by about a third. The technical equipment was also modernised, and the large stage now has several lifting devices, a movable, horizontally operating curtain, new lighting and sound systems, modern communications and security systems. The theatre equipment is operated by the

buildingâ&#x20AC;&#x2122;s highly skilled technical staff, and the restaurant is in the capable hands of a first-class chef.

The renovated theatre hall facilities: t .BJO 4UBHF TFBUT

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t 0UIFS GBDJMJUJFT JODMVEF .BJO BOE 4NBMM 4UBHF foyers, the Cabinet, the actorsâ&#x20AC;&#x2122; foyers etc.

Main Statistics Oulu City Theatre annually presents t QSFNJFSFT t "SPVOE QFSGPSNBODFT XJUI SPVHIMZ spectators t "O PQFSB QSPEVDUJPO BOE PUIFS NVTJDBM UIFBUSF productions 77

t 5 IFBUSF QSPEVDUJPOT GPS DIJMESFO BOE UIF BOOVBM Oulu International Childrenâ&#x20AC;&#x2122;s Theatre Festival t /FX EPNFTUJD BOE GPSFJHO QSFNJFSFT The theatre employs t "SPVOE BSUJTUJD TUBGG *O BEEJUJPO UIFSF BSF guests, especially in musical theatre productions t "SPVOE QFPQMF XPSLJOH JO TUBHF QSPQFSUZ room and wardrobe t "SPVOE UFDIOJDBM TUBHF XPSLFST JO SFIFBSTBMT and performances t "SPVOE FNQMPZFFT JO UIF UIFBUSF BENJOJTUSBtion, ticket office and customer service duties

Prinsessa Rosa Ruusunen (Sleeping beauty)

by Pirjo-Riita Tähti

The play is a modern version of the classic fairy tale The Sleeping Beauty.

This Main Stage production is a magical spectacle, full of theatrical razzmatazz for the whole family.

The songs carry the princessâ&#x20AC;&#x2122;s story and development from her fateful christening to her life as a young maiden.

Director Set design Costume design Cast

The artistic visuals are created by Oulu City Theatreâ&#x20AC;&#x2122;s finest Set designer Olli Mäntylä and an award-winning Costume designer Pirjo Valinen.

Inspired by the story, tulle was used as a material for the fantastic castle construction that glows and reflects light and video projections and the costumes were inspired by different elements of nature and soft toys.

Pentti Korhonen and Tatu MĂśnttinen in a scene from â&#x20AC;&#x2DC;Sleeping Beautyâ&#x20AC;&#x2122; 78

Opening

Iiris Rannio Olli Mäntylä Pirjo Valinen Heli Haapalainen, Anneli Juustinen, Anna-Kaisa Järvi (visiting), Anna-Leena Järvi (visiting), Hannu Kangas, Jaana Kahra, Pentti Korhonen, Tatu MÜnttinen, Anneli Niskanen, Hannu Pelkonen, Janne Raudaskoski, Kari J. Ristolainen, Anne Syysmaa, Liisa Toivonen, Riitta Toropainen (visiting), Riina Uimonen, Tuula Väänänen 22 January 2010, main stage

Koulupihan tarinoita (Schoolyard Stories)

by Jukka Heinanen

All the actors are young people, aged 14-18, hired especially for this production. Most of them have been seen in Oulu City Theatre productions before, e.g. ‘On Golden Pond’ that premiered in January 2010 and a very successful production of ‘West Side Story‘ in the spring of 2009. Both were directed by Heta Haanperä.

The play is a collage of different stories, all linked together by the shared experiences and feelings of youth. The collected stories give vivid glimpses into the world of today’s young people.

Oulu City Theatre proudly presents a double premiere: We also stage a play written and performed

by Oulun Normaalikoulu’s class 4A and Oulu University’s Arts and Crafts orientated teacher training program students who form the “TAIKAEnsemble”.

And furthermore, we also present the visual arts exhibition produced in the project schools, under the direction of Maija Tuorila.

Director Heta Haanperä Set design Maija Tuorila Cast

Oiva Nuojua, Sini-Maria Tomperi, Jenni Siuruainen, Raoul Mahnjeh / Aukusti Kiuru (taking turns)

Opening

22 April 2010

Scene from ‘Schoolyard Stories’

Educational work The project’s first phase of the national production began in August 2009 with a class from Oulun Normaalikoulu. Teacher Marianna Junes-Tokola’s class 4A consisted of children aged 10 -11 years. We liked the idea of the class ‘growing’ in the project lasting four years. The theatre professionals who started the mutual research journey with the children were dramaturge Jukka Heinänen, director Heta Haanperä, set designer Tuorila and actor Marko Tiusanen. After the initial visit to the school to meet the kids and photographing them in their schoolyard, the class worked with Heinänen to create stories and characters. Director Haanperä directed some improvisation sessions and Tuorila’s workshops concentrated in producing material for the exhibition and a ‘Postcard’ to the school in Portugal just in time for Christmas.

In the beginning of 2010 we started co-operating with another school called Myllyojan koulu where we worked with 5th and 8th graders, children aged 12 and 14. The purpose of this was to get older children’s perspectives, to enter another schoolyard and so to extend our project. Workshops were run twice

a month at the schools and the classes also visited the theatre many times during 2009-2010.

At the Oulu International Children’s Theatre Festival in February we launched a ‘Platphone’, a story collecting phone booth. In April the phone booth went touring in the Oulu Upper schools.

The youth production process began with the pupils writing their own stories and collecting stories at their school. Oulu University’s Arts and Crafts orientated teacher training program students headed

by University Lecturer Hannu Heikkinen brought another dimension into the process. Heikkinen also acts as one of the Arts Educators in the project and together with his students, teacher Marianne JunesTokola and her class, directed and rehearsed a play to present at the theatre. A performance of a play based on the pupils’ own research was presented in the Preview and Premiere of Koulupihan tarinoita 21– 22 April 2010.

‘Platphone’ - the story-collecting phone booth First school workshop (with Jukka Heinanen, Heta Haanperä , Marko Tiusanen)

EMERGENCY EXIT ARTS London, United Kingdom Emergency Exit Arts is an organisation with the vision, imagination and capacity to deliver unforgettable and engaging theatrical events.

Street Arts Academy rehearsing ‘The Pack’

Formed in 1980, EEA is one of the leading celebratory, outdoor arts companies in the UK, creating high quality and innovative artistic work that is both challenging and accessible. We devise and produce outdoor performances and community based arts projects on a grand scale. These involve communities in local, regional and national festivals, animating and enhancing public and private spaces and creating spectacular touring shows. EEA has a successful track record of using the arts to bring communities together in large, well-attended, public events that combine lantern processions, carnival and visual arts, new technology, street theatre, music, dance and pyrotechnics. Through participative arts projects, EEA provides an exciting and enjoyable way for people to explore personal, local, national and global issues. The creation of art develops shared values and experiences that lead to greater understanding of one another and the world around us.

In 2009/10, working with around 150 artists, musicians and technicians, we delivered workshops to over 150,000 participants, worked in over 40 schools, performed nearly 100 events in the UK and Europe, and were seen by an estimated 800,000 people.

We are based at Rothbury Hall, on the Greenwich peninsular in South East London. The premises provide workshop space for the design of materials for multi-disciplinary participatory arts projects, the fabrication of large, mechanical puppets, animated structures and carnival floats, the creation of costumes, banners and flags, and a home for the Bollywood Brass Band.

The company sees the role of the artist as central to its ethos: it has always been, and remains, an organisation where the ‘chemical’ reaction between artists from different disciplines creates EEA’s culturally diverse, visual, theatrical and musical style of celebration and performance.

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Street Arts Academy EEA created the SAA as an opportunity for young people to engage in cross-art form activities leading to performances in public outdoor spaces. It is led by a 16 strong Youth Panel of 13-17 year olds.

Why Street Arts? We believe that theatre on the street frees the audience and performer from the constraints of the formal setting, creating the space for invention, improvisation, interaction and confrontation. This interchange provides moments of sheer creative excellence and absolute joy, moments that are shared in the instant and completely unrepeatable.

Street Arts Academy, South Bank

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“It’s about taking ownership of the streets that you live in”. Sam Holbrook, Youth Panel member

Throughout the summer months young people in the Academy devised new performance work around ideas of Pack Mentality, drawing inspiration from the Imperial War Museum who hosted the project. Relating these ideas to insect life, the group designed and made costumes, choreographed and directed, and then performed in the Museum grounds, on the South Bank, and as part of the Thames Festival Parade.

School Ties February 19-20, 2010 In partnership with Lewisham Youth Theatre.

After four months of weekly workshops our creative team and 36 young people moved into a disused

primary school for an intensive week of rehearsals and installation. A brand new text written by Arji Manuelpillai, a truck full of props and set created by our artist Patrick Bullock, four directors, hundreds of meters of cable, lights and PA, a few eager technical trainees from a local college, and many long days and crossed fingers… and School Ties was born.

Using 17 connected spaces in the building we divided our audiences into class groups and took them on a tour of their ‘new school’ – introducing them to the teachers, the students and the experiences they may encounter when starting secondary education. Characters our young people had written and devised with Arji included a three headed Headmaster, RudeBoyz in the schoolyard, and Miss Hunniford; a small but enthusiastic teacher who lived in a handbag.

Sold out performances had audiences both roaring with laughter and terrified at being left waiting outside the Headmaster’s office.

School Ties – Miss Hunniford chats

Educational Work At EEA we work with schools and young people to devise and produce performances on both a grand and an intimate scale. Our writer Arji, and artist Patrick are regularly involved in projects with young people, working alongside our Participation Officer Chloe and an extended team of facilitators, makers and musicians. For Platform we worked with Lewisham Youth Theatre, and built a creative team from both organisations to work with two groups of young people aged 11-14 and 14-16 years.

Our writer Arji explains how we began: We knew that school playgrounds were the theme but how to frame this exploration in an exciting way? Using improvisation we played with perceived cliques within school and I observed the reactions of young people: did they enjoy what they were doing and could I use their ideas in the writing?

The older team were serious, and really took to the characters outside of the classroom. The younger team had an entirely different dynamic: they were School Ties â&#x20AC;&#x201C; meeting the parents 86

EMERGENCY EXIT ARTS energetic and enthusiastic about the project but struggled to imagine how the piece was going to materialise.

We had two boards on the wall where we evaluated and documented the work. Characters, situations, words, lyrics and pictures were placed there as a resource. Recording devices assisted the whole process. Often, I would take exactly the words of the young people and inject them into the script.

this a small exhibition of Patricks own work – beautiful lightbulbs of inspiration outside the Headmasters’ office – but in reality, the whole school became our exhibition, every space an installation.

The quality of the experience for the young people could be seen in the final days of the project where they rose to the responsibilities of interacting with

an audience, taking ownership of their spaces, editing the script to suit the environment, and improvising with it during performance. ‘School Ties’ did exactly that – it tied script, venue, exhibition, young people and audience into one extraordinary experience.

Street Arts Academy rehearsing ‘The Attack’

Our Artist Patrick led design and puppetry workshops encouraging the team to think visually about their ideas. By January we had model boxes, puppets, drawings, a script… and an empty school. We felt strongly that staging the work in a school rather than on a stage would encourage our team to experience the project differently. Rather than 17 scenes on 1 stage, we had 17 spaces: each room or corridor inhabited by characters. 4 groups of audience toured the school led by Prefects, weaving in and out of each other, glimpsing actions through windows and doors.

Each space found a theme of its own – from silver pink boudoir toilets to chalk grey classrooms, the ideas of the team were made real. We sneaked into 87

TEATRO O BANDO Palmela, Portugal Founded in 1974, Teatro O Bando is one of the oldest cultural cooperatives in Portugal.

Teatro O Bando is a group that chooses the aesthetical transfiguration as its mode of civic and community. Street theatre and activities for children in schools and cultural associations, integrated in decentralization projects, are the basis of the company’s work

‘Crucificado’

O Bando creations are defined by their plasticity and staging dimension, characterized mainly by the Scene Machines. The dramaturgical work is also very important, providing the explicit pasting of literary materials and the inclusion of colloquial expressions.

The texts used are mainly derived from Portuguese authors, rather than standard dramatic texts.

Over the years the company has created more than 100 different shows. The company’s 4,500 performances have been seen by approximately 1.3 million spectators, not counting the PEREGRINAÇÃO, which in EXPO’98 reached an audience of 3 million.

The company continues to search for originality in their creations, aiming to create art works which surprise and have a cutting edge. These art works are the result of a collective methodology where a shared artistic direction accommodates the differ-

ences and conflicting points of view, until the conflicts reveals their potential. The resulting work of art is often way beyond what the collective first envisaged and quite unpredictable.

Teatro O Bando aims to transgress a wide range of borders, rural or urban, adult or child, learned or popular, national, or universal, dramatic, narrative or poetic. Throughout their journey, the group was linked to multiple national and international projects. The group continues its touring activities, presenting several shows throughout the country.

Ten years ago, after several moves, O Bando finally settled on a farm in Vale dos Barris, Palmela, where unexpected, potential stages made of stars, trees and cliffs can be found. O Bando is waiting to welcome you there with soup, bread and cheese, Muscatel and a cozy chat next to the fireplace.

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CRUCIFICADO (Crucified) Based on Memórias de Uma Tia Tonta and other texts by Natália Correia

Churches are not enough to hold our prayers. We’ll invade the streets with a parade, we’ll light the night with the tempest melodies of our popular beliefs, our pagan folklore. A steady bulldozer can’t dig our hole and the holy political trinity will never steal our madness. Has the chosen day finally arrived? We want to cut the roads, and the lockers and the routines. We want to fail and want to part.

Because our verb is the verb to go. We want to run away and pretend that we’re free from the cross that we always take. But we’re all prisoners oh crucified ones, prisoners of silence as cats and mice.

Dramaturgy/Direction Miguel Moreira and João Brites Music Jorge Salgueiro Set Design Rui Francisco Orality Teresa Lima Costumes and Props Clara Bento Light Design João Cachulo Sound Design Rui Bentes Video Sofia Pimentão Cast

herme Noronha, Paula Só, Sílvia Almeida and Filipe Luz / Miguel Jesus

Miguel Jesus Musicians

‘Crucificado’

Adelaide João, Guil-

Fernando Pernas / Sérgio Oliveira, Jacinto Santos and José Carinhas

M/12, first performance in May 2009 Creation TEATRO O BANDO Co-production ÚTERO

TEATRO O BANDO

O VELHO SEDENTĂ RIO E O JOVEM AVENTUREIRO (The Old Sedentary and the Young Adventurer)

by Rui Pina Coelho

The schoolyards that we used to know no longer exist. Everything has changed. The buildings have changed. The students have changed. Which stories should we tell? Which stories can we tell?

Co-creation

Nicolas Brites, Raul Atalaia and Rui Pina Coelho Field Research Lia Nogueira Set Design Research Nuno Mello

Two storytellers, a kind of sedentary farmer and a kind of sea merchant, tell us schoolyard stories.

Their narrations will take us through the many changes that happened in Portugal and in Europe, viewed from different schoolyards.

Cast

Nicolas Brites, Raul Atalaia

Creation TEATRO O BANDO within the project PLATFORM 11+

The sedentary farmer, who has never left his hometown, will describe and list the changes that time has imposed on the Word.

The sea merchant will describe and tell everything about the various schoolyards that he visited during the years.

Rui Pina Coelho, Playwright

Theatre workshop 91

TEATRO O BANDO

Educational Work For PLATFORM 11+ we’ve worked with four different classes from two schools: one school in the centre of Palmela; and the other one from a rural area approximately 15 km away. We were familiar with the teachers and also with some of the kids, and the project was warmly welcomed! We’ve structured the first part of the process in different sessions: 1st session – Oct 2009: we met the kids, presented PLATFORM 11+ and worked with the kids, all using different methods, the 2 actors, the visual artist and the educator. It was an amazing experience and the quality of the material we’ve gathered and shared with Rui Pina Coelho, the playwright, really assures the emotional and literary quality of the connection the kids established with us.

2nd session – Dec/Jan 2010: at this stage, Rui had already started writing, so our workshops with the kids were based on creative writing exercises, defined Hermenildo Capelo

according to the writing needs shared with Rui, so the kids would help him to better define the characters and situations. This work also included some ‘practical philosophy’ dynamics, so that we could have a clearer understanding of the schoolyards’ reality and the youngsters’ emotions and opinions.

3rd session – March: each class spent the day at o bando. We began the day sharing the writer’s and actors’ work, presenting the text and characters through the dramatic process for them to evaluate, individually and anonymously. We worked with ‘emotional maps’ to register their feelings through the different moments of the actor’s performance. After, we had a intense brainstorming session where they shared their criticism and suggestions relating the play’s moments and their schoolyards’ reality. This brainstorming was be the basis for an afternoon’s work with the class, which was split into two groups and worked with one actor each. Ending this busy day, each group shared with the other the dramatic work they developed, establishing the connections between their and our creative process.

This was o bando’s first stage of the process with the young people, at the same time there were different and very rich methods developed by and with the teachers in the school lessons’ context, related to this project. They’ve worked in different areas: New Technologies, Written Expression (in Portuguese and in English), and Visual Arts. We’ve been now informed by the teacher’s that all the classes are eager to continue this process, and, indeed, so are we…

PILOT THEATRE York, United Kingdom Pilot Theatre creates, develops and tours pioneering high quality, culturally diverse theatre work for young people and works across a range of platforms to produce and inspire creative projects for all.

In addition to performance Pilot Theatre delivers an extensive range of opportunities for engagement and development including workshops, international residencies and exchanges, training events, conferences, discussions and online resources aimed to encourage active audience participation and give young people direct contact with professional artists. Collaborative projects are a key part of Pilot Theatre’s way of working, and we value the inspiraScene from ‘The Fever Chart - Three visions of the Middle East’

tion and creativity that is the result of exchanging ideas with our partners.

technologies in the arts, learning and technology sectors. www.shift-happens.co.uk

Pilot’s website, pilot-theate.com, is a well-used and valuable resource, and the Company have a strong online presence on platforms such as YouTube, Facebook and Twitter. They look for innovative ways of connecting with their audience and developing their practice through new technologies. Such projects have included the live streaming of performances and 5Circles, an interactive choreographed light and performance space to engage, entice and inspire.

Presented in York’s St Sampson’s Square, Autumn 2009. www.5circles.net

Recent Productions

Alt/Shift Happens A series of conferences, the 3rd of which will be held July 5/6th 2010 in York, exploring the use of digital

Pilot is to be commended for producing thorny work for young audiences that neither patronises nor condescends. The Guardian ‘The Fever Chart’ by Naomi Wallace, a new adaptation of ‘Hansel and Gretel’ for family audiences, ‘Looking for JJ’ – winner of a UK Award for Best Show for Children and Young People 2008, ‘Lord of the Flies’, (10th Anniversary tour) and ‘This Child’ by Joel Pommerat.

Forthcoming shows in our repertoire include ‘Catcher’

by Richard Hurford, a revival of ‘Hansel and Gretel’, our new production Romeo and Juliet by William Shakespeare and further development of the film ‘The Knife that Killed Me’ by Anthony McGowan.

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The Fever Chart

by Naomi Wallace

“these tough, humane, dreamlike plays linger in the mind.” Financial Times ‘The Fever Chart’ tells three stories, laced with dark humour, that explore the true nature of humanity through looking at the inhumane situations presented by conflict and war.

Written as a trilogy, the play takes the audience through intimate moments of three lives, all affected by the Palestine / Israeli conflict. In settings which range from a zoo in Rafah, to a hospital in Tel Aviv and a yard in Iraq, the play draws us into a world of intense emotion set against the realities of war.

Directed by Katie Posner and Marcus Romer Designed by Catherine Chapman

Scene from ‘The Fever Chart - Three visions of the Middle East’ 96

Pilot THEATRE

Pilot’s Platform Festival York Theatre Royal Studio, May 2010

Coproduction ‘Made in Argentina – WC School’ The first co-production of PLATFORM 11+, produced with the Ibero American Schoolyard Stories project.

Premiered in Buenos Aires at the Universidad Popular de Belgrano, 12 March 2010.

‘WC School’, three cutting edge tales about life in school in Buenos Aires, is a story about young people, what they think and feel and the world they live in; about those things that worry and concern them.

The show is made up from three short pieces that explore themes such as friendship, love, complicity, sex, violence, experimentation and relationships with adults and other young people. All of them are set in the playground. The show’s texts come from the project developed by ATINA, Schoolyard Stories in Ibero America. The cast, the production team and the playwrights of WC School are Argentinian and it has been directed by Marcus Romer, Artistic Director of Pilot Theatre.

The Mystery of Jack & the Clones of Chaos

by Richard Hurford

Thirteen year old Jack has his own bedroom and he likes it that way. But everything changes when the “Clones of Chaos” move in. They look just like him, but they say and do weird things that get him into all sorts of trouble. Even his own parents don’t know who he is anymore. Can Jack discover who the ‘Clones of Chaos’ really are and why they’re picking on him – before they take over his world forever?

The production is played by a professional actor together with a young person and has been inspired through Pilot’s work during the year with the students of Manor School, York.

Directed by Katie Posner Designed by Lydia Denno Projection by Jam Jar Collective

Scene from ‘WC School’ 97

Educational Work Since the meeting in Budapest Pilot have developed an active research and development project for Platform11+ with 2 Secondary Schools in York.

This has taken the form of regular workshops both in and after the school day with 2 selected groups of 11-14 year olds with Richard, (writer), Katie and Mandy (directors) and Stuart and Richard (visual and digital artists). The workshops have used the same starting point as our National Productions (the Schoolyard / Playground) to both inform, influence and inspire the development of our own play, ‘The Mystery of Jack and the Clones of Chaos’, and enable and encourage the groups’ own creative work for both Pilot’s Platform Festival and the collaboration with all the other school and youth groups across Europe in the Platform 11+ project.

Manor School,York will produce both an exhibition of work and a production entitled ‘It Simply Is’ which has been written by three 14 year old writers and performed by a group of 11-12 year olds. Joseph Rowntree School have devised a piece around transition linked into the move into a new school building. Both schools have plays devised by younger per98

formers but then scripted / written by older students giving a slightly removed yet still very immediate and close perspective on the themes and issues the group want to explore.

Pilot have chosen to work with the same group at Manor, who is our main partner for Platform 11+, over all 4 years of the project so our and their work will reflect and be inspired by their development and the changes they undergo over this period of time and its part in the transition from childhood to adulthood.

Pilot are running a week of workshops connected with Jack for a wider group of Young People in the June holiday at the theatre.

Jam Jar Collective have collaborated in the schools workshops and the design and realisation of our National Production – and from that our Visual Artist will further explore the themes of transition during his residency in Palmela, Portugal.

Scenes from ‘The Mystery of Jack and the Clones of Chaos’

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Kolibri GYERMEK - ÉS ILJÚSÁGI SZÍNHÁZ Budapest, Hungary Kolibri Theatre started as an alternative puppet theatre in 1992 with the separation of the State Puppet Theatre. Funding body is the City Council of Budapest.

It operates with a permanent company, in which the puppet and the prose section are equally important. This is the first children’s theatre in Budapest where each age group can find a performance suitable to their interests and development. There are three venues for the audiences, each with a particular image and independent artistic programme, thus complementing each other. The extensive repertoire is characterised by a variety of genres and responsiveness to what is new.

Viaduct

by János Háy

Kolibri Theatre has always put an emphasis on producing plays by the best contemporary Hungarian writers. We have also often emphasised the importance of the so called „Problemstück” in our performances. These are plays that deal with some of the most serious problems children and teenagers face today and thus provide a starting point for them and their teachers to open up discussions about these issues.

We consider it equally important to offer performances for babies and teenagers alike and for all ages in between. We have been putting on performances for teenagers for many years. At the start we performed Swedish and German plays because this genre was a novelty in Hungary. But recently, we

have commissioned plays from Hungarian writers.

Thus, we can proudly state, we have not only encouraged the birth of new plays in our workshops but also the birth of a new genre in Hungary: theatrical pieces for teenagers, the genre of „Problemstück.”

János Háy’s play is based on his own short story. It is adapted to the special theatrical environment that Kolibri offers (for example the interaction of theatre and puppetry).

The characters are Péter and Zsófi, both 17 years old.

Péter’s father is a wealthy businessman in a village on the shore of the Lake Balaton. Péter lives in a students’ hostel in Veszprém. During the summer holidays – instead of resting – he works in his father’s 101

business. He is an enthusiastic, romantic and anxious person. His lover, Zsófi, is a girl who sees the world more rationally, but she lets herself get carried away by her love. Deda is Peter’s friend and Zsófi’s brother.

He is a cynical and strong person who has explicit views about all matters of the world. As the story develops, the two lovers create a new and closed world that excludes all their friends.

In ‘Viaduct’ we make use of the Japanese ’bunraku’ technique: puppets, moved by several artists, and actors together. Stage framework: Two angels watching from the sky evoke the story of the young lovers.

Music leader Szilveszter Bornai Scenography Levente Bagossy Costume Móni Béres Assistant to the director Andrea Hajsz Director László Bagossy

Cast

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Tamás Mészáro, Dávid Szanitter, Melinda Megyes, Zoltán Bodnár, Ági Török, Juli Erdei, István Mult, Tibor Németh, Bea Tisza, Károly Szívós, Gyula Kormos

Emil and the Detectives

by Erich Kästner. Stage adaptation by Péter Horváth

An ageless classic.

The 12 years old Emil, who lives in a Hungarian town, is sent to Budapest by his mother in order to bring a money loan to his father who is in financial difficulties. Emil falls asleep on the train and the money disappears. The boy starts to follow a man who was sitting in the same railway carriage and behaving suspiciously. Emil is sure that he is the thief.

“PLATFORM 11+ motivates the playwrights involved in the project to get in contact with schools and get to know the youngsters personally, to collect their stories and use them for creating a theatre play” – explains János Novák, General Manager of Kolibri Theater and director of the performance.

Kästner excelled in his own time in writing everyday stories instead of fairy-tales. In the past 80 years the Scene from ‘Emil and the Detectives’

vitality of his novels for young people disappeared because the makers of the stage and tv adaptations made the story more like a fairy-tale.

Three teams are needed Péter Horváth has contributed to a lot of successful performances in Kolibri Theater as playwright, translator, dramaturge, director, lyricist.

“János asked me to rewrite the play for present-day characters, using the language of today’s youngsters and the environments they know, but at the same time, we should insist on the original story. It was an essential point that the performance should be an interactive one.”

A video camera is taken around by the actors in the performance. The pictures are projected by this camera, so the scenes which take place off stage, are

also able to be seen. As in the novel Kästner is not sure, whether he should write a fantasy novel or a real story. In the performance the contrast between fable and reality also appears: we meet characters, and hear songs from previous performances played

by Kolibri, „Der 35. Mai”. Artists, who play children’s characters learned the dances, the musical styles and the basic body language characteristic to young people. at the studio of Urban Dance School Hip-Hop

Director Novák, János Set, costume, puppets Orosz, Klaudia Video Boros, Lo˝rinc Consultant Berzsenyi Bellaagh, Ádám Music Novák, János Musicians Bágyi, Balázs; Tóth, Tamás Choreography Urban Dance School Assistant to the director Tolnai, Edina

Emil, following Grundreisz, gets off the tram and meets a group of young people, who listen to him as he, full of despair, tells them his problem. They mobilize their friends to catch the thief. Thanks to their local knowledge, their mobile phones, and internet they begin to follow each movement of Grundreisz. Now only a good plan is needed, to lure him to the theatre for children. And of course they expect the help of the children who are watching the performance, that is, the audience itself, to unmask the rascal.

Cast

Scene from ‘Emil and the Detectives’ 104

Bea Tisza, József Tóth, Dávid Szanitter, László Gazdag, Zoltán Bodnár, Éva Farkas, Tamás Mészáros, Melinda Megyes, Szabolcs Ruszina, Kriszta Rácz, Kármen Rácz, Gábor Krausz, Gergo˝ Bárdi, Attila Pomlényi

Crime story for children aged 9+ Opening: 13.03.2010 (emil2010andthedetectives)

Kolibri GYERMEK - ÉS ILJÚSÁGI SZÍNHÁZ

Educational Work

Cyber Cyrano After several months of wondering where we should look for a schoolyard story, we heard about an interesting case, which happened about two years ago in a secondary school in Budapest. We asked the school principal for permission to meet the participants.

We met the class, and chatted with them. We slowly realized that the story was more complicated and exciting, so it cried out to be written down.

Although the way they told us their story was very confusing, it made us even more interested. We were not sure for a while, who was representing whom in their story – their behaviour during the recollection was very contradictory.

This was a big scam, which lasted for months. A girl created some characters on the internet, which were treated as real people by her classmates. In particular by one boy, who never took her seriously in real life, but he did very much in this situation.

This relationship lasted for months. She created a

boy character to fool another classmate too. After some months of e-mailing and online-chatting to each other, love developed between these people, without ever having met each other of course. In the end, to avoid a real date, the invented boy character ‘died’ in an accident. The tragedy caused the classmate to have a nervous breakdown, he was close to committing suicide. That was the moment when the secret got out.

Later we had the opportunity to meet the main participants, especially the girl, who led the whole scam again to get the background and the motivation behind the scam. We realised, she is a serious girl, who is very good at writing. In her spare time, she is writing a novel too, packed with dream characters. She is very lonely. Creating someone on the internet was not a joke for her, it was rather to imagine, she could be someone else. For her it was like writing a living novel in real time.

The next step in our work process was to ask my students (from a drama school) to improvise on the topic. István Tasnádi put together a list of situations, and after a preparatory drama workshop, we asked them to start making improvisations. It was very interesting, because we realised, the students – about the same age group – find different things interesting and annoying about the topic to us.

In the end we put together a short film, which includes our working-process: meeting with the class, improvisations etc. We are happy to show it to the Platform participants, but we don’t want the film to be published on the internet, because of personal rights of the true characters of the story.

György Vidovszky Author István Tasnádi Director and drama teacher György Vidovszky 105

Junges Schauspielhaus Zürich / Jetzt&Co Zürich, Switzerland The theatre group was founded in 2007 by a group of creative people from different disciplines such as theatre, music, visual arts and architecture.

Jetzt&Co. Members of jetzt&co have had a lot of experience in creative production and know the target audience well. But jetzt&co also gives newcomers space for their artistic development, free from financial and organisational pressures.

We want to portray familiar and encouraging stories. Furthermore we would like the audience to make the experience that familiar incidents can be Scene from ‘Titus’

seen from different points of view. For us theatrical pedagogy means communicating with the audience; not only during the phases of preparation and pre-production, but also in the audience’s surroundings. We especially focus here on the younger audiences, on children and their partners.

Junges Schauspielhaus Zürich Switzerland The Junge Schauspielhaus Zürich is an integrated part of the Schauspielhaus Zürich. On the one hand, the work is in line the art of theatre. 4–5 new productions are produced each season, worked on by the actors, directors, dramatic advisors, theater teachers, set designers and musicians. These productions form the repertoire that is shown in the various theatres of the Schauspielhaus. The season’s

programme may additionally include guest performances or plays from a previous season.

But as well as this, children, young people and adults participate in discovering and experiencing the world of the theatre, playing, researching, writing, both in their free time and for school projects.

Züricher Schauspielhaus 107

Titus

by Jan Sobrie

Titus Andronicus was a famous Roman General – a hero made of steel. Titus Multekutte is no hero. For the last 13 years he has been a butcher’s son and was named after the butcher’s favourite pig.

Now Titus is standing on the roof of his school. He allows images of his life to pass by him, he tells of his battles, his yearnings and desires. He stages his obituary. But life is actually much too good to jump.

A „Götti-Klasse (class)“ followed the making of this production and a method of finding access to this play was created.

Fabian Müller in ‘Titus’ 108

Junges Schauspielhaus Zürich / Jetzt&Co

Da gehören zwei dazu – It takes two (working title)

by Eva Rottmann Titus by Jan Sobrie Translation

Eva Maria Pieper

Direction Set / Costumes Literary Adviser Theatre Education Technics Production

Enrico Beeler Cornelia Koch Petra Fischer Nina Knecht / Milena Müller Robert Meyer Yvonne Nünlist

For ages 12+ jetzt&co. Theaterproduktion Zürich Co-production with Theater Stadelhofen, Zürich and Theater Tuchlaube Aarau Premiere 7th of January 2010 Performing rights Theaterstückverlag München Language: Hochdeutsch 60 min

The young author Eva Rottmann, employed as a Theatre educator at the Jungen Schauspielhaus Zürich, together with young people, developed the story about love between two 12 year olds.

The impetus for this project came at the end of February 2010 (Amongst others Aidshilfe Schweiz) with the Condom Ceylor Hot Shot. The tabloid press named the preservative ‘Children’s Condom’ and sparked off a debate that went well beyond the question about when young people are sexually mature.

It’s more to do with the sexual morality of the ‘Generation Porno’ as the mass media calls the 11–20 year olds today. How do children and young people find sexual identity and maturity amidst the flood of erotic images on MTV and Youtube? What role models do they have in their heads when they think

about sex? To whom do they look for answers concerning their germinating lust and bodily changes?

Project days on this theme will take place in the early summer of 2010 in Schools in Zürich led by theater educators. They will consist of playful and written elements which are directed at both mixed groups (boys and girls) and single sex groups. The authors will be present during these meetings. The film material and the written material will be able to be accessed by the others working on the production.

The first draft of the play will be ready at the end of September 2010. The decision on which ensemble members direct and perform will be made on the basis of this first draft The rehearsals begin in March 2011. The First performance is scheduled for May 2011.

109

Junges Schauspielhaus Zürich / Jetzt&Co

Educational Work The emphasis of the educational theatre work in the 2009/2010 season lay in the contact between the authors and the young people who are involved in the project. The authors Lorenz Langenegger, Anna Pabst and Eva Rottmann looked for different ways of meeting up with young people in order to use these contacts as a basis for research. On top of that, the contacts were used to initiate the participation in the Platform 11+ project by young people.

The plan is to win over two schools as partner schools for Platform 11+: One school from the city of Zürich, the other one from a country area on the outskirts of Zürich. In the long term working together, the results of the work periods in both schools will be examined in order to make a comparison of the results in the city and in the country. The first ‘getting to know each other day’ was in a school in Rafz (a parish near Zürich) in January 2010.

PLATFORM 11+ Company Exchange: Janós Novák, Artistic director of Kolibri Theatre, HU, visiting a secondary school in Rafz

To mark the occasion of a visit from our partner theatre from Budapest, Kolibri, the class thought up a way to show the guests their schoolyard and the entire school building. The school students were welcomed by the theater educators Caroline Ringeisen, Eva Rottmann and the authors from Jungen Spielhaus, as well as the Hungarian guests, the author Akos Nemeth and the theater director Janos Novak.

Lorenz Langenegger and Eva Rottmann will conduct writing workshops with the sixth class from this school in June. As a consequence of this work with the young people, a variety of scripts will arise.

After having developed the shared concept with the authors from Zürich Akos Nemeth, from Budapest will conduct a writing workshop with young people in Budapest. Caroline Ringeisen will work in a project week with classes on the making of theatrical scenes out of these texts. We will search in both Zürich and Budapest for a form to interpret the scenes that will be of use to both cities.

Ideally the participating state school for this project should be the same one as took part in the jetzt&co theater production ‘Titus’.

111

PLATFORM 11+ ARTISTSâ&#x20AC;&#x2122; SCHOOLYARD MEMORIES !@&V$'F$%Q$+OHa)A+"%N21>R3.I945%A2BY1X.1% 6(%"&@@)*),%/")*%6%/&$%m%.)&-$%03,5%6%/&$%&(()*,#*4%(")%3#((3)%<#33&4)%$+"003%#*%(")%<#33&4)8%/")-)%6%4-)/%'@5% 4HIS PARTICULAR WEEK ) WAS ON CLASSROOM DUTY 4HIS MEANS ) HAD TO CLEAN THE BLACKBOARD TO WATER THE lOWERS TO CHECK #1%(")%,)$:$%#*%(")%+3&$$-002%/)-)%#*%&%$(-&#4"(%3#*)8%)(+5%?$%&%+"#3,%6%/&$%<)-.%-)$@0*$#93)%&*,%6%$(&.),%&1()-%(")%3&$(%+3&$$% IN SCHOOL AND DID MY DUTY 7HEN ) kNISHED MAYBE AFTER ONE HOUR ) WANTED TO GO HOME "UT ) FOUND OUT THERE WAS *090,.%)3$)%#*%$+"003%&*,%("&(%(")%$+"003%/&$%30+:),5% 6%/&$%("#*:#*4%&90'(%&33%(")%/0-$(%+0*$)T')*+)$%01%("#$% &*,%6%$(&-(),%(0%+-.5%6733%"&<)%(0%$(&.%#*%$+"003%&33%*#4"(% 30*4%&*,%$3))@%0*%(")%9)*+"8%2.%@&-)*($%/#33%("#*:%67,% BEEN KILLED 4HEN ) TRIED TO OPEN ALL THE DOORS IN THE kRST lOOR BECAUSE ) WANTED TO JUMP OUT THE WINDOW "UT THEY /)-)%&33%30+:),5%?*,%(")%/#*,0/$%#*%(")%9#4%"&33%/)-)% 9&--),5 6%,)+#,),%("&(%)<)*%#1%6%"&,%(0%,#)%6%/0'3,%"&<)%(0%$))%90.% TOILETS kRST 3O ) WENT TO THE TOILETS !ND THERE WAS A SMALL /#*,0/%0*%(")%(0@%01%(")%/&335%6%+3#29),%(")%-&,#&(0-%&*,% 40(%(0%(")%/#*,0/5%]#-$(%01%&33%6%("-)/%&/&.%2.%$+"003% 9&45%!")%/#*,0/%/&$%(/0%(#2)$%"#4")-%("&*%6%/&$%&(%("&(% (#2)5%6%U'2@),%0'(%01%(")%/#*,0/%&*,%(/#$(),%2.%&*:3)8% 9'(%6%/&$%$0%"&@@.%&*,%6%-&*%"02)5%S);(%,&.%#*%$+"0038% *090,.%/&*(),%(0%9)3#)<)%2)%/")*%6%(03,%(")2%/"&(%"&,% "&@@)*),5

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University of Agder Kristiansand, Norway The Faculty of Fine Arts is responsible for Arts education as well as research and development activities in the fields of drama/theatre, music and arts and crafts.

Many of the faculty’s academic staff have both artistic and academic competence, and the study programs are very much based on practical artistic work in combination with theory and critics.

The Drama Department has considerable involvement in local and national cultural life. We are co-organizers of the ASSITEJ Festival – Norwegian Children’s and Youth Theatre Festival running every second year in Kristiansand, this year in mid-October. We operate ITYARN – International Above: Scene from a students TYA performance Below: Students performing ‘King Ubu’ by Alfred Jarry 114

Theatre for Young Audiences Research Network – www.ityarn.org. Ityarn collaborates closely with ASSSITEJ International, and with universities worldwide.

We run the national interactive website and cultural school www.trafo.no – for young people between 16 and 30, and Orkester Norden – a summer symphony orchestra for talented young musicians from all the Nordic countries.

The Faculty of Fine Arts is involved in Arts projects in Tanzania, Palestine, Nepal and Bolivia.

The Faculty cooperates with all of the established regional art institutions on music, theatre and visual art, especially with the regional theatre Agder Theatre.

Many of the faculty’s academic staff have considerable international networks, and many tour actively

EUROPA UNIVERSITÄT VIADRINA Frankfurt (Oder), Germany and give performances, concerts and Master Classes

A university on the river – driven like a river’s current.

abroad.

The Faculty of Fine Arts has a bachelor programme of drama/theatre pedagogy and from 2011 the Masters’ program of ‘Arts in Context’. The majority of teaching on the bachelor level is hands-on drama and theatre work where creative work with various dramatic modes of expression is emphasized. Most of the work is done in the drama and theatre halls.

The students have extensive touring activities in various settings.

The Drama Department has around 10 members of staff and 200 students. We are located on the new campus of the university, with a black box theatre and good working facilities, and with a new building for the music studies opening the next spring term.

The word ‘river’ has a very special meaning for Viadrina. Firstly, this is due to the river on the banks of which the university lies. Just like neighbouring Poland, the river is in our immediate area. This, in turn, has helped developed a close German-Polish connection; because of this, Viadrina is transforming itself into a German-Polish, European university.

Secondly, Viadrina finds itself rooted in the river.

Of course there are not any buildings in the water itself; however, this very modern university has its sights set on the future, and future means change, movement … like a river’s waters driven by a strong current, like the Oder’s waters.

people together from every corner of the world.

This concept has proven to be successful: Viadrina has grown to become a lively, highly regarded member in the community of German and European universities.

With 30% of foreign students from over 70 countries and an extensive network of partner universities we are one of the most international universities worldwide. Our study courses and university degrees are internationally acknowledged.

The atmosphere here is personal and warm, and with excellent student support and guidance we are able to offer outstanding study conditions.

Viadrina is located at the German-Polish border, only one hour by train from Germany’s capital, Berlin.

Since its re-establishment in the year 1991, Viadrina has strictly adhered to its concept of bringing young 115

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Schoolyard Stories in Ibero America

Schoolyard Stories in Ibero America is a project organized by ATINA (Independent Theatre for Children and Adolescents Association) National Centre of ASSITEJ International in Argentina with the participation of the IBERO AMERICAN ASSITEJ CENTRES and independent American Artists and in cooperation with the European PLATFORM 11+ Project.

Background Some years ago, ATINA got in touch with the Schoolyard Stories project which had been developed in Europe. Since then, we started to work on the possibility of carrying it out in Ibero America, adapting it

to our theatre’s characteristics, our reality and also our infrastructure and economic possibilities.

In 2008, when the working plan was ready, we were invited to participate in the Platform 11+ project as the Ibero American Partner. Even when the characteristics of both projects are different in their implementation, a wide perspective of international exchange is possible for the professionals as well as for the young audiences of each participant country.

The project Schoolyard Stories in Ibero America is an interdisciplinary project about the schoolyards of today’s high schools. The aim is to create plays and performances for young people (12–18 years old) which

Scene from the production ‘WC School’

deal with issues concerning adolescents, based on research done in schools.

The project integrates the participation of authors, directors and actors of different countries by means of research projects, playwriting contests, workshops for directors, staging performances, festivals, exhibitions and multimedia support.

The final result of the project is the staging of a performance about the Schoolyard Stories in each of the participating countries, based on the research, exchange and workshops previously realised. The project will end with an International Festival, in which all the staged performances will be shown, at the same time as an exhibition of the research work, the plays publication and the multimedia support.

A non-professional part will be developed in Universidad Popular de Belgrano with the participation of the Drama School’s adolescent groups.

119

Structure Playwright Contest Professional authors were called to participate in a Playwriting Contest. The authors had to send a text not longer than twenty minutes, which had been written as the result of a research carried out in schools. This research could consist of interviews, observations, photographs, films, and so on, and the organization of this material could be freely decided by each author. The text had to be sent altogether with the research information.

Directors Workshop in Buenos Aires March 2010 120

Ten plays were chosen to be presented to the directors. They would then select which of these ten plays they wished to stage. At the same time, five of these plays were translated into English to be published in Spanish or bilingual anthologies. For the first time we had ten plays talking about adolescents of today. Themes like drugs, violence, sex, pregnancy and self respect were present in the plays, all of them with a appropriate adolescent language, with humour and emotion. The researches data provided by the authors will be part of an exhibition and will be used for the multimedia support.

Directorsâ&#x20AC;&#x2122; Workshop Marcelo DĂ­az co-ordinated a workshop for directors who had previously worked on the European project. This was organised in Buenos Aires with the aim of exchanging points of view, aesthetics and experiences before each one of them went about staging the chosen plays in their countries.

Presentations The productions will be presented in each country in the way the companies decide, but in 2011 there will be a big festival where all productions will be presented together with discussion forums, exhibition and exchange with adolescents.

Co-operation between Schoolyard Stories in Ibero America and Platform 11+ It is the aim of both projects to bring together artists and youngsters from Europe and Ibero America.

Different backgrounds and experiences, different aesthetics and styles and also different realities produce a rich exchange which can encourage and improve each work.

Many activities have been organised with this goal in mind.

t (BCSJFM 'FSOĂ&#x2C6;OEF[ $IBQP "SHFOUJOB QBSUJDJpated in the 1st Annual Encounter of PLATFORM 11+ with the reading of his play â&#x20AC;&#x2DC;El Che Guevaraâ&#x20AC;&#x2122; during the â&#x20AC;&#x2DC;Play Fairâ&#x20AC;&#x2122;, in the Schoolyard Crossing Theatre Event. As a result, and he has the possibility of join the co-writing process with a European playwright. t 5IF *CFSPBNFSJDBO QSPKFDU IBT CFFO QSFTFOUFE to the European Organizers at the 1st Annual Encounter of PLATFORM 11+. t 4PNF PG UIF *CFSP "NFSJDBO QMBZT IBWF CFFO USBOTlated into English to share them with European Artists. t 5IF DP QSPEVDUJPO A4DIPPM 8$ IBT CFFO EPOF between Pilot theatre (UK) and the Universidad Popular de Belgrano (Argentina). It has been presented in Buenos Aires and in York/UK. t 5IF %JSFDUPST 8PSLTIPQ JO #VFOPT "JSFT IBT CFFO supported by both projects. The management team of Platform 11+ were there to present the project and meet Ibero American Artists. t "O FNFSHJOH *CFSP "NFSJDBO QSPEVDUJPO XJMM receive support from the Platform 11+ and will participate of the Encounter in the 3rd Annual Encounter in Dresden.

t &VSPQFBO DP QSPEVDUJPOT XJMM QBSUJDJQBUF JO UIF Ibero American Festival 2011. t "EPMFTDFOUT GSPN -BUJO "NFSJDB QBSUJDJQBUF JO UIF Stepping exhibition and collaborate with European groups on drama proposals.

So, Schoolyard Stories in Ibero America and PLATFORM 11+ have become in an intercontinental project bringing together artists from more than 20 countries.

The coproduction â&#x20AC;&#x2DC;WC Schoolâ&#x20AC;&#x2122; Pilot Theatre (UK) and the Universidad Popular de Belgrano (Argentina) presented the co-production WC School based on three of the Ibero American plays of the project (New Commercial Transactions by Carlos de Urquiza; Che-Guevara by Gabriel FernĂĄndez Chapo and Stay Here by Luz RodrĂ­guez Urquiza). Marcus Romer (Artistic director of Pilot theatre) was responsible for the direction of the play. He worked with Argentine actors, artistic and Scene from â&#x20AC;&#x153;WC Schoolâ&#x20AC;?

the technical team. After three months working on the pre-production and creative ideas over the ocean, and three weeks of working in Buenos Aires, the opening took place in March 2010 in the Universidad Popular de Belgrano, AUDITORIO UPB. It was undoubtedly an extraordinary experience involving communication, sharing both languages, understanding and adapting to each other, during three very intensive working weeks. This is an experience that really should be repeated.

room next door, but he deliberately decides not to do anything. Martin wants to leave school. Martin questions whether school has any sense. He would prefer to work with his father, a political officer who carries out illegal activities in the neighbourhood.

So Martin decides to give the final kick to his partner Alan, the young man being beaten in the bathroom next door. Perhaps it will ensure that the school expels him.

New Commercial Transactions

by Carlos de Urquiza

Che Guevara

The play shows a new situation that is beginning to happen very frequently: the exchange of some kind of privilege (entering a night club, getting something to drink, getting someone to do the homework, etc.) for oral sex. In this context the statements of the hypocritical adult world are confronted with the devaluation of the personal ties and using people like objects by the participants of such events.

A third-year high school girl gets a written test paper from a fifth-year student who did the same sub-

In the bathroom of a private school, Martin, strictly dressed in school uniform, calmly smokes a cigarette in the recess break. During those minutes, this young Arnold Schwarzenegger fan thinks about what he wants to do with his life. He hears people savagely beating one of his companions in the bath122

Stay Here – or Camila and Lucas’ Story

THE PLAYS

by Gabriel Fernández Chapo

ject two years ago. The currency for the exchange is oral sex. Being caught doing it in a school bathroom, they are subjected to an interrogation by the Head Teacher who is totally disoriented by the students’ answers. Eventually he finds out that what they have done is a new business practice.

by Luz Rodríguez Urquiza

‘Stay Here’ is the story of two teenagers. Both have a dysfunctional family situation and the true feeling that grown-ups not only do not understand, but also do not care, about what is happening to them.

Camila and Lucas meet at the schoolyard when everybody else leaves the school. Camila’s alcoholic dad, Lucas’ mum’s boyfriend, the pills, the teachers, none of them can get into the schoolyard. It’s just the two of them. And they feel good there. And there is where they want to stay.

Schoolyard Stories in Ibero America DIRECTORS’ WORKSHOP As a second step of the project, a Directors’ Workshop, was organised in Buenos Aires in March 2010 with the support of ATINA and PLATFORM 11+.

Directors of 11 Theatres for children and young people from Uruguay, Paraguay, Brasilia, Chile, México and Argentina, met for one week to participate in this workshop in the Universidad Popular de Belgrano, coordinated by Marcelo Díaz, who was part of the project ‘European Schoolyard Stories 2000/2001’.

The aim of the workshop was to exchange experiences and ideas about the plays and their staging, about theatre for adolescents, about different aesthetics and above all to find the proper way to present them in each country.

The directors worked all day. In the morning they analysed plays or shared experiences with the two invited speakers, Odette Bereska, who talked about the PLATFORM 11+ European plays and Marcus Romer, who presented very detailed information about the possibilities of using Internet and new technologies in theatre for young audiences. In the afternoon, the directors staged scenes of the selected texts. A group of young actors from the

Universidad Popular de Belgrano Drama School participated by playing out the scenes. Presentations, evaluations, discussions followed each work.

The directors were provided with the selected texts.

That also gave the opportunity to talk about dramaturgy and specially playwriting for adolescents.

As always happens, they left with more questions than answers, but inspired enough to return back to their countries to work with their companies and prepare their new shows.

Once more we could learn how, in these kinds of encounters, there are formal results but also informal ones. The relationship established between the participants, the time they shared, and discussed and laughed together was a bit more than a working experience. It was an inspiring force to go on researching in theatre for adolescents.

In 2011 all the productions will be presented in a big Schoolyard Stories Festival and that will be a new opportunity for exchange.

Participants in the Directors’ Workshop Rene Mantiñan (Argentina), Florencia Cresto (Argentina), Pablo Di Felice (Argentina), Luis Martin Solis (Mexico), Elizabeth Caballero (Paraguay), Amauri

Falseti (Brasilia), Marcos Belmar (Chile), Graciela Escuder (Uruguay), Miguel Lopez (Argentina), Belen Cherubuni (Argentina), Andres Valledor (Uruguay).

Selected Plays – For Staging and Publication t El Che Guevara by Gabriel Fernández Chapo (Argentina) t Quedate acá by Luz Rodríguez Urquiza (Argentina) t Nuevas transacciones comerciales by Carlos de Urquiza (Argentina) t Eva, la madre que te matriculó by Irma Borges and Oscar Escribano (Spain) t Mr. Splut by Martha Marquez (Colombia) Selected Plays – For Staging t Teatro de acción by Elizabeth Motta (Uruguay) t Mariana, la que no gana by Julián Sierra (Argentina) t Patio regresivo by Luz Rodríguez Urquiza (Argentina) t Momento embarazoso by Evelyn Goldfinger (Argentina) t Marimacho by Rodrigo Ures (Argentina) 123

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Advisory Board Meetings

How to run a project

Advisory Board (AB) Meetings The heads of the theatres had already met in Frankfurt/Oder, Germany in January 2007 and in Pilsen, Czech Republic in September 2009. All the partners were very happy, when the news came through from Brussels in Spring 2009, that Platform 11+ was one of the funded projects in the EU programme Culture 2007. The task since May 2009, has been to put the plans into practice.

Platform 11+ plans the equally entitled involvement of all the partners in the project implementation. All decisions are made democratically in the Advisory Board (AB), the management instrument of PLATFORM 11+. Every partner is represented there by

Start of the project, Drammen, May 2009 126

Advisory Board Meetings its Artistic Director; the AB decides and evaluates all relevant issues. The AB delegates the organisation of the essential tasks to qualified experts of the Management Team which has regular contact to the theatres. The AB and the Management Team meet regularly in alternating locations; each partner is host from at least one of these meetings. Hence all the theatres have the chance to present their own work and workplace to their European colleagues.

Drammen / Norway May 2009 Directly after the beginning of the project, the Advisory Board met at Bragteatret, the co-ordinator of Platform 11+. With the knowledge that the financial side was taken care of, the complex conceptual side was quickly made into concrete plans and the dates for activities like the 1st Authors Meeting and the 1st Annual Encounter could be set.

ful days in which almost one hundred artists from twelve partner countries met together. Information about the national productions, the latest developments in the comprehensive international Company Exchange and the first plans about co-writing were the main focus of the discussions.

London / UK March 2010 The third time the Advisory Body met was the 30th Anniversary of the British Partners Emergency Exit.

The evaluation of the workshops was the focal point of the meeting along with the planning of the Plein Air of the Visual Artists and the 2nd Annual Encounter in Palmela, Portugal and an update on the cowriting and the planned co-productions.

Budapest / Hungary September 2009 The 1st Annual Encounter took place in the Kolibri

The potential of a democratic leadership committee like the Advisory Body had already proved itself three times: the regular meetings of the heads of the theatres and the occasional complicated discussions were part and parcel of the dynamic processes of Platform 11+. Itâ&#x20AC;&#x2122;s already clear that the exchange

Theater, the Hungarian partner. The second meeting of the AB took place at the end of four event-

is becoming more open and intense and the meetings are becoming friendlier.

Advisory Board meeting, London, March 2010

In this way the AB represents the artistic diversity of the partners, it ensures the equal integration of all theatres in the project development and makes the development of personal contacts over and above national borders possible.

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PLATFORM’s 1st Annual Encounter Budapest September 4th – 8th 2009 The 1st Annual Encounter of the European Theatre project ‘PLATFORM 11+ , Artistic Discoveries in European Schoolyards’, took place in Budapest / Hungary.

Kolibri Theatre, Hungary’s most well known children’s and youth theatre was host of this meeting.

More than 90 participants attended the meeting, which took place from the 4 – 8 September 2009.

It was opened by the Artistic Director and founding member of the project, Dirk Neldner. In the first gathering he talked briefly about the concept of the project and the planned activities. At the end of the next four years of work, PLATFORM 11+ will present a many layered portrait of a generation of young Europeans in more than 30 plays, 50 interdisciplinary co-productions and theatre events, 40 pieces of Art and New Media in a European data base (with theatre plays for the target group.)

Presentations

More than 90 artists from 13 countries took part in the meeting

formance from an actor. The actors presented the character of a “schoolyardcrosser” which they had developed with the author with whom the theatre had chosen to work. This “try out” took place on an empty stage and without costumes. The premiere of the performance featuring all 13 characters took place 2 days later in a schoolyard in Budapest.

Workshops Throughout the 4 days event, there were many work meetings in small teams.

To finish off, all the participating groups had the

Theatre educators, visual artists, authors and dramatic advisers discussed their approaches and ways of working with one another along with the possi-

chance to introduce their theatre and their work.

Every introduction was followed by a short per-

bility of artistic exchange and concrete plans for the next year.

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1st annual encounter

Play Fair One of the main emphases of PLATFORM 11+ is the development of new plays for the target group.

The level of the authors’ work will be made public thirteen times during the four years at the so-called ‘Play Fairs’.

Odette Bereska, Dramatic Adviser of the project, introduced 9 authors and their plays in Budapest.

Members of the British groups Pilot Theatre and Emergency Exit Arts presented excerpts from the scripts in staged readings.

Emergency Exit Arts Playwright Peter Horvath and colleagues, Kolibri Theatre 131

Schoolyardcrossing ‘Schoolyardcrossing’, an event which all of the theatres had devised together, was the climax of the first Annual Encounter. The actors only had four hours to work out how they would use the schoolyard as a theatrical space before the 300 kids would storm the schoolyard, where they would be and confronted by the strange ‘schoolyardcrosser’ characters. The characters that the authors developed were then used as well as the starting point for the ‘Stepping Exhibition’.

The four eventful days of the first Platform 11+ Annual Encounter ended with a boat ride on the Donau. It wasn’t only in the team work meetings that the artists had the chance to get to know each other, make plans and develop new ideas. This process also went on as the participants discovered the lovely city of Budapest and drank the good Hungarian wine.

Actors from all companies participated in the event 132

1st annual encounter

Teachers’ Workshop Salo, Italy. Autumn 2009 PLATFORM 11+ revolves around the crucial work done in our schools and youth groups for, by and with young people alongside our colleagues in Education.

Over the next 4 years we will build on our collaborations with individual teachers, arts educators, artists and organizations to ensure that the project leaves a legacy of inspiration and practice for work with our targeted age group.

Finding Inspirations Our first event was a meeting in Salo in October 2009, on the shores of the beautiful Lake Garda. A teacher associated with each of the participating companies traveled to Italy to participate in a 3 day workshop led by Juliet Forster, Mandy Smith (directors, UK) Marianne Loraas (artist, Norway) and Giuditta Mingucci (writer/actress, Italy).

The objective was, through an active and participatory approach, for the teachers to engage with a range of artforms (theatre, music, art, writing) and explore different techniques for working with young people to encourage and enable their groups’ own creative expression and responses to the material of PLATFORM 11+.

Stefano Braschi, Artistic Director of Theatre Elsinor, taking an active part in the teachers’ workshop

teachers’ workshop Each teacher brought a photograph of their schoolyard as a starting point for discussion around the geographical and, more importantly, the cultural differences and similarities between the schools we are working with. As each school starts to work on their projects we will seek exciting and new ways for them to connect across Europe, including a progressive, rolling exchange of ‘The Exhibition’.

Activities over the weekend ranged from theatre games and the realization of characters and scenarios to the truly collaborative ‘Action Painting’ in the Public Square of Salo. There was time for exchanging ideas and practice, concerns and planning as well as stories and food and gazing at the spectacular scenery of the Lake.

Hopefully everyone went away inspired and refreshed and looking forward to sharing their experiences back home.

Teachers from 13 European countries met in Salo, located at the beautiful Lake Garda / Italy 135

Playwrights’ Meeting

Playwrights’ Meeting February 2010 Oulu / Finland Oulu City Theatre, situated high up in northern Europe, was host for three days to the playwrights who’d been commissioned by the theatres. After the meeting in Berlin in June 2009 and Budapest in September 2009, they came together for the third time in order to swop experiences about the national plays and productions and to carry on the process of co-writing with the involved partners.

authors, which is determined by the sub-title of Platform 11+: ‘Artistic Discoveries in European Schoolyards’, it was surprising to learn just how different the ways of working and the results are. A central interest of the authors implied-as was emphasized in the concept of the project-the direct contact with young people, direct discussions with them and confrontation with their life-styles. It can’t be taken for granted that authors who write for young people will expose themselves to the direct confrontation with their future audience. For this reason it was an unusual and sometimes arduous step. But without going into how detailed or how extensive the research phase was, all the authors agreed that the process of meeting the target group was inspiring.

Working process on ‘National Plays’ The authors spent almost one and a half days talking about the work that had taken place on the national plays in the recent months. The meeting was compered by Odette Bereska. The participants spoke in great detail and often with the help of photos and videos, about the search for ideas, about the writing process and about their research with young people

The partner school of the Bragteatret from Dram-

as well as the implementation of the scripts in the plays. Despite the shared starting point of all the

men / Norway is a school with a very high percentage of students who have a migrant background. The

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author Liv Heløe made contact with the young people both on an individual and group level. She was shocked. She felt that the young people were under enormous pressure. Daily tension for more than ten years: what influence does such an indelibly marked feeling have on young peoples’ development?

On the other hand, Akos Nemeth, the Hungarian theatre author, experienced his research as wonderfully creative and original: Based on the principal idea of his play “The Webshop”, (two girls organise the trade of a drug-like medicine in the internet) the young people involved made an aesthetically very innovative short film. They took over the responsibility for the whole film. They stood both in front of the camera and behind it.

The work process of Peter Horvath, also from Hungary, was without doubt very unusual. In the first

Playwrights’ Meeting authors’ meeting in Berlin, he didn’t believe it would be possible to fulfil the expectation of the project.

He didn’t think it would be possible to develop new plays for the 11-15 year old target group based on research in the schoolyard. However, soon after his work as an author for Kolibri Theatre began, he went to a lot of trouble to make contact with a school group from his home city of Szeged. An ongoing exchange developed out of this. Both the author and the young people were involved in very intense discussions about all sort of questions about life. The approach to the basic conflict, in which a Rumanian boy was the victim of a racist attack by young people, didn’t find acceptance amongst the school students. The play was meant to be light rather than weighed down by problems and drama.

Peter Horvath followed the advice of the young people. For the time being, he ceased working on that project and started instead to work on a contemporary version of the famous German children’s book ‘Emil and the Detectives’. The presentation of this play went down extremely well with the young audience. This was a controversial decision, which not all of the colleagues could understand.

Jukka Heinanen, from the host theatre in Oulu, was used to this sort of reaction from young people. Stu-

Playwrights from 12 countries meet in Oulu, Finland

dents gave very clear answers to his question “What do you want to see in the theatre?” They said “Not, 137

Playwrights’ Meeting what you adults think are young people’s problems.

Please, no more racism, no more excessive violence, no more bulimia and anorexia, no more sexual abuse…! We want to see ourselves, normal young people with normal problems.” Consequently the author let the young people, their parents and their schoolmates describe the normal problems before sitting down at his desk and writing a highly authentic scenic collage.

Four examples from thirteen cases: all of the scripts that have grown out of the schoolyard research are up to date and authentic. The authors take the feelings and themes of the young people seriously. They have different ways of presenting these themes, both aesthetically and in content.

The scripts which arose out of the South American ‘Schoolyard Stories’ project (see page 118ff) are based on intense research and are very close to the young people in both content and style of language.

The majority of the plays have now been performed in a longer series of plays. The performances are often accompanied by theatre pedagogical work138

shops and discussions. The partner theatres are unanimous that the target group find the plays highly acceptable.

is, that the plays which have been co-written, are to be staged. This is a huge challenge for the theatres involved.

Co-Writing After the phase of individual work, the subject of the second phase is to develop a text in the process of co-writing with one or more European colleagues.

Not an easy job, as hardly any of the authors have any experience with working processes of that kind.

Nevertheless, for some it seemed quite natural to come together for such work, for others it became a longer process to engage with a co-writer from somewhere else who didn’t share the same language. But after the frosty cold days in Oulu, everyone finally found their partner. Now the journeys to a unknown field are about to start and decisions are to be made, concerning the issues and languages, structure of plays and agreements on the working process.

And there is more…

The meeting of the authors was embedded in the annual Children’s and Youth Theatre Meeting in Oulu. By means of the close collaboration between the project- and festival-management it was possible to bring two smaller productions to Oulu.

Teatro O Bando from Portugal contributed ‘Grão de Bico’, a production with two actors, exploring the theme of ‘Little Thumb’ and creating impressive effects with their use of a mini-live-camera.

The one-woman-production ‘Cartastorie”, came from Teatro Elsinor. This enchanted the young audience with fantastic transformations of paper.

The commissioning theatres followed the sympathies of their authors with open mindedness and are consequently now concerned with complex and complicated negotiations of cooperation. The idea

Both productions were supported in Oulu by a Finnish female actor, who was brought into rehearsals at an early stage and who functioned as a direct mediator for the audience. That too, was exciting for the co-writing-partners to see: Already in Oulu there were two convincing examples of how to use two languages on stage simultaneously.

Playwrights’ Meeting

From University to Oulu – back- and on stage and into real life In one of our semesters, Dirk Neldner used PLATFORM 11+ as an example in order to introduce cultural studies students to European cultural networks. Theoretically, we were informed about German and European cultural politics and about fund raising as well – often with a direct connection to PLATFORM 11+.

The meeting in Oulu took place at the end of our semester. Finally, four of us went to Finland.

Well equipped with campus stories from Viadrina University.

In the seminar smaller groups had prepared different little projects to take them to Oulu.

After a chaotic flight, Oulu was cold, Finnish was funny and people warmly welcomed us! We took part in the meetings, got to know about the dif-

ferent pieces and the performances, which were already staged. It was also really interesting to follow the discussions about the different approaches towards children’s theatre – when it comes to the philosophical background, as well as the actual concept of the play.

Raul Atalaia from O Bando said, for example: “That’s what we do: we invite them to be artists, to think about life, about themselves and to question.”

During the festival we could see, how this was transported to the stage – one of the two pieces of PLATFORM+ participants was from O Bando.

Besides these official parts of the meeting, we enjoyed the theatre festival in Oulu. During all the dinner and lunch breaks, we could continue discussions with the participants. It was a really inspiring

atmosphere and enabled us to get a very personal perspective. Additionally, we used the meeting for some scientific research when interviewing some of the authors about their methods of interactive and integrative playwriting.

Finally, on the last day, we presented our campus stories to Finnish pupils, who are now in charge of the stepping exhibition.

Other students will be going to the next meeting in Portugal. Summer 2011 might provide a chance to meet the whole team again in Dresden at the 3rd Annual Encounter!

Helene Könau Student of Viadrina University Frankfurt / Oder, Germany

139

Stepping Exhibition

How can one get invoved in an international theater project for children and young people of this target age group?

What sort of journeys can be made when there’s not enough money for everyone to travel? How can one form active art without merely putting it into the Internet?

Our colleague Andrew Sidall came up with a convincing idea on this.

A Stepping Exhibition Pupils of the partner schools from all the countries hold workshops on common themes together with visual artists. As a result of this, there’ll be artworks created by children and young people. These artworks will be sent on to another school according to a special travel plan. The school which receives the artwork will in turn send their material to another school. The artworks, in this case, will be transported by the adults who are responsible for the project A common theme and a common starting time was quickly found. The authors from all the theatres developed characters, the so-called ‘schoolyard crossers’, for last year’s Annual Encounter in Budapest, for the schoolyard event. Starting point

Drawing from Hungary / Budapest

for all the workshops are the descriptions of these very different characters which all the schools have

received. The scripts will be read together and then discussions will take place to decide on the form of the artistic creation.

In Budapest paintings were decided upon. The Hungarian children had a small advantage because they saw the event live and thus had a visual impression.

A present box was sent to the next meeting, the teacher workshop in Salo / Italy, and presented to the school in Milan in a festive manner.

The Italian children decided to make masks, based on an ancient Italian tradition, with a visual artist.

These masks then went on a journey to Oulu in Finland where they were passed on to the partner school.

141

Stepping Exhibition Some of these creations were, as an exception to the normal procedure, sent over the Atlantic to Argentina.

In the last meeting in London the Director of the Oulu City Theater had the honour of handing over a special case with Art from Finnland to the Mayor of Greenwich. This ceremony took place during the 30th Anniversary celebrations of the Emergency exit Arts Group.

Now the balls are in the English and Argentinian courts. The Portugese kids are excitedly awaiting their presents when the Stepping Exhibition takes its next step to Palmelaâ&#x20AC;Ś

Drawings from Hungary / Budapest Top left: Italian masks Bottom left: Mask as a present from Italy in Buenos Aires Right: Celebration of the Opening of the Stepping Exhibition in Oulu / Finland 143

Stepping Exhibition Schoolyard Crossing – All characters Divadlo Alfa | Czech Republic COMEDIAN – PUPPETEER Bouke Oldenhof | The Netherlands ERIC, 14 YEARS OLD Guiditta Mingucci | Italy A MAN ON A HORSE István Tasnádi | Hungary THE BIG CONFLICT MANAGER Arjian Manuelpillai | United Kingdom 13 YEARS OLD GIRL Anna Pabst, Eva Rottmann und Lorenz Langenegger | Switzerland THE FORMER HEADMASTER OF THE SCHOOL, MEANWHILE RETIRED Marion Jõepera | Estonia THE GIRL WITH RED BRICK Péter Horváth | Hungary THE KING Richard Hurford | United Kingdom VIDEO JACK

Drawings from Hungary / Budapest

Rui Pinha Coelho | Portugal A STORYTELLER Ákos Németh | Hungary JULIA, 12 YEARS OLD Laura Naumann | Germany GESINE, A GIRL Laura Naumann | Germany ARMANDO, AN ICE CREAM MAN Jukka Heinanen | Finland A SCIENTIST (EXPLORER) Liv Heløe | Norway WENCHE – A MOTHER Theatre Institute Bratislava | Slovakia BATMANCASE Gabriel F. Chapo | Argentine AN ALBINO GIRL

Above: February 2010: Giuditta Mingucci (Theatre Elsinor IT) presents the exhibition with masks from Italian students to a school in Oulu / Finland Below: Participants of the Playwright Meeting in Oulu at the opening of the Stepping Exhibition 145

Evaluating PLATFORM 11+

By creatively engaging with their own culture as well as neighbouring cultures, all PLATFORM 11+ participants develop a broad European consciousness. By enabling a meaningful experience of the many varieties of European culture, PLATFORM 11+ makes a decisive contribution to the development of a feeling of European identity among artists and young people and in turn exercises influence on the shaping of the 21st century.

(From the summary of the project)

over Europe, and take place in various settings and situations, with a lot of people involved. But, having said yes to the invitation from the project leaders, I will try to sort my impressions and to follow up some of the activities.

At the First Annual Meeting in Budapest 2009 we asked participants what positive results they hoped would be achieved at the end of the project. The answers revolved around these themes:

My task is to follow as many as possible of the activities within the project, to observe, ask questions and try to reflect upon my observations of the different

t 5IBU UIFBUSF GPS UIF UBSHFU HSPVQ TIPVME CF RVFTtioned. t 5IBU UIF NFFUJOHT CFUXFFO QFPQMF XPVME MFBE UP new energy and new projects. t 5IBU UIFSF TIPVME CF B MPU PG HPPE QMBZT GPS ZPVOH people.

aspects and activities. To do so with such a many-faceted project is not easy. The activities are spread all

t 5IBU UIF FOHBHFNFOU PG ZPVOH QFPQMF XJUI BSU should increase.

146

t 5IBU UIF QSPKFDU TIPVME MFBE UP B CSPBEFS LOPXMedge of different working methods. t 5IBU JU TIPVME DSFBUF B OFUXPSL GPS BO FYDIBOHF of ideas. t 5IBU JU TIPVME JOWFTUJHBUF UIF SFMBUJPOTIJQ CFUXFFO visual arts and theatre. t 5IBU JU TIPVME GPDVT PO CVJMEJOH TUSPOH MBTUJOH relationships between the participants.

We also asked about the most important obstacle to the success of the project.

There was a fear that – or should we say, there were questions: t 8JMM JU CF IBSE UP LFFQ UIF FOFSHZ BMJWF GPS GPVS years? t 8JMM XF MPTF UIF GPDVT PO PVS SFMBUJPOTIJQ UP UIF audience?

t JT UIFSF SFBMMZ B VOJWFSTBM MBOHVBHF PG UIFBUSF UIBU 11 or 13 year old audiences with little experience of the theatre in general can understand? t XJMM UIFSF CF FOPVHI UJNF BOE mOBODJBM SFTPVSDFT to follow up the project and especially the dynamics that would involve more of the younger ones?

And maybe above all: How can we let youngsters influence the project in a real way?

The idea of evaluating the project comes from a desire to say something substantial about the possible effects of such a project. That is definitively a challenge. The project has so many different parts that it will be necessary to point out some of the most important ones to follow up. So my attempt to sum up what the most important aspects of an evaluation is as follows: How did we succeed when it comes to: The knowledge of the needs and potential of the target group 11+?

It seems that the overall interest lies in broadening the artistic competences within the field, and particularly when it comes to understanding the target group and finding good and useful artistic forms

for youngsters of 11+. This important question must be asked throughout the whole project. This is difficult to measure, and it will need some consideration about how the different participants look at youth in general, and how they think about theatre for this age group. I will try to interrogate and observe, as well as ask questions. I am aware that my own attitudes may as well be an obstacle as they may be helpful.

The administration and organisation of the project according to the general plan and intentions?

Much of the success of the project lies in the structure. I will try to find out how the communication goes within the project, and how the different aspects of the organisation functions. This will mainly be found by the collection of data, but also from my own observations.

The European experience, as it is stated above?

Not being an EU citizen myself, I am curious about this aspect. How will an increased knowledge of the theatre life in other European countries influence on my own artistic work? What kind of questions can I ask, and what can I observe from outside?

The artistic development for each theatre and theatre worker?

How has Platform 11+ influenced the theatresâ&#x20AC;&#x2122; artistic policies and each participantsâ&#x20AC;&#x2122; own work? Is it possible to find signs of new artistic insight as a result of the project?

The creation of a variety of new plays?

Does the new plays represent something new to the theatres? Have the playwrights gained new insight during the project?

The interaction between different art forms and artists from different fields?

Has there been a fruitful integration between the theatre and the visual arts? In what way, and for whom?

The success of the project may be seen in many different ways. Hopefully a continuous evaluation will permit us to point out some of these areas.

Gunnar Horn, Dean of the Faculty of Fine Arts, University of Agder, Norway 147

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Timeline

2009

2010

22. – 25. MAY 2009

24. – 27. FEB 2010

Advisory Board (Drammen | Norway)

Playwrights’ meeting & Play Fair (Oulu | Finland)

3. – 6. JUNE 2009

Playwright Meeting (Berlin | Germany) 4. – 8. SEP 2009

1st Annual Encounter (incl. Play Fair & Event Schoolyard Crossing) (Budapest | Hungary) 9. – 12. OCT 2009

Advanced Training Teacher (Salo | Italy) 18. – 20. NOV 2009

Marketing Meeting (London | UK)

16. – 21. MAR 2010

Directors Workshop (Buenos Aires | Argentina) 26. – 29. MAR 2010

Advisory Board & Play Fair (London | UK) 6. – 28. JUNE 2010

Plein Air (Palmela | Portugal) 23. – 28. JUNE 2010

2nd Annual Encounter (incl. Midsummer Night’s Theatre – A European Theatre Event) (Palmela | Portugal)

2012

2013

21. – 27. FEB 2011

NOT YET FIXED: APR 2012

7. – 10. MAR 2013

Advisory Board and PLATFORM 11+ National Productions at Oulu festival (Oulu | Finland)

Schoolyard in Town 2 (York | UK)

5th Annual Encounter & Education Conference (incl. Fair Play) (Drammen | Norway)

29. APR – 2. MAY 2011

Advanced Training Teacher (Palmela | Portugal) 15. – 18. MAY 2011

Meeting Literary Manager (Bratislava | Slovakia) 14. – 19. JUNE 2011

3rd Annual Encounter (incl. Presentation CoProductions & Play Fair) 9. – 11. SEP 2011

Advisory Board, Meeting Directors and Visual Artists (York | UK)

23. – 31. OCT 2010

NOT YET FIXED: OCT 2011

Schoolyard in Town 1 (Tallinn | Estonia)

Schoolyard Stories Festival (incl. PLATFORM 11+ Productions) (Buenos Aires | AR)

29. – 31. OCT 2010

Advisory Board & Play Fair (Tallinn | Estonia) 150

2011

18. – 20. MAY 2012

Advisory Board & Play Fair (Milan/Florence/Forli | Italy) 1. – 18. JUNE 2012

Rehearsals Final Production (Pilsen | Czech Republic) 18. – 21. JUNE 2012

4th Annual Encounter (incl. PLATFORM 11+ Final Production & Play Fair) (Pilsen | Czech Rep.) 23. – 25. NOV 2012

Advisory Board & Play Fair (Groningen | The Netherlands)

NOT YET FIXED: APR 2013

Schoolyard in Town 3 (Groningen | The Netherlands)

addresses Divadlo Alfa Pilzenˇ , Czech Republic

Theater De Citadel Groningen, The Netherlands

Emergency Exit Arts London, United Kingdom

General Director: Tomáš Froyda

Artistic Director: Rob Bakker

Rokycanská 7, CZ-312 00 Pilsenˇ

Akkerstraat 97 a, NL-9717 KZ Groningen

PO Box 570, GB-London SE10 OEE

www.divadloalfa.cz

www.citadeltheater.nl

www.eea.org.uk

VAT Teater Tallinn, Estonia

Brageteatret Drammen, Norway

Artistic Director: Deb Mullins

Pilot Theatre Company York, United Kingdom

Artistic Director: Aare Toikka

Artistic Director: Terje Hartviksen

Artistic Director: Marcus Romer

PO Box 3342, EE-10505 Tallinn

Grønland 60, NO-3045 Drammen

c/o York Theatre Royal, St. Leonhard’s

www.vatteater.ee

www.brageteatret.no

Oulun Kaupungin Teatteri Oulu, Finland

Teatro O Bando Palmela, Portugal

Artistic Director: Athi Ahonen

Artistic Director: João Brites

P.O.Box 5, FI-90015 Oulun Kauunki

Vale dos Barris, PT-2950-055 Palmela

www.teatteri.ouka.fi TJG.Theater Junge Generation Dresden, Germany

www.obando.pt

ASSOCIATED PARTNERS

Theatre Institute Bratislava, Slovakia

Artistic Director: Felicitas Loewe

Artistic Director: Vladislava Fekete

Meißner Landstrasse 4, D-01157 Dresden

Jakubovo nám 12, SK-81357 Bratislava

www.tjg-dresden.de

www.theatre.sk

Kolibri Gyermek - És Ifjúsági Színház Budapest, Hungary

Place, York Y01 7HD www.pilot-theatre.com

Junges Schauspielhaus Zurich, Switzerland

Upebe Buenos Aires, Argentina Artistic Director: Maria Inés Falconi www.upebe.com.ar University of Agder Kristiansand, Norway

Artistic Director: János Novák

Artistic Director: Petra Fischer

Dean of Faculty of Fine Arts: Gunnar Horn

Jókai tér 10, HU-1061 Budapest

Giessereistrasse 5, CH-8005 Zürich

PO Box 422, NO-4604 Kristiansand

www.kolibriszinhaz.hu Elsinor Teatro Stabile d’Innovazione Milan, Florence, Forlí, Italy

www.schauspielhaus.ch Jetzt&Co Zurich, Switzerland

www.uia.no Europa Universität Viadrina Frankfurt (Oder), Germany

Artistic Director: Enrico Beeler, Petra Fischer

Faculty of Social and Cultural Sciences

Artistic Director: Stefano Braschi

Postfach 441, CH-8040 Zürich

Große Scharrnstrasse 59, D-15230 Frankfurt (O)

Via Boltraffico 21, IT-2059 Milan

www.jetztundco.ch

www.euv-frankfurt-o.de

www.elsinor.net 151

Imprint Yearbook Season 2009/10 Editorial Staff Publisher Dirk Neldner Editor Odette Bereska Layout & Design Andy Newman | www.andi.nu Printed by Druckhaus Köthen | www.koethen.de Translation | English Corrections Peter Scollin Picture Index Karel Zwaneveld (NL), Elisa Braun, Klaus Gigga, Norbert Seidel (DE), Kati Leinonen, Sari Tanner, Marko Tuisanen (FI), Ilaria Ariemme, Umberto Biscaglia (IT), Constanza Scotto (AT), Louise Buckby for Karl Andre Photography, Toby Farrow for Farrows Creative (Pilot Theatre, UK), Siim Vahur, Maiu Niineste, Kristiina Jalastro (EE), Nils Maudal (NO), Katarina Durcowa, Michaela Hudekowa (SK), Judit Szlovak (HU), Helen Stanley, Samantha Nurse, Andew Siddall (EEA, UK), Helmut Pogerth (SUI), Archive Theatre Alfa R. Cˇernik, education, J. Krˇivánek (CZ) © PLATFORM 11+ Platform 11+ – Artistic Discoveries in European Schoolyards is a European Theatre Network supported by the European Commission. The views expressed in this publication are only the views of the authors. The Commission cannot be held responsible for any use which may be made of the information contained therein.

Contact: Dirk Neldner | dirk@platform11plus.eu Head Organisation: Brageteatret, Grønland 60, NO-3045 Drammen.

Office: Kalkseestrasse 7 A – D-12587 Berlin www.platform11plus.eu 152

Participating Theatres

www.platform11plus.eu

YEARBOOK 2009 / 2010

Divadlo Alfa Pilzenˇ, Czech Republic VAT Teater Tallinn, Estonia Oulun Kaupungin Teatteri Oulu, Finland TJG. Theater Junge Generation Dresden, Germany Kolibri Gyermek – És Ifjúsági Színház Budapest, Hungary Elsinor Teatro Stabile d’Innovazione Milan, Florence, Forlí, Italy Theater De Citadel Groningen, The Netherlands Brageteatret Drammen, Norway Teatro O Bando Palmela, Portugal Theatre Institute Bratislava, Slovakia Junges Schauspielhaus Zurich, Switzerland Jetzt&Co Zurich, Switzerland Emergency Exit Arts London, United Kingdom Pilot Theatre Company York, United Kingdom

YEARBOOK 2009 / 2010

ASSOCIATED PARTNERS Upebe Buenos Aires, Argentina University of Agder Kristiansand, Norway Europa Universität Viadrina Frankfurt (Oder), Germany

With the support of the CULTURE Programme 2007-2013 of the European Union