Platform Shift+ Yearbook 2018

DIGITAL CHALLENGES IN THEATRE FOR YOUNG AUDIENCES YEARBOOK 2017/2018

YEARBOOK 2017/2018

3 | PLATFORM SHIFT+

DIGITAL CHALLENGES IN THEATRE FOR YOUNG AUDIENCES

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PARTNERS

Project Management

1. Pilot Theatre Company (York/Great Britain)

Artistic Director Dirk Neldner

2. South Bohemian Theatre (České Budějovice/Czech Republic)

Literary Adviser Odette Bereska

3. Elsinor Centro di produzione teatrale (Milan, Forlì, Florence/Italy)

Project Coordinator Sven Laude

4. Emergency Exit Arts (London/Great Britain)

Project Assistance Sophia Neubert

5. Kolibri Theatre (Budapest/Hungary)

Education/Engagement Mandy Smith (Pilot Theatre)

6. Théâtre Massalia (Marseille/France)

Creative Forum Ben Pugh (Pilot Theatre), Johanna Malchow

7. Teatro O Bando (Palmela/Portugal)

Financial Administration Charles Moore (Pilot Theatre)

8. tjg. Theater Junge Generation (Dresden/Germany)

Financial Assistance Jackie Raper (Pilot Theatre)

9. VAT Teater (Tallinn/Estonia)

Support Project Administration Lucy Hammond (Pilot Theatre)

10. Teatret Vårt (Molde/Norway)

Website & Social Media Administration Sam Johnson (Pilot Theatre)

11. University of Agder (Kristiansand/Norway)

PLATFORM Shift+ is a larger scale cooperation project announced by the European Commission under their European Culture Funding Stream Creative Europe.

The network of 11 partners from 9 countries was created to meet the new challenges of producing theatre for young people in the digital age. The partners have identified the urgent need to engage with digital technology in order to understand the target audience. Over four years (2015 – 2018), they have made a major investment in the professionalization of theatre makers on an international level.

40 theatre productions, correlated to the reality of the digital age, were developed.

In more than 50 activities PLATFORM Shift+ had connected theatre makers with young people in an artistic dialogue. An intense transnational exchange of artists/artistic products took place and training in digital technology was regularly provided through Creative Forums on an international and national/regional level.

5 | PLATFORM SHIFT+

DIGITAL CHALLENGES IN THEATRE FOR YOUNG AUDIENCES

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20 Introduction Final Co-Productions | Events 24 Co-Production | Event “Binaural Sound” 26 Into the Unknown (Teatret Vårt)

4 Partners and Project Management

30 Nightmare (Kolibri Theatre)

5 PLATFORM Shift +

34 Sweet Sixteen (South Bohemian Theatre)

8 Preface Dirk Neldner, Artistic Director PLATFORM Shift +

38 Co-Production | Event “Out of the Box” (EEA, VAT Theatre, tjg., Théâtre Massalia)

12 Preface Anne Marie d’Estienne d Orves, Deputy Mayor delegate

46 Co-Production | Event “Birds” (Teatro O Bando, Teatro Elsinor, Pilot Theatre)

13 Preface Emilie Robert, Artistic Director Théâtre Massalia

56 Co-Production | Event “18” (Pilot Theatre, Teatro O Bando, Teatro Elsinor)

14 Programme 9th Annual Encounter & 4th Youth Encounter & Teams

60 My Digital Addiction

17 Introduction 9th Annual Encounter & 4th Youth Encounter

64 Pilot Theatre Company (UK)

CONTENTS

62 11 National Creative Forums 68 Théâtre Massalia (FR) 70 Kolibri Theatre (HU) 72 Elsinor Centro Di Produzione Teatrale (IT) 76 VAT Teater (EE)

78 Teatret Vårt (NO)

138 University of Agder (NO)

80 Teatro O Bando (PT)

140 My Digital Addiction

83 South Bohemian Theatre (CZ)

PLATFORM Shift + Activities

86 Emergency Exit Arts (UK) 88 tjg. Theater Junge Generation (DE)

142 8th Annual Encounter Dresden (DE) and Festival “Your Story”

92 University of Agder (NO)

150 3rd Youth Encounter Forlí (IT)

96 My Digital Addiction

156 Advisory Board Meeting, York (GB)

Presentations and Reference Productions of the PLATFORM Shift + Partners

158 Advisory Board Meeting, London (GB)

98 Pilot Theatre Company (UK) 102 Théâtre Massalia (FR)

162 Evaluation PLATFORM Shift+: Questions to the Artistic Directors

106 Kolibri Theatre (HU)

174 Timeline

110 Elsinor Centro Di Produzione Teatrale (IT)

177 Addresses

114 tjg. Theater Junge Generation (DE)

178 Imprint

122 Teatret Vårt (NO) 126 Emergency Exit Arts (UK) 130 Teatro O Bando (PT) 134 South Bohemian Theatre (CZ)

7 | CONTENTS

118 VAT Teater (EE)

160 My Digital Addiction

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Preface

Dirk Neldner, Artistic Director PLATFORM Shift+

The four years of the project have passed extremely quickly for me. From the point of view of the Digital Revolution however, four years is a very long time. Which one of our young audiences wants to be seen in the school playground with a four-year-old smartphone? Completely old school‌ Over the last four years, a lot has changed as well for the 11 PLATFORM Shift partners.

The Digital Shift, as we named it in our EU application, has begun for all partners. It has left its mark, the effects of which will long outlive the project.

AUDIENCE DEVELOPMENT AND DIGITALISATION Our main concern was the winning over of young audiences who have difficulties in motivating themselves to go to the theater.

The starting point of the project was to contact and pick up the young people in their reality by using and making a theme out of the Digital world. Young people were involved in the work of theatres in countless workshops and youth theatre productions. As well as acquiring artistic skills they learnt, how to deal with digital Media (in the context of art). The climax of these exchanges were definitely the four Youth Encounters (in Yorkshire, 2015; Tallinn 2017; Forli 2018 and now, to round it all off, the final event in Marseille). In these Encounters, the young people shared their experiences with one another and with the theatres and profited from the European exchange, as did the professional artists.

Often – and earlier than we had originally planned – these co-operations between young people and professional artists ended in co-creations (“Paper Cities” von EEA/tjg, “A project on a break up in the digital Age” from tjg).

What was surprising was the choice and development of new material for the young audiences by the theatres. There were a number of experiments with digital techniques and these opened up until then unknown aesthetics. (“Labyrinth” von Vårt, “Short Circuit” von Kolibri/VAT).

Others approached the theme “Digitalisation,“ by rediscovering literary models (“The Machine Stops“ from Pilot) – or mixed both as in “This is (not) Europe“ from O Bando and Massalia.

Artists were frequently interested in the debate about the borders between private and public (“Hijack Protokol“ by UiA; “Humans of Budweis“ from SBT) or between real and virtual (“Mr. Green” from VAT/Elsinor). It was the search for Identity in the digital world, in which “I“ and “We“ are being renegotiated, which was the driving force for the artists. In “Traitor” (Pilot/Vårt) a playful dispute is shown, calling on the audience to take a stance in this brave new digitalised world.

9 | PREFACE - DIRK NELDNER

The goal of the Youth Encounters is connecting Digitality (life in the era of digital change) with artistic story telling forms. The international productions borne out of this are impressive evidence of just how critically the young people see themselves (“My Digital Identity“-Tallin 2017 ). It also underlines the importance which we artists have as mediators in this process.

10 FURTHER EDUCATION The annual “Creative Forum“, a digital conference, is at the heart of PLATFORM Shift.

Here the artists obtain much inspiration, both from a technical point of view as well as in stimulating a stronger awareness about the socio-economic consequences of the change.

Above all, it was the international encounter, the exchange about similarities and challenges, which contributed to the further development of the project. The three large Creative Forums on the European level followed the 11 national conferences with European involvement. What the theatres had learnt during these concluding meetings flowed on into local and national networks (e.g. that the technicians from the Saxon Theatre took part in the workshops, or that the Creative Forum in York took part in the York Mediale 2018).

These 11 Forums will ensure sustainability; the development of the theatres will not cease when the project ends.

Additionally, all fourteen conferences were meeting places for artist and experts with the young audiences. Through this, the PLATFORM Shift-partners could make their theatres more attractive for the young audiences. The dialogue between the theatres and their audiences was not merely set up over the last four years, it also led, in all cases, to deep reaching co-operations.

The project enriched the professional careers of the artists and will increase their job chances in the future. It would seem to me to be no exaggeration to claim that everybody who participated in the 4 year process formed a different attitude to the change brought about by digitalization (sharper, more sympathetic AND critical). We are now in a position to be actively involved in the public discussion on digitalization in both the technical and the socio-political areas. I could not have envisaged that this development would reach such depths.

The complexity of the exchanges and co-operative efforts, resulting out of the dialogue between the European artists and young people, is the most impressive aspect for us to hold onto when we look back on

PLATFORM Shift. For this reason, I am not describing here the end of a project, because we will continue to be in contact with each other in both the real and the virtual world.

These four years are described only incompletely, unless the great team of Pilot Theatre is thankfully praised. But especially I have to mention Mandy Smith, Pilot’s producer; it was her belief in the project that made PLATFORM Shift+ possible in the first place. In those four years, there was no moment when Mandy did not support us.

PS Further shifts will take place because this PLATFORM is based on the shared willpower of many creative people in Europe. The section on page 162 containing the evaluation of the artistic directors of the theatres is clear evidence of my claim.

11 | PREFACE - DIRK NELDNER

During our artists meeting in Budweis, we supported many artists in making their first experiences with social media. The French author Karin Serres is a good example of this: She opened a Facebook account for the first time in Budweis and discovered the potential of developing shared stories. The production “The girl from the PLATFORMs” (Massalia) grew out of this.

12 prEface Anne Marie D’ESTIENNE D’ORVES In October, Marseille will be in the spotlight on the European stage with Théâtre Massalia.

At la Friche la Belle de Mai, about fifty young people and as many professionals will be hosted for the Final Event of PLATFORM Shift +, a four years long project which generated about thirty productions in Europe.

During one week, as it will the scene of workshops, meetings and performances, la Friche will be the place for fraternity and togetherness. In this troubled times, it is important that such moments may be experienced and shared.

In the name of the City of Marseille, I acknowledge the work done by the staff of Théâtre Massalia and its manager, Emilie Robert, who are relentless engaged in the promotion of performing arts for young audience.

This project looks like Marseille, reflects the city: it is a young talent pool and the creative laboratory of a dynamic and cosmopolitan youth.

In Marseille, the municipality has been firmly engaged, for many years, in supporting contemporary creation, which bubbles with talents, major and future creators. World city, Marseille is a privileged place for cultural dialogue between Europe and Mediterranean, opened to imagination, where artists are full of audacity and creativity.

Let us be glad to live together this time of gathering and celebration!

Anne-Marie d’ESTIENNE d’ORVES Deputy Mayor Delegate Cultural action – performing arts – museums – public reading _ artistic studies

What an honour, it is for us to host the Final Event of Platform Shift + !

We have experienced and learned a lot during these four years, through meetings, Creative Forums and co-productions with different partners. This project has changed our relationship to young people and digital tools. But it has also opened our minds to alternative forms in performing arts for young audiences.

La Friche is an inspiring location to spread young people from Estonia, United Kingdom, Germany, Italy, Czech Republic, Portugal, Hungary and France in workshops with an international staff of artists. We are sure that they will create an amazing performance but we want to offer them as well some of the main wealth of our city. Marseille is also an inspiring place to imagine an open and inclusive future for Europe...

Furthermore, welcoming fifty members of our partners staff (from the same countries and Norway), by which we have spend great moments, is a gorgeous opportunity. We want them to enjoy La Friche and spend a special time with us. All the staff of Théâtre Massalia,

deeply engaged in TYA, is glad to share this unique moment with them and to offer some of it to our audience too.

Welcome !

Emilie ROBERT Artistic Director Théâtre Massalia

13 | PREFACE - EMILIE ROBERT

prEface Emilie Robert

At Théâtre Massalia, we are already preparing the way we will continue improving our digital communication and our work with young people in the next seasons. But before, we will be very pleased to host in la Friche a youth encounter, as well as the final performance and meeting of our group of partners.

Programme 4th Youth Encounter and 9th Annual Encounter Saturday, September 29

Arrival of Young People from 8 European countries

Sunday, September 30 – Thursday, October

Youth Encounter with workshops and rehearsals

Thursday, October 4

Saturday, October 6

Rehearsals of young people and professionals for the Final Event 20.30 Grand Plateau La Friche PLATFORM Shift+ Final Event “Good luck, Europe”

Arrival of professional artists for the Annual Encounter

Sunday, October 7

19.00 Terrasse La Friche Youth Encounter Presentation “Europe at Play”

10.00 Internal presentation of the Final Co-productions/Events and evaluation

Friday, October 5

15.00 Advisory-Board-Meeting

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Public Presentation of the Final Co-Productions/Events BIRDS, Out of the Box, Binaural Sound and 18

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Rehearsals of young people and professionals for the Final Event

Team Théâtre Massalia

Artistic Director Andrew Siddall (GB)

Artistic Director Emilie Robert

Creative Collaborators Claire Letarget (FR), Cyril Bourgeois (FR), Fraser Corfield (AUS)

Team: Nathalie Dalmasso, Graziella Végis, Marion Hery, Nathalie Bonino, Sabine Liautaud, Fanette Therme, Pascale Souteyrand, Guillaume Brioit, Eric Paté, Jany Cianferani

Cast Young people from Great Britain (London, York), Portugal (Palmela), Italy (Forlì), Estonia (Tallinn), Germany (Dresden), Czech Republic (Český Krumlov), Hungary (Budapest) and France (Marseille)

Team Final Event “Good luck, Europe”

Team PLATFORM Shift + Artistic Director Dirk Neldner Project Coordinator Sven Laude

Performance Director Janek Lesák (CZ)

Literary Adviser Odette Bereska

Technical Director Phillipe Domengie (FR)

Project Assistance Sophia Neubert

Dramaturg Odette Bereska (DE)

Support Annual Encounter Elisa Braun, Johanna Malchow

Production Designer Andrew Siddall (GB)

15 | PROGRAMME & TEAMS

Team Youth Encounter “Europe at Play”

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La Friche, Marseille (FR)

After four years, PLATFORM Shift+ is coming to an end. 11 companies from 9 European countries had four years of intense working, of learning and co-producing. Each year an Annual Encounter took place, presenting the productions developed in that season and bringing the artists involved in a direct exchange.

The final Annual Encounter will be hosted

by Théâtre Massalia in Marseille (France) in October 2018. It is preceded by the fourth PLATFORM Shift+ Youth Encounter, which will bring together 45 young people from eight countries in La Friche, the impressive building, where Théâtre Massalia is located. The week of activities for the young people include workshops and rehearsals that will lead to an open-air presentation under the title Europe at Play. It will be a welcoming presentation for the 40 professionals, who will arrive for their final Annual Encounter, and of course for an interested audience from Marseille.

In their meetings the professionals will look back to the previous season for one last time. They will present and discuss their final co-productions/events and their National Creative Forums, and they will evaluate the ending of this EU-project.

w Siddall

Dirk Neldner, Andre

Philippe Domengie, Janek Lesák

17 | WELCOME TO MARSEILLE: 9TH ANNUAL ENCOUNTER

Welcome to MARSEILLE

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Final Youth Encounter Marseille, France September 29th – October 7th

For two days professionals and young people will together will work at the final PLATFORM Shift+ event “Good luck, Europe”, an unusual kind of birthday party. The extraordinary experiences in PLATFORM Shift+ of artists and young people from 9 European countries were only possible because the Treaty of Maastricht came into force on November 1st, 1993. A great reason to celebrate, to eat and drink together, to dance and sing, to exchange memories and wishes, anecdotes and recipes, songs, poems, photos and more.

All “platformers”, professionals and young people, and their guests from Marseille, will create an unforgettable party night, which strongly reminds us of the unique opportunities only possible in a common Europe without borders.

Preparation Meeting Final Event, Marseille, La Friche, June 2018

Europe at Play It is lunchtime, and the school playground is very full, and very noisy.

From where he sits, high up, Jean-Claude can see almost everyone - except Charles, who’s made a house underneath the slide. Jean-Claude is sat at the very top of the slippery slide: he knows he can’t go backwards, and he refuses to go down, so he just sits there, even though other children are shouting at him to get off.

He sees Emmanuel refusing to play some game with Angela, and Giuseppe fighting with Pedro again. On the climbing frame Andrej, Andrej and Boyko are hanging upside down whilst Peter, Klaus and Miro keep pulling their ears and giggling.

Stefan and Juha are having a spelling competition with Júri and Viktor – making up really complicated words, and Angela (who’s got bored with Emmanuel) keeps creating really long words for them to laugh at.

On the ‘Lonely Bench’, Alexis is trying to tell Theresa about a terrible thing that happened to him, but she refuses to listen and keeps pushing him away. Nicos and Leo are dancing alone, on opposite sides of the playground. One likes to spin in circles, one does a lot of hopping.

Xavier and Joseph are measuring each other with string, trying to work out who is the smallest. Lars laughs at them because he knows he is taller than everyone. Except Stefan. Charles, Sebastian and Mateusz are

also playing with string, making outlines on the floor - but Angela (who got bored making up words) keeps running through them and kicking the string.

The quiet ones, Maris and Dalia are holding hands and singing a dream song. In the sandpit, Mark is on his stomach, talking to himself, and pouring his bottle of water into little rivers.

Jean-Claude sees all of this, and it makes him happy.

Big Stories and Grand Themes are explored by children every day in the playground: best friends and enemies are made and lost, teams and gangs are created and as quickly evaporate, territories are marked, and boundaries changed in the blink of an eye, someone shouts to be the centre of attention, another struggles to be heard. someone forgot to bring lunch, another has a spare sandwich… but at what cost? there is the loud sound of laughter and celebration, the quietness of sorrow and loss, endless singing and chanting.

Welcome to the European Playground, and Europe at Play.

Artistic Direction Andrew Siddall (GB) Artistic Collaboration Claire Latarget (FR), Cyril Bourgois (FR) With the participation of young people from Marseille (FR), Tallinn (EE), York, London (GB), Forlì (IT), Palmela (PT), Budapest (HU), Budweis (CZ), Dresden (DE)

19 | 4TH YOUTH ENCOUNTER

António has got his big coat on and is running around shouting and flapping his arms up and down trying to keep warm, even though it is hot enough for Stefan and Juha to be in shorts. Eventually Antonio gives up and stands quietly with his hands deep in his own pockets, feeling for coins and maybe an old sweet.

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Final Co-Productions| Events

The last season of PLATFORM Shift+ was dedicated to the work on the four final co-productions/events. Based on the experiences of the bi-national co-productions of the previous seasons, they were developed in collaboration with at least 3 partner theatres and with the participation of larger groups of young people as performers/ co-creators/technological advisors. The European creative teams met several times during the season to discuss the concepts and to plan the schedules.

In April 2018, all of the artists involved in the four productions gathered in Italy for 10 days. Situated in the picturesque little town of Bertinoro, the Residential Centre of the University of Bologna was the ideal place for an intense common rehearsal period.

21 | FINAL CO-PRODUCTIONS / EVENTS - INTRODUCTION

INTRODUCTION

22 Parallel to the rehearsal camp, the 4th PLATFORM Shift+ Youth Encounter took place in ForlĂŹ. It gave the professional artists the opportunity to present their rehearsal results to young people from 5 different countries. The young people were introduced to the different concepts and could see presentations. The artists were pleased to get them involved in their projects and to be able to check the effect and the immersive aspects of their projects. Each presentation ended with an intense debate between the artists and the young people, and the professionals could continue their work based on this supportive feedback.

The four co-productions/events present a large increase in the diversity of content and form/aesthetic. Of course, they all implement digital elements, but their approaches are quite different. The productions are an impressive example of how European diversity can be brought together to produce common artistic products of high quality and effect.

23 | FINAL CO-PRODUCTIONS / EVENTS - INTRODUCTION

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BINAURAL SOUND The project was realised through the cooperation of three theatres from three countries. A creative team of three members was established on behalf of each theatre.

Each team was led by a director, and, on the basis of a dialogue between three directors, further team members were chosen to cover the necessary jobs needed to help this project come into being.

Co-Production Team: VÅRT THEATRE/NORWAY Cecilie Lundsholt (Director, Dramaturge) Elisabet Topp (Actress) Ingvar Kristensen (Sound Technician) KOLIBRI THEATRE/HUNGARY György Vidovszky (Theatre Director) Gergely Blahó (Actor) Patricia Pajor (Stage Designer) SOUTH BOHEMIAN THEATRE (SMALL THEATRE)/CZECH REPUBLIC Veronika Poldauf Riedlbauchová (Director, Dramaturge) Jan Čtvrtník (Composer, Sound Designer) Jan Píša (Sound Technician)

25 | FINAL CO-PRODUCTIONS / EVENTS - BINAURAL SOUND

Final Co-Production/Event:

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Into The Unknown / Enter The Void Our starting point was sound and a short play as a form of theatre like a short film. How can sound tell a story? What story reaches across Europe for a young audience today? What genres can we explore? What is sound today?

What different kinds of sound technology are out there? Where can this format be performed? Pop–up? Outreach? Festival?

Before a play, like a short film before the main movie picture?

We wanted to specifically explore binaural sound. We also wanted to explore sound in the darkness and the audience’s imagination.

Can it be a walk? Can it all be in the darkness?

Can the room change in the darkness so that the room the audience comes into is different from the room they see when the light returns? Is it a mix of this? Is it with digital pictures?

How can we make a short sound play in 10 days? Is it radio theatre? Is everything recorded? What is the live aspect? Is there a live aspect?

We knew we wanted to produce it so that if we used spoken words it would be in three different languages.

27 | FINAL CO-PRODUCTIONS / EVENTS - BINAURAL SOUND

Reflections of the working process Vårt Theatre (NO):

28 The artistic team from Norway went to England to have a workshop with the renowned company Complicité and their sound designer Gareth Fry on sound and binaural sound. Then we went to the University of York, where Pilot Theatre had been so helpful putting us in contact with Damian Murphy, who would then lead a session with our team on binaural sound.

These preparations put down most of the ground work for the Norwegian team to help the process going forward in relation to genre, story and form.

Then we all met in Budweis. Norwegians, Czech and Hungarians all met with the creative teams from both Teatret Vårt, Kolibri and SBT and started to explore the ideas.

We realised that we were three directors directing the same short piece. We decided to then make three short productions, letting us explore three very different ways of using the technology, in form, genre and style.

We would all work artistically together feeding into the three different processes. All the small plays were to be made both in our native language and in English. We would tour the finished productions to each other.

We then met in Italy for ten hectic days, making three very different but interesting small pieces, all using the same technology, helping each other both technically and with input on the story lines. The Norwegian team ended up with a site-specific horror story set in a caravan for teenagers.

Into the unknown/Into the void is horror theatre for brave people over 13 years. One night many years ago on the west coast of Norway somewhere, a cruel crime was committed. Many were suspected in this case, but no one was charged, no one was charged to the court, no one was punished. The police had few traces and the case was never explained. That’s how ghosts are. Gentle spirits that cannot rest on the other side.

Madame Solange has long experience as a clear medium and guarantees you contact with spirits on the other side. She travels across land and beach and holds seances in her caravan. You will be able to get in touch with ghosts, which can give you answers to the big questions of life. But it’s never harmless to ask the other side for help.

The performance blends your own imagination, new technology and modern grief stories in the setting of a caravan. Joining “the unknown” takes about 20 minutes and who knows what may be revealed. Do you dare?

The most challenging aspect of working with new technology is that it requires you to be brave and trust that something new will come out of it, and that you don’t really know the outcome.

We have been happy explorers and we are very much surprised and amazed by the result and what we were able to create.

29 | FINAL CO-PRODUCTIONS / EVENTS - BINAURAL SOUND

This pop-up theatrical event was then toured to Budweis in the Czech Republic, Kaposvar in Hungary and in September 2018 we will again meet for a spectacle under the Høstscena theatre festival in Ålesund.

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Nightmare GENERAL CONCEPT / RESEARCH AREA Our starting point was to discover the amazing technology of binaural soundrecording in theatre. This is a special method of recording sound which aims to create a 3D-sound sensation for the listener. The difference between stereo and binaural sound design is remarkable: it feels closest to the physical soundscape that one can hear in real life.

The whole topic was Cecilie Lundsholt’s idea at our first meeting in Dresden in 2017. We started to discuss her idea and we came to interesting questions very soon. How can sound alone tell a story? Which stories reach young audiences across Europe today?

What genres can we explore?

How far can we explore binaural sound in a site-specific situation? Which environment is best to highlight the quality of binaural sound? How can we make a short sound play in just 10 days? Would that then be a radio play? Should everything be recorded?

What is the live aspect of a piece like that?

Does it have a live aspect at all?

We wanted to play around with the technology and with different ways of storytelling with pre-recorded sound in the main role. For this reason, we decided to create a set of three individual short pieces, led artistically by the three theatre directors of the co-production team.

31 | FINAL CO-PRODUCTIONS / EVENTS - BINAURAL SOUND

Reflections of the working process Kolibri Theatre (HU):

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We shared with each other all of our technical equipment and contributed to some of each other’s recordings.

Consequently, in our performance audience members individually visit three different locations with their headsets. They listen to pre-recorded soundscapes, which let them discover their dramaturgical function in each of the stories. The three short pieces follow the structure of different genres like ghost story and thriller, in which sound effects play the most important role.

The Kolibri-team arrived in Bertinoro with a fairly open concept, which included a draft script created together with our dramaturge Péter Horváth, a life-sized puppet, some curtains, a suitcase of technical gadgets and a military tent.

CREATION PROCESS IN BERTINORO (IT), APRIL 2018 Apart from several Skype-meetings, we only had one hands-on preparation meeting (Budweis 9-11 March 2018) before we started to work in Bertinoro.

The three teams have worked separately on creating their short pieces, however, we had meetings every day to discuss our technical needs and dramaturgical questions.

We decided to spend the first few days exclusively test-recording under the technical leadership of our Czech colleague, Jan Pisa.

Based on that experience we could finalise the storyline of our piece.

We decided to use the contribution of most of the people available in our creative camp for our recordings: in one of the scenes more than 30 participants played along with their voices (like shouting, screaming), in another one we recorded the singing (composed

by Jan Čtvrtník) of 25 young people from 5 countries (participants of the PLATFORM Shift+ Youth Encounter) while they were walking around the tent. Elisabet Topp (Vårt

In the tent we created different locations with curtains, and while the viewer was distracted or they were blindfolded, we changed the environment. Alongside the pre-recorded sound, which constantly tricked the audience member, we used live video-recording too and live acting with the participation of our actor Gergely Blahó and our designer Patricia Pajor.

The topic of Nightmare is about how the refugee crisis is used to retain political power. On this inner journey the spectator is faced with multiple changes of viewpoints and positions, sometimes in the role of a refugee or an officer.

A 10-minute walk in a tent where the world is widening up – at least in its sounds – however, the whole experience is about isolation. How much do you believe your ears? And your eyes?

These were the questions we explored.

CREATORS OF NIGHTMARE: Dramaturge Péter Horváth, Design, Actor Patricia Pajor, Actor Gergely Blahó, Pre-recorded Actors Elisabet Topp, Tas Embiata, Ross Bolwell-Williams and others, Sound Technician Jan Pisa, Composer, Sound Mixer Jan Čtvrtník, Author, Director György Vidovszky

33 | FINAL CO-PRODUCTIONS / EVENTS - BINAURAL SOUND

Teater) has co-acted with her voice in one of our main scenes, just like Tas Embiata and Ross Bolwell-Williams (EEA, London) contributed their beautiful English accents.

The musical soundscape and the final editing of our piece was created by our Czech colleague Jan Čtvrtník.

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Sweet sixteen THE THEME OF THE PROJECT As its key theme, the project focuses on work with binaural sound in theatre for teenagers.

The specificity of binaural recording is the way in which it simulates space perception, similar to the 3D effect, i.e. recording sound that imitates the human ear.

context. Each nationality also chose a different space and a different genre. Each story lasted for about 10-15 minutes and was intended for 1- 4 spectators. The number of spectators was limited by technical possibilities, while, at the same time, it provided a more authentic experience to the spectators.

RESULTING CONCEPTION

Theatre/ country

Premises

Genre

Number of spectators

Presence of an actor

Following a discussion about the dramaturgy of the project that lasted for several months, we chose three smaller pieces, which had the common theme of binaural sound in theatre for teenagers. Three mutually independent micro-performances enabled us to experiment with different approaches to using the binaural sound in a theatrical

VART THEATRET Norway

Caravan

Horror

4

YES

Tent

Thriller

1

YES

A closed room without windows

Documentary

1

NO

KOLIBRI THEATRE Hungary SOUTH BOHEMIAN THEATRE Czech Republic

35 | FINAL CO-PRODUCTIONS / EVENTS - BINAURAL SOUND

Reflections of the working process SOUTH BOHEMIAN Theatre (cz):

36 Sweet sixteen, a little piece based on binaural sound, is placed in a closed little room. A teenager from the 1980’s called Mato tells his short story about the time when he was sixteen years old. He used to live in Czechoslovakia during the time of communism. Thanks to special sound effects, the spectators are transported into his world, and become a part of Mato’s story themselves. This way, a teenager from the present time can experience the life of a teenager of another generation.

The show is intended only for one viewer and lasts about 14 minutes.

PROCESS AND ORGANISATION OF THE WORK •

January – February 2018: Dramaturgy Preparation, Research in the technology of Binaural Sound.

•

March 2018: 1st meeting of all three theatres, Host: South Bohemian Theatre: Three-day research into binaural sound, Discussion of the concept of the project.

There were two versions under consideration:

o Creating one story in the caravan in

which all parties concerned would

participate

o Creating three separate stories

connected by the theme of binaural

sound in the theatre for teenagers.

Version b) was opted for.

•

20 April – 1 May 2018: project realization, intensive training in the PLATFORM Shift+ rehearsal camp in Bertinoro (IT)

•

May – October 2018: presentation of the project in the individual countries:

o 5 May 2018: Festival of the South

Bohemian Theatre, České

Budějovice (CZ)

o 7 May 2018: National Creative Forum

Kaposvár (HU) o 26 – 20 September 2018: National

Creative Forum Ålesund (NO) o 1 October 2018: PLATFORM Shift+

meeting York (GB) o 7 October 2018: PLATFORM Shift+

Annual Encounter Marseille (FR) MANNER OF COOPERATION: •

Discussing the individual concepts and their gradual realization, sharing experience and impulses on an everyday basis.

•

Sharing technology (mainly the special recording heads and headphones)

•

All individual members provide assistance to each other, participate in recording and in the process of creating other concepts as well.

Binaural sound is able •

to draw spectators into the story, thus making them a direct participant in the story.

•

to transport spectators into a different environment, allowing them to travel through time and to witness the memories and experiences of others as if these were their own.

•

to shift reality, and therefore it can ideally be used to underline the contrast with reality.

Binaural sound can be used as a sound installation, which is also a theatrical act.

Its theatrical character results from the fact that audiences feel they are involved in the story and they are participants in it, because the acting subject is related to the story.

Binaural sound is an ideal medium in the theatre for teenagers – it is a technology that surprises, and therefore is “exciting” for young audiences. It also turns out that horror is the genre that suitably emphasises the contrast with reality, known to be popular with young people.

CONCLUSION The research that we conducted within this project and its outcomes have pointed out the possibilities of using binaural sound and have become a basis for further possible projects.

It has enlarged the means of artistic expression by the use of another technology.

It has made meetings of artists from different countries, theatres and specialisations possible.

Creative team: Veronika Poldauf Riedlbauchová, Jan Čtvrtník, Jan Píša

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OUTCOMES OF THE RESEARCH IN USING BINAURAL SOUND FOR THE THEATRE

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London, July 2018

OUT OF THE BOX THE BEGINNING Our early stages of cooperation were first formed in York during the PLATFORM Shift+ AB- meeting in October 2017. What drew each of the 4 organisations together was the desire to explore the topic of Cultural Youth Protest/Creative Activism, which was originally posed as an idea by tjg. Each of us were particularly interested in how we may use creative and digital methodologies to empower young people to respond to topics that they were passionate about and enabled them to move beyond preconceived ideas and notions of a protest or taking action as being juvenile “rants and riots�.

As a collective we felt that rather than using the opportunity to create a performance, we would focus the co-production on a participatory event that would be the culmination of a more process driven approach. We were also united in our ambition to involve young people from each of our countries as the co-creators of this project and that they would play an instrumental role in developing content for events in each country.

The process approach also provided each organisation agency to develop work within a framework that was flexible to our needs and the young people.

Our schedules and project timelines needed to be spread over a period of time and, rather than have a constrained, uniformed approach, we settled on each partner creating a bespoke event but using the same creative and digital tools.

With the creative practitioners having a diverse skill base, ranging from puppeteering to visual arts, the team was able to offer a variety of artistic approaches. However we also devised a manifesto that anchored the project through shared aims, objectives and ambitions.

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Final Co-Production/Event:

40

MANIFESTO “We are a collective of artists, theatre makers and creative practitioners and we represent 4 organisations from 4 countries. We are Emergency Exit Arts (London, UK), tjg. (Dresden, Germany), VAT Teater (Tallinn, Estonia) and Théâtre Massalia (Marseille, France).

As a collective we have come together to activate and inspire young people from our countries to become change makers in their local, national and global community. To achieve this we aim to empower young people through creative activism and inspire change through arts based interventions.

We want young people to think outside the box and use a creative methodology to encourage action, reflection and change.

We believe that everyone has the agency and capacity to instigate a positive change and inspire others to do so in the process.

London, July 2018

Our hope is that through actively participating in our joint venture young people feel curious and motivated to instigate a creative intervention as individuals and as a community.”

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Marseille, May 2018

42 THE DEVELOPMENT Between November 2016 and February 2017, we hosted meetings in Tallinn and Dresden where the team would develop ideas that would form the basis of our methodology. Different ideas were introduced within the team, each person bringing to the table something they had used before in youth projects, proposing variations on or combinations of activities and games, or developing something unexpectedly new.

At this time we saw the event as taking the shape of a “Pop Up Protest Museum”, a collection of interactive items spread across a space, constituting a travelling exhibition.

The exhibitions would be a mixture of audio, visual and performative offerings to engage visitors of the museum.

To gather relevant subject matter that would interest the target audience of young people

there was an ongoing interaction between artists in each country. The particular content of these meetings varied, for example, the group size, the goal and the methods differed.

It wasn’t until the production camp in Bertinoro in April that the ideas took on more defined shapes and were developed into a project called “Out of the Box”. This consisted of a set of transportable boxes that contained materials and guidelines for participatory experiences. Through this format the experiences could be played out in all four countries.

THE BOXES The idea of the box was inspired through our desire to create a “tool kit”, which would allow participants to have a practical, hands-on experience that explored different topics and themes ranging from gender stereotypes to environmental issues, to name but a few.

Marseille, May 2018

THE EVENTS After the production camp, partners programmed their own “Out of the Box” event in each country. Artists from the four organisations travelled to Tallinn, Marseille, Dresden and London to support the delivery of the project. Here’s a snapshot of how the events happened…

“Since the first presentation in Tallinn was relatively near time wise to the Italian production camp, we had set the goal to have the boxes ready, leaving only the need to print some instructions, find some scissors, upload some videos to some tablets. The achievement was in the end not so far from the ideal. Twelve boxes or games were created, most of the instructions that guide the players were written, but we got to test the project out on our target audience, which on the whole went extremely well.

Our event was accompanied by a forum theatre piece “Riigieksam” and this took place in the National Library.

All in all, letters from the teachers to the organisers later stated that people enjoyed both experiences and were grateful for the invitation to participate in them.” (Henry Griin, VAT) “In Marseille, the Protest Boxes stood during the anniversary season’s closure of the theatre, before or after an artistic event produced by The Massalia Web Trotters, the group of young people lead

by Cyril Bourgois and Claire Latarget. The last presentation of the Protest Boxes was dedicated to the MWT and their relatives after the event. People taking part in the Protest Boxes were pretty interested in them and enthusiastic as well: a new experience, full of interaction, surprises and fun. And it often turned into a common creative moment, sometimes very activist!” (Emilie Robert, Théâtre Massalia)

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We agreed that the boxes would be easy to set up in any situation by anyone and therefore could happen without the constraints and pressures of having a touring art work or production created or presented by artists. The content of each box included a mixture of materials for young people to use creatively and digital kit (from tablet computers to mp3 players) that would play video and audio content to bring topics to life in a playful and positive way.

44

FUTURE PLANS Now that the events have been completed, we begin the next phase of the project, which is to create an online platform where our audiences will be able to digitally unpack the boxes and create their own creative activism toolkits to inspire action in their own communities.

CREATIVE TEAM Project Producer Ross Bolwell-Williams (EEA) Dramaturge/Project Producer Ulrike Lessmann (tjg.), Mihkel Seeder (VAT Teater) Digital Lead Eric Christopher Straube (tjg.)

Graphic Designer Henry Griin (VAT Teater) Creative Practitioner Tas Emiabata (EEA), Jo Paul (EEA), Johannes Deimling (tjg.), Henry Griin (VAT Teater), Claire Letarget (Théâtre Massalia), Cyril Bourgois (Théâtre Massalia)

Dresden, May 2018

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Dresden, May 2018

46 Final Co-Production/Event:

Pรกssaros | Birds Teatro Dos Barris (PT) Elsinor Centro Di Produzione Teatrale (IT) Pilot Theatre Company (GB) Fisp (Festival Internacional De Saxofone De Palmela, PT)

Collective Text Inspired by Magical Realism Dramaturgy and Staging João Miguel Neca Jesus Co-Creation Guilherme Noronha Music Jorge Salgueiro Costumes Annamaria Cattaneo and Clara Bento Scenographical Implantation Rui Francisco Video Designing Ed Sunman Musical Coordination Support João Pedro Silva Orality Support Sara De Castro Corporality Support Juliana Pinho

Cast Guilherme Noronha, Manuela Sampaio, Paulo Lima And Raul Atalaia Locution Fernando Alves Special Participation In Video Giuditta Mingucci Community Participants Ana Correia, Ana Penas, Belisa Sequeira, Carla Espada, Carmo Franco, Catarina Ferreira, Cátia Rodrigues, Cecília Pedro, Cila Antunes, Cristina Sampaio, Edgar Costa, Emília Veloso, Filipe Freire, Francisco Pedroso, Gil Sidaway, Henrique Resende, Isabel Santos, Katsiaryna Drozhzha, Madalena Antunes, Maria Pereira, Matilde Andrade, Neuza Nogueira, Rita Antunes, Rita Santana, Sara Baptista And Tiago Sousa Live Musicians Ana Raquel Martins, Andreia Melo, Andreia Silva, Bárbara Alexandre, Beatriz Lourenço, Gonçalo Baião, Hélder Madureira, Helena Veloso, João Cordeiro, João Pedro Silva, Manuel Teles, Mário Prieto, Pedro Amaro, Rafael Baptista, Rui Costa, Sofia Ferreira And Vasco Avença Fisp’s Recorded Orchestra | Saxophones João Pedro Silva, Diogo Baptista, Miguel Pulido, Manuel Teles, Andreia Silva, Rui Costa, João Cordeiro And Ana Raquel Martins Trumpet João Oliveira Trombone Nuno Correia Bass João Paulo Quítalo Drums And Percussion Pedro Martins Piano Rute Simões Partnerships Sociedade Filarmónica Humanitária, Conservatório Regional De Palmela And Artemsax

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CREATION TEATRO O BANDO

48 DIARY OF THE WORKING PROCESS

ourselves from an abstract and visual way.

We questioned where our place was in this Europe where fraternity is in constant dispute.

DRESDEN, JUNE 2017

JoĂŁo Miguel Neca Jesus

In the beginning it was the flight. The will to cross borders together but with no partners in sight. On a train in Germany, JoĂŁo Miguel Neca Jesus began to learn how to fly and during the following months the project grew wings with the ideas exchanged by e-mail with Giuditta Mingucci (Elsinor) and Esther Richardson (Pilot).

FLORENCE, DECEMBER 2017

BIRDS closes a trilogy drawn by four hands. A trilogy developed in the context of PLATFORM Shift+, that began from that marvellous inquiry born from OF THE END, where we questioned until the spectator and the actor had their freedom, until the limits were extended, those of security or independence conferred by our mobile and digital means, and even until when we would have our own identity. It continued on THIS IS [NOT] EUROPE, where we questioned

We travelled without walls or frontiers to Italy to share in person what we had shared in front of the screen. In those days, around a table, we put forward the hypothesis. We ascended in the air, heading to the horizon at the speed of a falcon, and we tried to get all the ideas with the cunning of an eagle.

We were certain that with all the possibilities made by each of the groups, and with the remaining Portuguese partners, the BIRDS were going to fly in June 2018, in Palmela.

From a note in an email, the warmth of a hypothesis was felt. Its contours were still to be precisely defined.

Neighbours Hat

by Clara Bento

Subsequent communications, mediated by digital tools (more than one, in fact), have done their best to nurture that cue in the absence of a physical meeting - which served to give the terms, conditions and timing for the realisation of the event. Then something started.

It started to rise, thanks to the work of those who have dedicated themselves to it. The form, unexpected though somehow foretold, begun to show itself.

Like the strange creature in that hole in the ground, that we can observe, spy, but perhaps not understand. Waiting.

A world where crabs invade homes and angels rain down from the sky - but will it really be an angel? From the earth emerges a spider that has the face of a woman, punished for her desire to dance, to live. One thing for which women are often punished, everybody knows. They should just limit themselves, not wanting (desiring) certain things. They should just limit themselves. Does she want to dance? Now she has so many legs, she can have fun doing it.

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Angel Costume

by Annamaria Cattaneo

50

Giuditta Mingucci PALMELA, FEBRUARY 2018 Annamaria Cattaneo, Italian scenographer and designer, arrived in Portugal and took on the (sacred?) responsibility of drawing an angel’s wings. Through the days of conversations, trading and sharing with Rui Francisco, Clara Bento and Jorge Salgueiro we found new ways of affirming singularity: the sum of these different artistic individualities is the materialization of a common objective, more singular than if it was imagined by a solo individual.

BIRDS was born from a continued relationship with our confrères and trainees that have accompanied us, some of them for many, many years now.

Others landed last year in Vale dos Barris and now, having participated in diversified weekly awareness raisings, come together to courageously face the adversities of the street. Into that large community joins a broad group of musicians, with their saxophones playing live and many other recorded instruments, who bring the brightness of their sonority. Where do all these people who believe it possible to make a show without limits come from?

So many crazy contributors that still make us believe that this collectivism, this live party, simultaneously unpredictable and rigorous, can take place again. Where do they come from? Those whose lives join ours and draw, in times like these, a show together with many participants on stage, daily. Where do they come from?

João Miguel Neca Jesus

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Curious people go from one prodigy to another, content with the appearance, ignoring what they want to know. What is curiosity? What is knowledge? And what is the measure of desire?

52 BERTINORO, APRIL 2018 It was the ideal place to trace the route of this flight. During that week it was possible to write all the shows’ dramaturgy, and at the same time to build a character: SIMURGUI (played by Guilherme Noronha). Alongside the physical and behavioural logics, the visual and scenography elements began to be composed. We also presented the progressing work to the artists and partners of PLATFORM Shift+, who were present, and with their critiques and commentaries they positively transformed the ideas we were tracing.

“Father reads in the newspaper, with great concern, about what goes on in Europe. He says we are very lucky to have food, bed and washed clothes.” Maria Luisa Camelier Henriques (Mimi) at the age of 15 (1932)

Then with João Miguel Neca Jesus I reinforced, theatrically, my work with a (blank) letter full of (blank) words and much patience and perseverance. Since Bertinoro, with the European embrace of Vale dos Barris

by PLATFORM Shift+, and the fundamental pace of all O Bando, we landed clumsily but proudly, making, through our conviction, profound rips on foreign land.

Guilherme Noronha

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Me, Guilherme, grand-nephew of Mimi, am 40 years old. I have spent 20 years in theatre and 10 in O Bando. In 2018, unfortunately, I can continue to consider myself privileged in society. I maintain a job, a salary, I get subsidies and participate on social welfare. I am an artist and I know that many colleagues of mine don’t have the same possibilities or conditions. With culture being wrecked by so many State representatives, are we okay like this? Are we? I do not feel okay, I feel only better than someone that in a worse position. Let there be Circus animals, let there be CRABS! For me PÁSSAROS (BIRDS) began in ÁSSAROS (IRDS); on a generous trip with the group TEATRO DOS BARRIS, experimenting with the representation of #FAIL on the fringes of our shared imaginations. Each member unashamedly showed where they aim to be both better and worse, which has contributed to PÁSSAROS (BIRDS).

54

The final moments of this creation resulted in an unbelievable delivery.

Through the persistence of all the participants of this project, the adversities and anxieties that take us when the moment of public presentation approaches, we united and responded with confidence and with an unshakable belief that together we can reach further.

The differences do not separate us, they bring us together.

BIRDS is a territory of meeting, not only with the ones that are on stage, the ones that everyday have to decide which show happens, but also with the ones that, over the last months, have discussed, thought and created with us. It is a territory of meeting for the fantastic music of Jorge Salgueiro; the expressive and flashing “south-americanized” costumes of Clara Bento; the framework and visual work conferred

by Rui Francisco to our anti-scenario; the dedication and virtue of the drawing, gifted to us by Annamaria Cattaneo; the brilliant and generous participation of Giuditta Mingucci, covered in dirt to the eyes; the days of sound and creative hallucination, spent with Ed Sunman, making puppets out of crabs; the opening and insane work on organising made by João Pedro Silva; and the kindness, gift and simplicity of Fernando Alves, whose presence honours us so much, us being thirsty listeners of his subjective experience as an author, which recognises the value of diversity of voices and perspectives.

João Miguel Neca Jesus

Set Design model

by Rui Francisco

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PALMELA, JUNE 2018

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Final Co-Production/Event:

Pilot Theatre Company (GB) Elsinor Centro Di Produzione Teatrale (IT) Teatro O Bando (PT) Given the context of this project, which is about exploring digital adventures in theatre and young people’s practise, for our final project we wanted to give the next generation the platform themselves. We invited them to share their view of the world in 2018, training them in digital and film-making skills.

Our provocation was, what is it like to turn eighteen in 2018? We put out a call to young people to participate in this year-long programme. Initially in the UK, a group of sixteen applied.

Our first major challenge was keeping the teens on board during what is probably the busiest and most stressful period of their teenage years. A-levels and examinations, applying for university places, further education, work, and leaving home and family. We learned that the project needed to offer them a space away from homework and something that was fun. We also learned that we needed to keep their confidence up, so the project made them feel good about themselves, so that they remained committed.

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18

58 For example, one participant wanted to make a film about her sexuality but then her personal situation changed and she no longer wanted to explore this, so the pastoral part of the project was very important in terms of supporting the young people at a time where their identities are fluid and vulnerable. In terms of well being, the process revealed to us just how much pressure this age group are under at this time of life and in this era, and indeed this became a subject for some of the work that they are making.

We were really proud that in the UK eight of the original group remained committed throughout twelve months of the project and helped us to shape it as we worked together.

Some of the original thinking for the project shifted once the young people were recruited to the project, as they were less interested in making documentary work and more excited to make their own original works, so this was where we placed the focus.

Making the young people feel ownership of this process and their work was critical, so we always made the necessary adaptations to maintain their participation.

Having met with the organisers of the Italian and Portuguese groups in December in Forlì, we agreed that it was great to find as many points of connection as possible but that each country was free to make the project in the way that worked best to accommodate the busy lives of the young people. One of the dimensions of the project that was most powerful was the opportunity to bring the

young people from York, Forlì and Palmela together in April for a special exchange as they set about making their first short films and digital pieces, guided by screenwriter Kefi Chadwick, education practitioner Paula Clark, and Forlì-based filmmaker Simone Pelatti. The summit involved intensive filmmaking and culminated in a mini film festival of the works the young people had made. This part of the project enabled the group to make valuable European connections and the participants have remained in touch via WhatsApp and are planning their own independent travels to visit one another at the end of exams.

Co-Production Companies: Pilot Theatre (GB) , Teatro O Bando (PT) , Elsinor Centro di Produzione Teatrale with SediciCorto Film Festival (IT) Participants: Eva Burnett, Louise Harper, Eleanor Ball, Baillie Dobson, Fran Christie, Amy Jackson, Isabel Santos, Matilde Santos, Gil Sidaway, Marianna Paglionico, Chiara Giornelli, Michele Garzoni Artists: Kefi Chadwick - Creative Producer, Paula Clark - Creative Producer, Ed Sunman - Editor/ Producer, Esther Richardson - Artistic Director, Pilot Theatre, Simone Pelatti - Producer, NEHO18

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60

MY DIGITAL ADDICTION “My digital addiction” is a collection of short texts by the European artists, working for PLATFORM Shift.

We were all in a process of shifting – after four years of the project our approach to digital possibilities has changed for most of us. But we of course already had favourites, passions, addictions and even obsessions in terms of the connection we have with the virtual world. It is great to get an insight in some of them.

My digital addiction is an app developed by UNHCR named Finding Home – A Refugee’s Journey. This is the story of Kathija, a 16 year old Rohingya refugee forced to flee to Malaysia with her brother in order to find safety. She has no legal status, no support, no security. Just her phone.

Which is now your phone.

Now her fight for survival is yours. This is a revolutionary new mobile experience.

Heartbreaking and thought provoking. You can find it in app store by searching for Finding Home – A Refugee’s Journey.

Cecilie Lundsholt, Artistic director department for theatre for young audiences, Teatret Vårt (NO)

I’m a Facebook addict, but I use it more to get information than to share. I don’t have a big need to share on social media. YouTube is another great place to be. I love to find hidden gems which are showing me inspiring, funny and talented people. My ultimate favourite must be Wikipedia.

I use it for everything! Even as a competition between friends. My iPhone never leaves my side. My whole life is packed in this small computer, everything from getting in touch with friends to banking. I actually just bought a car using only my iPhone.

Ole Thomas Grimsli, University of Agder (NO)

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MY DIGITAL ADDICTION

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11 National Creative Forums

The three International Creative Forums (Lisbon/PT, 2015, Budapest/HU, 2016 and Tallinn/EE, 2017) brought together a series of speakers of all ages, professions, and experiences, working across a range of fields, to explore the ways in which emerging technologies continue to reflect, shape, and

inspire the world around us. The meetings were attended by PLATFORM Shift+ delegates and local/regional public audience. Global audiences were connected via live streaming.

In the final season each theatre creates its own National Creative Forum at its home location (in 10 European cities). The partners bring their common new knowledge and expertise back home into their daily working practices with the aim to establish Future Networks consisting of creative partnerships.

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PLATFORM Shift+ was created to meet the new challenges of producing theatre for young people in the digital age. Dealing with new developments of digital technology in the field of culture and modern civilization in general, PLATFORM Shift+ organised large international meetings with TEDstyle-lectures and training opportunities (workshops) every year. Each of these so called CREATIVE FORUMs, hold between 2015 – 2018, focused on a different aspect of the theatre/technology partnership. These interdisciplinary Creative Forums supported, encouraged and inspired the transnational exchanges of artists and their works through foregrounding the most innovative practices, case studies, and responses to the growing use of technologies in everyday life and the arts.

64 National Creative Forum in Great Britain (York) Pilot Theatre Company

Continue: Future Play

in collaboration with the British Games Institute and York Mediale The Forum will explore the future of technology, game theory and interactive narrative in theatre. It will take place on 1st and 2nd October 2018 in York as part of the York Mediale festival, a new media arts festival in York.

Artists and creators from videogames, arts and technology will come together to hear and discuss new narratives, perspectives and case studies from projects finding new audiences across the arts and technology sectors.

The forum will invite leading practitioners that are pushing the boundaries of storytelling and narrative to share their experiences and projects over two days.

Sarah Thom from Gob Squad Collective speaking about ‘My Square Lady’ - a project that was also shared at the PLATFORM Shift 3rd Creative Forum 2017 in Tallinn.

Gob Squad is an arts collective with seven bosses. Founded in 1994, whilst its members were still at Nottingham Trent and Giessen universities, the core members (Directors of the LTD) are Johanna Freiburg, Sean Patten, Sharon Smith, Berit Stumpf, Sarah Thom, Bastian Trost and Simon Will. Other artists are invited to collaborate on particular projects.

Always on the hunt for beauty amidst the mundane, they place their work at the heart of urban life.

Pilot Theatre will also be sharing the prototype for our project ‘Traitor VR’, created as part of the Creative XR programme. The immersive experience is inspired by the interactive show of the same name produced as a PLATFORM Shift+ coproduction and performed at the annual encounter in Dresden. ‘Traitor VR’ is an interactive thriller that combines virtual reality, live action and video.

We will also be hosting discussions and presentations of the binaural sound work created as part of the final co-productions for PLATFORM Shift+ from Teatret Vårt, Kolibiri Theatre and The Small Theatre in České Budějovice.

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The speakers will include:

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Our collaborator for the event, the British Games Institute, will also host speakers working in narrative gaming. These will include: •

Sam Barlow, the BAFTA award winning creator of the narrative games ‘Silent Hill: Shattered Memories’ and ‘Her Story’.

•

Gorm Lai, a senior creative technologist, specialising in video games, virtual reality and interactive installations. Gorm is also a leader of game jams, and co-founded the Nordic Game Jam and the Global Game Jam.

The aim of the forum is to bring together artists and creators from games development, theatre and media arts to explore how the knowledge and expertise from each of these fields can be applied to create new and exciting work for audiences.

As part of the discussion both the issues and successes that arose in each case study will be explored. Discussions will also focus on future audiences and how interactivity and technology may be helpful in engaging new audiences in arts and theatre.

Commander Harris - “Traitor”, PLATFORM Shift + co-production with Teatret Vårt (NO)

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Each of the keynote speeches in the afternoon will be livestreamed and free to access online, making the conference accessible for those who may not be able to attend on the day.

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PROGRAMME

National Creative Forum in France (Marseille) Theatre Massalia

#VIVANT (#LIVING) Are digital tools in the service of life?

Languages, humanities, ways of communication, tools. Living shows have been impacted and, sometimes, transformed

by Digitality.

Based on the artist Michaël Cros’ research topic for his ÜBM show, we imagined a day to question our relationship to the Living (human, animal, plant, microbial) in a digital world. Artists, academics, and hackers have delivered their point of view. They also put us to work in a series of 5 workshops, which aimed to introduce, in a playful way, uses for artists and citizens.

The Creative Forum took place in collaboration with a key structure in this field: ZINC Digital Art and Culture on 31st of March 2018.

•

Opening by Céline Berthoumieux from ZINC, Arts et Cultures numériques and Emilie Robert from Théâtre Massalia

SPEAKERS •

Can Artificial Intelligence create? by Marian Ursu, Professor, Chair of Interactive Media in the Department of Theatre Film and Television at The University of York and Co-Director of the Digital Creativity Labs (DC Labs)

•

Spiriluna Farm to Slag Heap, Open Cultures by Gaspard Bebié Valerian, visual and digital artist. He is known for using several different practices and putting the audience in a critical and discursive position. With his companion, Sandra Bebié-Valerian, they started their careers in 2004 and have been juggling between exhibitions, workshops and publications ever since. They also administer Oudeis, an art center in the south of France. http://art-act.fr/

IA ethical issues by Jean-Gabriel Ganascia, Professor of computer science at Paris VI University, Deputy Director of the OBVI Labex on Digital Humanities. He leads in the LIP6 laboratory (Laboratoire d’Informatique de Paris VI). Jean Gabriel Ganascia is a European Coordinating Committee for Artificial Intelligence fellow as well. He is also member of the COMETS that is the CNRS ethical committee and member of the CERNA that is the ethical committee of Allistene.

WORKSHOPS • Behaviours and interactivities –

arduino by Sylvain Delbart, digital designer •

Kinetic art/synesthésia by Rocio Berenguer, choreographer, and Frédéric Deslias, digital artist and director, members of TRAS (Art Sciences network)

•

APPS and SMARTPHONE to create and share by Philippe Domengie, digital artist

•

Capture et manipulate invisible sounds – DIY by Reso-nance numérique, collective of digital artists and designers

• Live and death of online posts by David

LePolard, dit Lep0le, visual and digital

artist, he initiates the Databit.me festival,

an ephemeral festival/research laboratory

for digital arts to promote a culture of collaboration.

Morning talks were livestreamed on our YouTube channel and the afternoon workshops were filmed by Cyril Bourgois and the Massalia Web Trotters. At the end of the day they produced a Live show with their muppets interviewing participants of the Creative Forum.

Local Radio, Radio Grenouille, also broadcast a special programme on the event called “La clique numérique”

SHOW •

Über Beast Machine by La Méta-Carpe company (Michaël Cros). Dance, puppet and digital arts

You can find images, sounds and texts on the event here: facebook event: www.facebook.com/events/155080511822148/ facebook group: www.facebook.com/groups/182598595696223/ website announce: www.theatremassalia.com/evenement/vivant/ live-stream: www.youtube.com/watch?v=fkjrb6ZCAuE Massalia Web trotters live-stream: www.youtube.com/watch?v=WMaNwor-5sM&t=1251s Radio Program: www.soundcloud.com/radio-grenouille/quand-le-numerique-rencontre-vivant

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•

70 National Creative Forum in Hungary (Kaposvár) Kolibri Theatre

Digitality – Magic in the Making

The Hungarian National Creative Forum was an accompanying event of the IX. ASSITEJ International Festival for Young Audiences in Kaposvár (Hungary) on the 7th May 2018.

Kolibri Theatre decided to organise its national Creative Forum as part of the Festival in order to give an opportunity to a wider range of visitors to learn more about the latest technologies, discovering new aspects and questions connected with the internet in the digital age.

The programme contained three TED-style talks from international experts, and two hands-on workshops, plus Kolibri Theatre presented its latest experiment of using binaural sound in theatre in collaboration with Teatret Vårt (Norway) and the Small Theatre České Budějovice (Czech Republic).

The location of the Creative Forum was the Department of Pedagogy of Kaposvár University, because of the technical proficiency in the department to organise the forum, and the interest of the university students.

Binaural Sound project This was a playful demonstration where spectators could visit three different locations with their headsets individually. They listened to pre-recorded soundscapes. The three locations were a caravan, a dark room with a projector, and a military tent. In all the short pieces, the recorded 3D sound effects played the most important role.

Creators: Cecilie Lundsholt, Ingvar Kristensen, Elisabet Topp, György Vidovszky, Gergely Blahó, Patricia Pajor, Veronika Riedlbauchov, Jan Čtvrtnk, Jan Pisa •

Dirk Neldner (Germany, Skype): Shift Happens! Curse and blessing of a brave new world

As Artistic Director of PLATFORM Shift+, Dirk talked about his Big Data worries. We all use the smart little devices that digital technology

•

Julian Jungle (Germany): The fusion of puppetry, theatre, digital technology and posthumanism

In this talk, Julian Jungle from University of Performing Arts Ernst Busch in Berlin gave us insights in how they use media and technology at the Department of Contemporary Puppetry and the upcoming Masters Programme Spiel und Objekt (Play and Object). Later he shared his ideas on how we can turn the magic of technology into a daily toolset and how we can empower children to use this toolset for a sustainable future both on and off stage.

•

Hannes Grassegger (Switzerland, skype): Personalizing Power

Hannes is a well-known journalist and economist. His reporting focuses on how networked technology changes the way we live. In his presentation he analysed how populists can pull you into their world by using digital feedback loops. “What I learned from our investigation uncovering how Cambridge Analytica was working for Donald Trump and Brexit.” He talked about how Michal Kosinski’s system influenced voters’ attitudes, and very likely changed the outcome of a referendum.

•

Philippe Domengie (France): QLab, a software that rules them all!

Philippe is one of the founders and creator of Le Nomade Village Company, a performer and tireless researcher. In his hands-on workshop the participants got an overview of Qlab software that can be used for video, sound and light control and many more things for creatives, designers and artists.

•

Csaba Királyházi (Hungary): Digital technologies and play developing tools at the theatre

Csaba as a former graphic designer and programmer showed examples of virtual reality, volumetric scanning, motion capture and similar magic, in order to show what these mean and what they can be used for in the world of theatre. They were trying to find the answers through the knowledge of technologies and by trying out some tools.

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gives us, with differing levels of enthusiasm.

In doing so, we leave traces (data) in the worldwide network – sometimes aware of it, but mainly unconsciously. The large collection of personal data (big data) has become the most successful business model of all time.

Dirk spoke about how others make money from our data – and what consequences this has for our freedom and our democratic societies.

72 National Creative Forum in Italy (ForlĂŹ) Teatro Elsinor The Creative Forum ForlĂŹ was comprised of a series of shows and the Creative Forum Day, an event with lectures and workshops addressed to young audience that took place during the PLATFORM Shift+ 3rd Youth Encounter and the PLATFORM Shift+ Final Rehearsal Camp.

Simone Pelatti

Farsi silenzio (10/02/2018)

La casa del Panda (18/02/2018)

It’s only Rock & Roll (15/03/2018)

Hoy puede ser mi gran noche (24/04/2018)

CREATIVE FORUM DAY (24/04/2018) with the lectures: • The Emilia-Romagna Digital Agenda policy (Dimitri Tartari - Responsible for

the Emilia-Romagna Digital Agenda policy) This intervention illustrated the plan of the Emilia-Romagna Region to promote the digital development of the regional territory.

• Media as an instrument of active

citizenship for young people by Elvira Cicognani (Full professor at the University

of Bologna; coordinator of the Horizon

2020 project “CATCH-EyoU” 2015-2018) This intervention focused on the main results of the CATCH-EyoU project, where the relationship between young people and the media was analysed, both through the analysis of how traditional media describe and represent young people and their forms of participation as European citizens.

•

Shift Happens! Curse and blessing of a brave new world by Dirk Neldner (Artistic Director of PLATFORM Shift+)

This lecture addressed the topic of how others can make money through the use of our personal data and what consequences this process has in relation to our freedom, within our democratic societies.

•

Digital Girls: how to fight the Digital Gender gap by Claudia Canali (Researcher and lecturer at the

Engineering Department of the University of Modena and Reggio Emilia; scientific director of the Horizon 2020 EQUAL-IST project “Gender Equality Plans for Information Sciences and Technology Research Institutions”)

After analysing the digital gender gap, we presented “Digital Girls”, the 4-week summer camp in which female students of the last 2 grades of highschool were hosted at the University of Modena, for laboratory activities and for learning how to programme video games in Python.

• Labyrinth, a theatre experience

you can get lost in by Cecilie Lundsholt (Artistic director of Teatret Vårt) A presentation of Labyrinth, a project in which Virtual Reality meets theatre, and which explores how new technologies can be used to produce shows for young audiences.

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Shows:

74

• Short movies, big chances by Simone Pelatti (Photographer and Videographer) What are the specifics of the “short format”?

Why can brevity be an advantage for both the creatives and the public? An exploration of how a technical limit becomes a great possibility.

Workshops: •

QLAB LEVEL 0 – BASIC INTRODUCTION

by Guilherme Noronha (Actor, director, technician) and Miguel Jesus (Dramaturge, director, musician)

QLab is a programme that can help you manage a complex show with a simple stroke of a key. The objective of this training was to transmit the basic programming possibilities so that one could start to do it alone afterwards.

• Interactive bananas by Michele Cremaschi (Actor and director

with a degree in Information Technology)

•

Giula Zannetti

Stop Go animation by Lucy Hammond (Marketing & Projects producer at Pilot Theatre)

We learnt how to create stop motion animations using only a smartphone. Using items ranging from stationary and paper to household objects - at the end of the session we were able to produce our own stop motion film.

•

Jump! Speaker for a day by Giulia Zannetti (Director of Radio Jump)

Online radio: what is it? what is the necessary equipment? which methods are most effective to transmit their contents?

We worked on the pre-stake preparation (lineup, choice of songs, timing), then we entered the cabin, put on headphones, turn on the microphone and... “On Air!”

Cecilie Lundsholt

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The workshop illustrated Makey Makey, a simple and inexpensive device to make fruit, handcrafted objects, designs and more, sensible. Participants experienced this brilliant application learning how to actively play a videogame creating an ad hoc joystick following their own imagination, and how to create music objects to be used as interfaces.

76

governmental and educational structures have an online-system, e.g. e-voting, e-school, e-customs, e-tax. But has that really made our society more transparent and communication clearer?

National Creative Forum in Estonia (Tallinn) Co-operation of VAT Teater and HITSA 11TH OCTOBER 2018 AUDITORIUM OF TALLINN´S ZOO

For Estonia’s Creative Forum VAT Teater joined forces with HITSA (The Information Technology Foundation for Education) to create one day full of inspiring lectures, insights and exercises for the participants with educational or creative background.

The main theme of the Creative Forum is borrowed from Sir Peter Blake: “New technology is common, new thinking is rare.” It means for us, that Estonia has been a country for technological innovation for some years, but can we say the same about innovative thinking – or to simplify it: has our thinking managed to keep up with the pace of the continuous developments in digital fields?

The main fear is that new technologies are too often used not because of a real significant improvement, but because they are new and exciting. In Estonia most

Often the first argument for digitality is that it makes processes simpler. In education, but also in theatre, the simplification isn’t the first goal. For that reason, Tallinn’s Creative Forum looks back over the past years and looks for good examples, how digital innovation with the right thinking has brought great results.

The Information Technology Foundation for Education, HITSA, is a foundation established by the Republic of Estonia, the University of Tartu, Tallinn University of Technology, Eesti Telekom and the Estonian Association of Information Technology and Telecommunications.

The role of the HITSA is to ensure that the graduates at all levels of education have obtained digital skills necessary for the development of the economy and society, and that the possibilities offered by ICT are

For that reason, the speakers of the Creative Forum are from educational fields and also from theatre. The discussions will always contain three fields: education, theatre and digitality. The goal of each speaker is to give examples of best practice where all the elements are working well together. skillfully used in teaching and learning, which helps improve the quality of learning and teaching at all levels of education.

HITSA initiates and guides innovation and development in its area of activities and introduces the best practices. More information about HITSA in their home page: www.hitsa.ee For VAT Teater education has always played an important role, because a lot of its repertoire is made for young audiences. As a theatre, the most burning question regarding

Theatre itself is a quite old-fashioned type of art and often the explanation for it is that there is no point trying to step into the field of computer-games and TV. But maybe there are some other possibilities, where theatre and digitality can help each other?

This Creative Forum looks for examples of that.

The Creative Forum will take place in the auditorium of Tallinn´s zoo, located inside the new Environmental Education Center.

This is a good example of how a traditional zoo and new ways of thinking have created exciting projects and possibilities (e.g. SmartZoos programme).

More information about Tallinn´s Zoo: www.tallinnzoo.ee.

The day ends with a forum theatre show, that also adds the perspective of young people themselves to the whole discussion – how do people, who in a way were already born online, see digital innovations in schools and theatres?

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this topic is how to combine theatre, education and new technologies so that it is useful and valuable for the audiences and for the theatre practitioners themselves?

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projects, and new vantage points on the lives we lead.

National Creative Forum in Norway (Ålesund)

We hope our audience will leave the National Creative Forum Ålesund 18 with questions.

Hopefully they will also have some answers, although they may not be the answers they thought they sought before they attended our forum.

Teatret Vårt There is no link between technology and art.

Or maybe such a link should be obvious, as technology is becoming an inherent part of society and of the daily life that art seeks to mirror and question. We believe that art and science share a fundamental staring point: curiosity. It is a starting point of research and openness to the unknown, to conclusions opposite to what you expected.

For the National Creative Forum Ålesund 2018, Teatret Vårt will gather artists and scientists who have a passion for the use, or misuse, of new technologies, for talks, workshops and discussions during a week in Norway’s most beautiful city.

Our impression is that the new technologies and media both take power away from us as individuals but empowers us at the same time. Is one truer than the other?

We hope to be inspired by possibilities that we didn’t know these new technologies could create in our own life. We hope we will leave our Creative Forum with a feeling of curiosity, and at the same time, new knowledge.

Perhaps we may leave slightly worried by the power bestowed upon those who master, own and discover new technological ventures, but hopefully at the same time reassured that these powers can be held in check. There is no opposition between the arts and science, for us. Through science we hope to encounter new questions and new inspirations for art-

MORE ABOUT THE EVENTS UNDER THE NATIONAL CREATIVE FORUM ÅLESUND 2018 At the time this was written, our National Creative Forum has two events booked, one booking in progress, and we are working on one more that still has a couple of “loose ends”.

The British theatre company Coney will give a one-day workshop for professional artists.

Aimed at artists and makers, the workshop will take place over a full day, sharing Coney’s principles, processes and techniques for making interactive theatre, adventure and play. Workshop participants will learn skills

Rasmus Nutzhorn will give an open talk on everything that is good about new digital media and solutions.

Nutzhorn is a leadership mentor, and project manager in innovative and often philosophical business ventures. He is sometimes described as a motivational speaker and will give a talk that is open to the general public at the small festival our Creative Forum is part of, and to every inhabitant of the city.

We are also looking for speakers for another open talk, one in the form of a debate between an advocate for, and a critic of Big Data. Rasmus Nutzhorn might be the speaker on the positive side and this event might be combined with his talk.

Lastly, the National Creative Forum Ă…lesund will host a workshop for young people, curated by young people.

A small group of young people with a special interest in the performing arts will be presented with a number of possible workshops, and through dialogue with the theatre the group will choose one workshop and its focus. The theatre will then book this workshop for the group who curated it, and others.

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and tools for making responsive performance, by using game design and prototyping, to play with ideas for technology. There will be opportunity to look at the lo-fi tech toolkits Coney uses in projects and the innovative ways in which they engage their audiences.

At the end of day, participants walk away with a practical toolkit for scoping and designing interactive play for audiences, integrating tech where it is clever to do so, and understand affordances and challenges of doing so. The workshop will attract actors, but hopefully also other artists in the theatres network.

80 NATIONAL CREATIVE FORUM IN PORTUGAL (Palmela) TEATRO O BANDO

PÁSSAROS | BIRDS

O TEATRO

The Creative Forum in Palmela was a day full of workshops and talks mainly attended by amateur groups and other people from the Palmela region that are interested in knowing more about the use of technology and digital arts inside the process of creating a theatre show.

The general concept of the forum was showing and talking practically about how to use the digital tools in terms of light design, sound design, video design and the most user-friendly software that could manage all of these different aspects of theatre shows.

LIGHTING Henrique Resende (Portugal) Workshop on lighting and the creation of the technical component of a theatre show.

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13h30 ALMOÇO 14h30 16h15 17h30 18h00 18h45

imento) RAUL ATALAIA (Acolh (Sala 2) HENRIQUE RESENDE PAULO LIMA (Sala 2) (Sala de Espectáculos) NGIE DOME PE PHILIP

2) PONTO ZURCA (Sala (Sala de Espectáculos) GIUDITTA MINGUCCI o exterior) MIGUEL MARES (Espaç imento) (Acolh ER NELDN DIRK NECA (Acolhimento) JOÃO E JESUS L MIGUE

Sonoplastia What is a... Story?

Demonstração Drone Shift Happens Encerramento

19h00 JANTAR

This workshop explores the application of solar energy in lighting of shows in non-conventional spaces, amongst other surprises. /bando.teatro O Bando é uma estrutura

/obando financiada por:

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www.obando.pt Financiado:

geral@obando.pt S:

Parceiros de PÁSSARO

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QLab with Philippe Domengie (France Collectif Le Nomade Village)

This session focused on some of the basic techniques of recording sound for cinema.

ÂŤ QLab, the software that commands all!Âť

The participants learned about the application of different types of microphones, microphone perches, recorders and amplifiers, and also the role of technicians, such as the sound director or the perch holder. We will also simulate a real situation of filming, where the participants will have the opportunity to try the equipment.

This workshop is an overview of the Qlab software, which can be used to control video, sound, lighting and many others features useful to creative designers, technicians and artists. There is a discussion of case studies and also how to mix, from the start, digital tools and more traditional approaches.

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AN INTRODUCTION TO SOUND FOR CINEMA with Paulo Lima (Portugal)

82

SOUNDPROOFING with Sérgio Milhano (Portugal - Ponto Zurca) What is design of sound and which is the role of the soundproofing technician? Learn about equipment and sound technics applied in theatre; how to plan and organise a technical raider for sound; and the operation of a show.

WHAT IS IN A... STORY? with Giuditta Mingucci (Italy - Teatro Elsinor) Work made from the story of Romeo and Juliet, maybe the most famous “cover” of all times. We are going to explore it and to find a way to re-tell it, using digital tools that we like/ know, and maybe discover others we do not know yet.

It will be a sort of “playground space”, where we explore new ways of telling the story. “... like a dream that has often been told / and often been changed in the telling.” (T.S. Eliot)

SHIFT HAPPENS - The Positive and Negative of An Admirable New World with Dirk Neldner (Germany – PLATFORM Shift+) All of us use the intelligent devices that digital technology provides us with.

Doing that, we leave traces (data) on the world net, sometimes consciously – but mainly unconsciously. The great collection of personal data (big data) has turned into one of the largest business of all times.

Dirk Neldner tell us how “others” earn money from our personal data, and what consequences there are for our freedom and for our democratic society.

VIDEO with Miguel Mares (Portugal – Dragonfly Photography) During the afternoon, between the transitions of workshops, it was possible to observe the management and capture of video images by the use of a drone.

The Czech National Creative Forum took place in cooperation with the South Bohemian Theatre and the Majáles of Budějovice – the largest student festival in the Czech Republic organised by students for students. Held as part of the Majáles of Budějovice from 21 to 24 May 2018; the Creative Forum featured the presentations of seven speakers, lecturers and groups that are actively preoccupied with modern technologies and are applying them creatively in everyday life. The selection of suitable and thought-provoking personalities was left up to the students’ interests.

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NATIONAL CREATIVE FORUM in Czechia (Budweis) South Bohemian Theatre

84

Monday 21 May Michaela Bartoňová: Crossroads of Genres (workshop) Crossroads of genres – how to put it together, synchronize and not get lost. For listeners, there will be an hourly “live” presentation on how it works. Ranging from the idea, task processing, discussion, first experiments, debating the topic of discussion, the initiation of all participants in the vision, right up to the rehearsals and realisation during the week before the premiere in March. Everything will be combined with our shows on the stage and projection on the screen.

Jan Nálepa Jan Nálepa is a graduate of the Faculty of Arts and Architecture in Liberec with a bachelor’s degree in architecture. He is currently studying at the Academy of Fine Arts, under the supervision of Federico Díaz and David Kořínek at the Academy of Arts, Architecture and Design. He moves in the field of multimedia art and creates musical and visual compositions, and interactive installations. Jan attacks the emotions and extends perception

through works that include not only objects, video-art, script-generated graphics, but also light and audio installations. He will present some of his projects to the audience (http:// www.smicka.cz/honza/) and the talk will be mainly about sonic experiments and musical instruments (sculptures).

Tuesday 22 May Tomáš Hrůza Presentations of projects and scenic works accompanied by a description of the technologies used and possibly a contextualising of new media art globally: a sample of interesting projects realized by various artists. It depends on the audience whether it will require a different technical solution or the conceptual location of the projects.

AVA Kolektiv Lecture (Snediggen Snurssla) on concepts of deep listening, sensory experience in the urban environment and the principles through which each of us can experience our own musical compositions every day – by

Moving Spaces from the AVA Kolektiv artistic ensemble mediated by four sonic experimenters (Snediggen Snurssla, Matěj Kotouček, Marek Salamon, Andrej Nechaj), who create their own unique sets of recordings from around the world.

The listeners are actively involved in the composition.

of creation. Interactive installation using a motion recording to establish relationships on the desktop. Creation on the boundary of action and print. Hard questions are awaiting answers: Where does the concrete end and the abstract begin? Can you capture the moment? And does it make any sense? Come and get to know what the word is …

And what is my approach when preparing my designs? Is the designer the only person who participates in the production? I will present to you my own work and share my joy and the troubles as a student of design, as well as my experience in the production of models and prototypes.

Thursday 24 May

The aim of the lecture is not a one-hour monologue. I wish you to leave my lecture with your horizons broadened and an idea of what design is.

Team of the PLATFORM Shift+ coproduction This is (not) Europe « QLab, one software to rule them all! »

Kateřina Rydlová Kateřina Rydlová is a student of design at the Czech Technical University. She is interested in new technologies and materials. She has applied our proposals with an overlap into free arts, interaction, medical aids and devices.

We will have an overview of the Qlab software that can be used for video, sound and light control, and many other things that are useful for creative designers, technicians and artists.

At the lecture you will learn what “design” and the less frequently used term “redesign” actually mean, and what they do not have in common with arts.

Wednesday 23 May

Vladimír Burian Digital media as the starting point for creating abstract graphics. Your own body as a tool

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means of the way we move in space, and how we react to sounds by the manner they are interpreted.

86 National Creative Forum in Great Britain (London) Emergency Exit Arts

TECHNOLOGY AS MAGIC In September 2018 Emergency Exit Arts will invite young people to our Creative Forum to explore and discover digital technology and its relationship with theatre and the arts.

The Creative Forum will take place over two days, working with two cohorts of local young people aged 13 – 17, and the experience will fuse together provocations, seminars and practical workshops inspired by the theme “Technology as Magic”. We have been particularly inspired by British science fiction writer, Sir Arthur Charles Clarke’s statement…

“Any sufficiently advanced technology is indistinguishable from magic” (Sir Arthur Charles Clarke)

The event will reveal inventive and innovative digital arts practice that enchants people and enhances their artistic experiences. As part of the Creative Forum industry professionals will dazzle delegates as they share the knowledge, ideas and magic that leads to the creation of playful, immersive and visual spectacles.

Our Creative Forum will be take place at the University of Greenwich (Department of Creative Professions & Digital Arts) who we have collaborated with on numerous projects, including last year’s co-production “No Entry” where young people were invited into the university to learn how to create stop motion animations that featured in the production.

In the lead up to the Creative Forum we will be instigating an outreach programme with our secondary school partners, which will enable young people to create digital installations that will feature in the event and allow young people to collaborate with artists and digital programmers.

We are currently curating our programme and in addition to involving EEA’s own artists along with the Digital Arts faculty at the University of Greenwich, we are reaching out to a number of individuals and organizations who we believe are at the forefront of creating cutting edge work that is creatively dynamic and emanates magical possibilities.

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88 National Creative Forum in Germany (Dresden) tjg. theater junge generation The National Creative Forum was designed as training for theatre employees. The first workshop took place within the framework of the 10th Saxon Theatre Meeting (Sächsisches Theatertreffen), enabling tjg.’s employees to participate. At least one representative from each of the 13 theatres involved in the Theatre Meeting attended. For an afternoon, employees from dramaturgy, public relations, technology and drama education exchanged views on questions related to digital practices that emerged from their own daily work routines. The topics that were identified as interesting were divided into three areas: “marketing” (audience development, external communication), “operations” (technical issues and in-house communication) and “art” (digital topics and forms on stage). Following this preparatory workshop, the three-member organising team then invited experts to give 40-minute talks on the respective topics.

The Creative Forum started with a keynote speech by Michel Eickhoff, who summarized his experiences as head dramaturge at Schauspiel Dortmund. His keynote was titled “Art that involves the digital world needs different resources - more time, more money and the possibility to fail”.

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The National Creative Forum took place on May 5th 2018. The programme consisted of four timeslots, in which three lectures were always heard in parallel. Rooms were assigned to the three areas of “Marketing”, “Operations” and “Art”, although most of the participants moved between the rooms during the course of the event. The lecture programme was accompanied by a VR installation from CyberRäuber (Berlin), which could be tried out in the foyer of the theatre. More than 70 people took part in the Creative Forum: employees from 11 theaters (from a wide range of departments), theatre artists from the independent scene, students, and other interested parties.

90 Programme: •

Simon Glöcklhofer and Hannes Tronsberg (actori GmbH, Munich)

o How can customer data from ticketing be used efficiently to increase

revenue and overall seat occupation?

o What additional earnings potential do innovative (digital) pricing

strategies offer cultural institutions?

•

Anne Aschenbrenner and Marc Lippuner (Die Kulturfritzen, Berlin and Vienna)

o How can I design digital discourses as a theater and involve my target group(s)?

•

Christoph Macha (dramaturge, tjg. theater junge generation, Dresden)

o What makes a successful theater website?

•

Björn Lengers and Marcel Karnapke (CyberRäuber, Berlin)

o What chances and opportunities do the latest technologies such as

social VR / AR / AI offer the stages and the theater of the future?

o What do theaters need, what do actors need to learn to bring the new

technologies to the stage?

Michael Eickhoff, Chief Dramaturge Schauspiel Dortmund (DE)

•

Daniel Wetzel (director and co-founder of Rimini Protokoll, Athens and Berlin)

o Digital media practice in the performing arts: What else

needs to be done?

o What new forms does a theater invent that is digitized?

•

Clara Ehrenwerth (dramaturg, author and managing director of the game theater collective machina eX, Leipzig)

o Which narrative of the digital world can adapt a stage drama?

• Melanie Janka (Social Media Manager, Ostsächsische Sparkasse Dresden)

o Why are social media guidelines so important?

•

Michael Eickhoff (Chief Dramaturg, Schauspiel Dortmund)

o How does Digital Modernity change the storytelling

techniques and contents of the theater?

•

Julian Jungel (Teacher for the Artistic Workshop Teaching, Academy of Dramatic Arts “Ernst Busch” in the study of contemporary puppetry, Berlin)

o What do digital media have to do with puppetry?

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• Mario Simon (Head of Video Department, Schauspiel Dortmund)

92 National Creative Forum in Norway (Kristiansand)

“Playing – with digital tools available” The theatre section at the Department of Visual Arts and Drama, Faculty of Fine Arts University of Agder, is giving their Creative National Forum the day before the official opening of, and in collaboration with, the SAND International Festival of Performing Arts for a Young Audience (the yearly national Assitej-festival in Kristiansand). There will be several parallel sessions of workshops conducted by staff from Faculty of Fine Arts, Faculty of Engineering and Science and from invited international guests. Alongside these, The Gob Squad Arts Collective are giving one of the workshops, and a plenum talk about the project My Square Lady.

Talks and practical workshops are inspired by the theme “Playing – with digital tools available”. As part of the professional programme of SAND-festival we will invite their audience, both professionals and regular visitors. Our main target group for the creative forum are our own students and theatre students from other Norwegian universities.

We are looking forward to presenting some of the tools, professionals, artist and experts that we have met at previous meetings and forums during PLATFORM Shift+. We hope that we can inspire and give others the opportunity to learn more about digital tools and their relationship with theatre.

Gob Squad is a Berlin-based artist collective consisting of seven British and German artists who make performances and videos which search for the beauty in everyday life. They explore the meeting point between theatre, art, media and real life, often inviting the audience to step beyond their traditional role as passive spectators. The company was established in 1994, and their productions are regularly shown throughout Europe, and they have toured to all the continents apart from Antarctica. These seven members work collaboratively on the concept, direction and performance. The collective often invites

other artists, performers and technicians to collaborate on certain projects.

Two members will give a practical workshop on improvisation and they will present their work on the production of My Square Lady, which premiered in 2015.

My Square Lady was inspired by My Fair Lady, the Broadway musical based on George Bernard Shaw’s Pygmalion, about the simple cockney flower girl Eliza Doolittle who is plucked from the streets of London and trained by linguistics professor Henry Higgins. Higgins bets that he can pass the commoner off as a lady of high society after 6 months of intensive tuition. In this production, the individual being educated is Myon, a diminutive humanoid robot about the size of a seven year old child (1.25m tall and weighing 15kg). Gob Squad sought to educate Myon to express itself as human.

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We will also invite students from other study programmes at our university, high school students from our region and collaboration partners.

94 The process raised a lot of questions about what does it actually mean to be human?

What are emotions and why do we need them? Does a robot need them too? Why do we want to have artificial intelligence? Why do we want to have opera? Does Myon need a costume?

Myon became the star in My Square Lady, the world’s first Reality Robot Opera. The project was a coproduction of Gob Squad, Komische Oper Berlin and the Neurorobotics Research Laboratory at Beuth University of Applied Sciences Berlin.

Collective Le Nomade Village is a laboratory of artistic and technical researchers. They handle contemporary dance, theatre, image, music, programming, to weave writing in perpetual motion. The laboratory uses digital tools as a meta-tool and as a vector of connection. Digital tools, ubiquitous from creation to production, make connections with the audience during the performance, and aim to better serve the storyline. To channel all possible fields that enable digital tools, the Collective has chosen to explore the real, through the body, the flesh and the narrative. They invent stories, stage designs, imaginary constructions combining virtual spaces and real time, inside and outside the theatre.

Myon (My Square Lady)

Øystein Flemmen, Faculty of Fine Arts is giving a workshop on digital sound in theatre production.

In addition to the seminars and workshops we will present a production as a part of the professional programme of the SAND-festival. Our third-year bachelor students will present FOR OTHER THINGS / TRANSFORM THINGS – A PERFORMATIVE TOUR OF KILDEN. FOR OTHER THINGS is a performance where the spectators follow the actors through an area, experiencing big changes. The tour starts at Kilden Theatre and Concert Hall where the performance explores the area within and outside Kilden, looking at both actual and potential transformations (Artistic leader: André Eiermann).

Greenscreen-Workshop by Phillipe Domengie

95 | 11 NATIONAL CREATIVE FORUMS - UNIVERSITY OF AGDER

For Other Things

Phillippe Domengie from Collectif le Nomade Village is giving a workshop about green screen in theatre.

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MY DIGITAL ADDICTION My Digital Addiction is a combination of a music software programme, called Ableton Live, and a website called Sound on Sound: Readers Ads. I run a music-recording studio in London, Purple Room studios, and the software, Ableton Live, sits at the heart of my working process. It allows me to quickly sketch up and develop ideas; whether I am creating songs, producing voiceovers or designing sound for film. I’ve tried a number of software workstations but I’ve now been working with Ableton for 15 years. I know it pretty well and it is my preferred go-to Digital Audio Workstation.

Sound on Sound: Readers Ads is the online space where I have fulfilled my digital and tech yearnings., It is the site through which I have equipped my studio with some topclass equipment. I often find superb prices on software and equipment from musicians or studio owners like myself and I often feel unsettled if I haven’t checked what’s available on a daily basis. My favourite piece I’ve acquired from the Readers

Ads is a Moog Minataur. This analogue synthesiser is actually a hybrid. I can link it to the other synths in my arsenal to build massive, interestingly textured sounds but it also has a software component that integrates beautifully with the Ableton programme - a sweet combination. I love it.

Tas Emiabata, Emergency Exit Arts (GB)

As far as I am concerned, I view digital addiction mainly as a habit of receiving information. Regardless of whether it comes from Facebook, articles or Google... I need, for a certain reason, more and more new, frequently unnecessary, information. Maybe I just need to flood my brain so as not to think too much.

Switching off notices of incoming e-mails in your mobile phone is beyond the comprehension of a lot of people, and they say “if I did that I can’t see the e-mails in time”. Pressure.

Being bombarded with information. Being available.

I must remain tough and use the technology in the way I want.

Jan Čtvrtník, Composer, Sound Designer South Bohemian Theatre (CZ)

97 | MY DIGITAL ADDICTION

MY DIGITAL ADDICTION

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Pilot Theatre Company (York, Great Britain) Pilot Theatre are an international touring theatre company based in York. We’re committed to creating high quality mid-scale theatre for younger audiences, and will be many people’s very first encounter with this form. Our passion is to tell extraordinary stories that properly reflect the internationalism and diversity of the UK.

We are always curious about our ongoing and changing relationship with technology, and often explore this theme.

Across all our projects we seek to create a cultural space where young adults can encounter, express and interrogate big ideas, powerfully relevant to our lives right now.

Pilot are based at York Theatre Royal, York, UK

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We also make work outside of traditional theatre buildings, where our projects pursue a relationship with our audience that is often playful, interactive and participatory.

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BRIGHTON ROCK

By Graham Green Adapted by Bryony Lavery Co production between Pilot Theatre and York Theatre Royal “At Pilot, we seek to make grown up work for younger audiences, and to grapple with the drama, difficulty, joy and complexity of becoming an adult. ‘Brighton Rock’ is unflinching in its portrayal of some of the agonies of being seventeen: the quest to find self worth and identity, the delights and terror of intimacy, the search for a place to belong.” Esther Richardson (Director) Based on the classic novel by Graham Green, Brighton Rock is set in the dark criminal underworld of 1930s Brighton.

As teenagers Pinkie and Rose become embroiled in a vicious gang war, one brutal murder leads to the next.

Pinkie is the young but ruthless leader of one of the gangs but as his rival Colleoni gains more power, Pinkie’s hold on Brighton begins to unravel. Meanwhile, Ida Arnold suspects Pinkie of murder. Nothing scares her. Whatever the cost, she’ll see justice is done.

Writer Bryony Lavery, wrote about the text: “I had remembered that Brighton Rock was a dark and suspenseful thriller, that it was about life and death, that its complicated plot was driven by lowlife characters each with a questionable moral compass…what I hadn’t noticed on my early reading was how much Pinkie and Rose’s actions are dictated by their youth.”

Brighton Rock was accompanied by the engagement project ‘B_Rock’, inspired by the play text and performed by the Young and Talented theatre group at Theatre Royal Stratford East in London. The young people in the company had worked on the themes of the text to create a new piece.

Director Esther Richardson Music Hannah Peel Design by Sara Perks Lighting Design Aideen Malone Cast Pinkie Jacob James Beswick Rose Sarah Middleton Ida Gloria Onitiri Spicer/Ensemble Angela Bain Cubitt/Ensemble Marc Graham Phil/Ensemble Chris Jack Colleoni/Ensemble Jennifer Jackson Dallow/Ensemble Dorian Simpson Prewitt/Ensemble Shamira Turner Musicians Hannah Peel, James Field, Laura Groves

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Reference Production

102

Théâtre Massalia Marseille, France Théâtre Massalia is the Theatre for Young Audience in the city of Marseille, in the South of France. It is situated inside La Friche Belle de Mai, a former tobacco factory transformed into a 45,000 m² cultural place, where 400 people work into arts, culture and educational organisations. The theatre shares five venues and some meeting rooms with other companies or festivals, located in La Friche or in Marseille.

In 2018, the theatre was nominated as a scene of national interest – Arts, childhood and youth by the French state. The agreement was also signed by all the local governments. This strengthens the theatre’s position, even if it offers no financial guarantees.

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Théâtre Massalia celebrated its 30th anniversary in autumn 2017.

In its first years, it used to programme puppet theatre, mainly for adults: the direction of the theatre was to show audiences that puppetry was not only for children... But the families sometimes attending the performances convinced the previous director to programme puppet shows for kids as well. Now the theatre is dedicated to young audiences, presenting 20 to 25 shows per year from all performing arts, including drama, puppets, dance, circus.

As well as the shows, the theatre also delivers lectures for young people, and educational and artistic activities in schools and in the wider community. These are, of course, for children or young people, but also for the adults accompanying kids to the theatre. Théâtre Massalia also supports several outsider artists’ productions each year (5 to 6), providing funds and sometimes access to rehearsals rooms or venues in la Friche. These “co-productions” have to be shared as well with other theatres in Marseille, in the regional area or in the national one.

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KL@NG In 2017, as part of PLATFORM Shift+, the Théâtre Massalia invited Cyril Bourgois to create an investigative web TV, animated by a team of puppets: THE MASSALIA WEB TROTTERS, manipulated by teenagers from 12 to 18 years old.

During the 2017-2018 season, they conducted interviews with artists.

KL@NG is a step further for this project, extending this group of youngsters to achieve a live show combining puppet, video, digital application and protest.

The show was performed on the 26th and 27th May 2018 as an ambulatory in La Friche Belle de Mai. The project developed extracts from Emmanuel Darley’s play Flexible, hop hop! dealing with the mutation of industrial sites.

Both the young actors and Actionbound (a treasure hunt application) were guiding the audience through the old tobacco factory that became one of the biggest artistic “friche” in Europe.

KL@NG was at the end their project, in which they had the opportunity to engage the audience about the world of labour, and they made the event resonate with personal protest about their future.

To build this puzzled narration, the teenagers researched in Marseille’s archives about La Friche’s past. They built their own puppets and were trained to manipulate them in videos which were projected and featured in live extracts all over La Friche.

Distribution THE MASSALIA WEB TROTTERS Alan, Anna, Bouchra, Dimitri, Eva, Fabien, Klara, Léna, Lyna, Manon, Mohammed, Nils, Sérine, Soha, Zoé Directors Cyril Bourgois, Claire Latarget Video editor Cyril Bourgois Text Emmanuel Darley Special thanks to Dominique Darley-Berbé

Some of them were already very comfortable with interview techniques but they all had to learn shooting with green screen using archive images for background.

105 | THÉÂTRE MASSALIA

Reference production

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Kolibri Theatre Budapest, Hungary As our slogan says: ‘Let’s grow up together!’ Managing director, composer and theatre director János Novák founded Kolibri Theatre, the biggest theatre for young audiences, 26 years ago in 1992 in Hungary.

Our repertoire is characterized by a vast variety of genres: besides puppet performances, prose, classroom theatre, movement productions, multimedia shows and music fairytales, there are early age productions for toddlers such as operas.

Alongside performances, the theatre offers reading sessions and theatre education programmes connected to most of our productions.

In the framework of PLATFORM Shift+ and Small Size - Performing Arts for Early Years, we have been involved in creating several international co-productions in recent years.

Office manager: Eszter Végvári; International relations: Éva Vancsó; Marketing: Éva Pánti; Public relations: Anikó Rupp; Technical director: István Farkas; Chief Accountant: Terézia Tóvári; Financial director: Viktor Zigó; Design director: Klaudia Orosz; Literary manager: Péter Horváth; Head of Theatre Education: Eszter Gyevi-Bíró; Principal director: György Vidovszky; Managing and Artistic Director: János Novák

107 | KOLIBRI THEATRE

The rich repertoire of 34 different productions offers an appropriate range for each age group between 0 - 18 for their intellectual and emotional development. The theatre runs three venues: the big auditorium gives space to the comprehensive artwork performances with actors, puppets, live music for children aged 6 - 12. The two smaller venues are for the youngest audiences with its tales or interactive games, and for brave and cutting-edge productions for young adults.

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The Giant Baby

A two act puppet-opera in Hungarian with French and English surtitles The Giant Baby is inspired by an avantgarde play created in 1926 by the Hungarian playwright Tibor Déry. The Giant Baby is a strange tale, whose hero is an extraordinary child. Hermaphrodite, huge, able to think and speak from birth. The baby is sold by his father to Nikodemos, the vice president of Ethics Race and Soul Development Ltd. The entrepreneur then seeks to transform the offspring into a model individual. Thus begins a journey of initiation through which the giant baby will discover love (both family and romantic), dedication, rebellion... A busy life that will allow him to generate in turn a child of gigantic proportions.

The presentation’s atmosphere recalls a typical Punch and Judy puppet show.

The melodies – as the original play – are adventurous and direct, sometimes dramatic,

sometimes ironic, ready to make us laugh and cry. The Giant Baby, a true 21st century opera, is about our present times, dedicated to each and every one of us.

Show was premiered on July 3, 2018 at Muth, Vienna (Austria). A production of Kolibri Theatre created for the ARMEL Opera Festival.

(The production’s recording is available until 02/01/2019 on the Arte TV Channel.)

Composer: Gregory Vajda Libretto: Gregory Vajda and Péter Horváth based on Tibor Déry’s play of the same name.

Performers: The Newborn/2nd Newborn: György Philipp; Mother/Virgin/Stefania: Agathe De Courcy; Father: Ákos Ambrus; Nikodemos: József Csapó; Singers-puppeteers (voice actors): Rita Alexics, Dániel Fehér, Kármen Rácz, Kriszta Rácz, Szabolcs Ruszina, Károly Szívós, Bea Tisza, Ági Török Musicians: Gergely Ittzés (flute), Erzsébet Seleljo (saxophone), Balázs Szalóky (trumpet), Mónika Baja (keyboard), Helga Kiss (percussion), Zsolt Deli (accordion), Bálint Kruppa (violin), János Fejérvári (viola), Antonio Casagrande (bass) Conductor: Gregory Vajda; Choreographer: János Lakatos; Scenist: István Farkas; Set, costume, puppets: Klaudia Orosz; Assistant director: Veronika Vajdai; Director: János Novák

109 | KOLIBRI THEATRE

Reference Production

110

Elsinor creates shows and plays for theatres but also for specific locations (such as museums, cathedrals, harbour canals or monumental cemeteries...) and has performed all around Italy and abroad, reaching Oceania, North and South America, Africa, Asia and, of course, Europe.

Elsinor is based in Milan, at the Teatro Fontana, but it is composed of two other local units, such as Teatro Cantiere Florida in Florence and Teatro Testori in Forlì. Forlì was the first venue, where the company was born in the Seventies, and which in 2018 has finally been bought by Elsinor.

The three venues share the same commitment to explore new contemporary theatrical prose. They have created a synergie that lets them exchange their experiences inspired by traditional and new approaches.

They traditionally organise three kinds of

seasons in each venue, namely shows for schools, for families and for adults. These programmes host both Elsinor’s productions and other companies’ productions from around Italy and abroad.

As well as shows, Elsinor offers the audience presentation meetings, special events, post-show discussions, lectures, workshops and seminars for students, amateurs and professionals.

Moreover, Elsinor organises theatre festivals such as, in partnership with Teatro del Buratto, Segnali, one of the most important festivals of theatre for young audience in Italy, or Platform Milano, a youth theatre festival created and hosted by Teatro Fontana since 2011.

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Elsinor Centro Di Produzione Teatrale Milan, Forlì, Florence, Italy

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A Midsummer Night’s Dream from WILLIAM SHAKESPEARE This edition of A Midsummer Night’s Dream is inspired by the Seventies, a moment of tension and collapse of society: in Italy for example, student movements became increasingly armed and militant, throwing the country in a state of perpetual alarm.

In essence, it was a need for generational detachment with the class that had made wars, of an a priori oedipal process. Punk, Art Rock and Glam Rock were born in those years; musical expressions that eliminate all the conventions imposed by the fathers: gender ambiguity, androgyny become an instrument to escape from the Law of the Father. The same law - the Athenian - from which the four lovers flee, to take refuge in the place - the Forest - where everything is allowed, in which the human dynamics are not determined by patriarchal superstructures, in which the Spirits may be male, female or both.

The plot thus becomes a clash between people who are unable to make choices, and those who think they should be able to decide the freedom of others.

The comedians represent the emotional fulcrum of the text, which divides the world into two: who is able and who is not able to believe beyond what is manifest and rational.

Translated, adapted and directed by Filippo Renda Set and Costumes Eleonora Rossi Light and Sound Rossano Siragusano Make up by the students of Accademia Alla Scala Cast Astrid Casali, Aurelio Di Virgilio, Matteo Gatta, Mauro Lamantia, Luca Oldani, Beppe Salmetti, Mattia Sartoni, Laura Serena, Irene Serini, Ester Spassini With the support of Next Laboratorio Delle Idee 2017-2018

113 | ELSINOR CENTRO DI PRODUZIONE TEATRALE

REFERENCE PRODUCTION

114

tjg. Theater Junge Generation Dresden, Germany

Since its founding in 1949, it‘s impossible to imagine life in the city of Dresden without it. As part of the local cultural scene, tjg. presents performances for children, youths, and families on three different stages at Kraftwerk Mitte, newly opened in 2016, and at various summer stages. The performances are enjoyed by 90,000 people each season. The city of Dresden’s puppet theatre amalgamated with the tjg. in 1997 and celebrated its 65th birthday in 2017.

The theatre academy was founded in 2008, and it functions as a research laboratory for theatre educators, as an experimental workshop for children and youths interested in theatre, and as a further education centre for teachers and kindergarten teachers. The founding of the national festival “Theatre

from the Beginning”, artistic involvement with the “Theatre for the Youngest Audience”, further development of theatre with children and young people and the membership in the European theatre network PLATFORM Shift+ represent several current examples of projects that describe the concept of the tjg. theater junge generation.

The broad assortment offered by its various branches enables the theatre to integrate current trends, for example, incorporating dance and performance into its own productions in a contemporary way. The exchange and cooperation that takes place between different cultural organisations, institutions and artists that are active outside of children’s and youth theatre also play an important role.

In the years 2018 to 2022 the tjg. participates in the program “360 °- Fund for Cultures of the New Urban Society” of the Federal Cultural Foundation. The aim of the programme is to promote the diversity-oriented opening of cultural institutions. The tjg. wants to position itself as a place in urban society, where diversity is reflected in a special way and the chances of it becoming visible are increased. “Wanna talk!?” is the motto of the theatre in the season 2018 – 2019, which is found in all formats and at the same time corresponds with the dialogue focus of Dresden’s Capital of Culture application. Since 2008, the general and artistic director of the tjg. has been Felicitas Loewe.

115 | tjg. THEATER JUNGE GENERATION

The tjg. theater junge generation, awarded with the federal theatre prize in 2017, operates on three levels: acting, puppet theatre, and a theatre academy. It presents over 600 performances each year, making it one of the largest theatres for children and young audiences in Germany.

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Is Europe in Me? Is Europe a pot of money or a community of values? Should it seek freedom or security?

(Is that a contradiction?) And where does this “Europe” actually lie? On the map? At the end of a railway line in the Urals? Or in ourselves?

The topic “Europe” raises many questions, some of them delicate, uncomfortable, perhaps even unsolvable. Thirteen players from the Theaterakademie of tjg. theater junge generation, eleven teenagers and two adults, researched and discussed these questions for half a year. In Is Europe in Me? they stage interviews with people whose views of Europe they found interesting and relevant - at home, at school, at the Chancellery and at the Pegida demonstrations. The opinions obtained are as disparate as the theatrical forms in which the material finds its way into the production. The audience is also invited to share their point of view as a voting system for live-feedback is incorporated into the performance. Up to 100 spectators can vote

via remote control for two alternative options.

The results are shown immediately in the form of a bar graph on a projection screen.

At the end of the evening, after twelve votes, each player represents a decision and wears an appropriate costume. This creates a vivid image for Europe: colourful, complex and somewhat confusing. Viewers may wonder if this image represents a Europe in which they would like to live. Could and should a Europe of the future look like this? Which aspects matter most? Which voting results should have been different?

Is Europe in Me? was produced in cooperation with “Weiterdenken Heinrich-Böll-Stiftung Sachsen”. #tjgeuropa Directing and Theatre Education Anke-Jenny Engler Set and Costumes Ulrike Kunze Music Katharina Lattke Dramaturgy Kathi Loch With Felix Fischer, Friedrich Forstmann, Kerstin Fugmann, Ada Greifenhahn, Lilly Kramer, Philipp Müller, Matthias Naumann, Michael Pflaum, Amelie Scharschmidt, Alexandra Melissa Stock, Elise Thürmer, Caroline Ufer, Anna Widiger

117 | tjg. THEATER JUNGE GENERATION

Reference Production

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VAT TEATER Tallinn, Estonia

2. What is the next big goal in you journey?

Again with this kind of weird pseudopragmatic thinking! There is no point to plan

your time like that. I have enough on my mind anyway. 5-6 premieres per season. Around 220 shows per year. 4 own actors and manymany interesting artists all around Estonia and even further, with who to create exciting productions. Well, I actually have one dream.

Right now we have one theatre hall, but maybe, soon, one day, we also have another theatre hall. I guess, that is what almost every theatre dreams of. But it’s a good dream.

3. What makes you different from all the other theatres?

I don’t know. Come and see yourself. You can find me inside the National Library building in Tallinn. Come see our shows or participate in a workshop or just meet my team.

And you will find out. Or visit the home page: www.vatteater.ee – some say it´s cool.

119 | VAT TEATER

Three questions to VAT Teater: 1. Last year you turned 30. How do you feel?

Enough with the numbers! Estonia turned 100, Andrew Lloyd Webber turned 70, Julia Roberts 50 and I turned 30. So what? I don’t like to think about life in these terms. But if you’re asking just about my feelings – then, I feel great! Estonia is a theatre wonderland.

Almost everyone goes to see shows, actors and directors are loved around here. And you can see all kinds of theatre in here. I give my best to enrich the field. My repertoire has something for almost every age group and taste – from very classical to very contemporary. And the people, who make up VAT Teater – well, they are very loyal. I’m surprised myself, that they just refuse to leave.

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REFERENCE PRODUCTION 2

REFERENCE PRODUCTION 1

by Jens Raschke

Lady Macbeth

A story about the small, the big and the final questions

Do fish sleep?

after William Shakespeare Who is Lady Macbeth? Is she a gentle woman or a power-hungry, manipulating monster?

The Lady is supporting her husband in every way but also knows how to manipulate him.

On the surface everything is fine, ideal even, but something is lacking in that relationship.

The prophecies of witches give hope to the Lady that her simple and human wish to be happy might come true – if only she gained the necessary power. And the Lady wants to be very very happy...

Director Margo Teder has created another way, how to analyze and interpret the famous story by W. Shakespeare – through the eyes of a committed wife, who’s love can be the most dangerous thing in the world.

Premiere: 19th of December 2017 at the National Library Theatre Hall Translation Jaan Kross and Harald Rajamets Director Margo Tede Set Pille Jänes Video Peeter Ritso Sound Ago Soots Light Triin Hook Cast Elina Reinold, Ago Soots and Margo Teder

Juta is your ordinary 10-year-old girl. Only last year she still had a brother Emil with whom she got along very well. But Emil died last year. And now Juta looks back to the past year and tells about her parents, her school and about all the questions she has, but no-one seems to be able to answer them. Not even a simple question: do fish actually sleep?

German playwright Jens Raschke has written a brave and moving mono-drama about the grim yet inevitable side of life. He lets Juta ask all the questions we also would like to know.

About death, but even more about life itself.

Target group: 10+ Translation Eili Heinmets Director Aare Toikka Set Illimar Vihmar Light Sander Põllu Sound Veiko Tubin With Liisa Saaremäel

#deleteme

by Kristiina Jalasto after an idea of György Vidovszky (HU), Péter Horváth (HU) and Kristiina Jalasto Some wishes are not meant to come true A 7-year-old Karl disappears without a trace.

Years later he suddenly returns but his family’s joy is overshadowed by alarming questions. Where has Karl been all these years? What has he endured? Who is to blame for his disappearance? Is Karl capable of continuing his life as a normal teenager?

This is a story about the next stage of bullying – cyberbullying, and asks the question: what should you do, when the bully can follow you almost everywhere? “#deleteme” is a result of co-work between VAT Teater and Kolibri Theater (Hungary).

2016 an Estonian-Hungarian team started

creating ideas for a contemporary youth play. 2017 the Hungarian production “Short Circuit” premiered in Budapest.

A year later the Estonian production followed.

Target group: 12+ Director Helen Rekkor Set Inga Vares Light Sander Põllu Video / Sound Sander Põldsaar Cast Loore Martma, Helena Merzin, Roland Laos, Rauno Kaibiainen, Meelis Põdersoo

Target group: 10+ Translation Eili Heinmets Director Aare Toikka Set Illimar Vihmar Light Sander Põllu Sound Veiko Tubin With Liisa Saaremäel

121 | VAT TEATER

CO-PRODUCTION OF TEATER VAT AND KOLIBRI THEATRE (HU)

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Teatret Vårt Molde, Ålesund, Norway

Teatret Vårt tours the whole region of Møre og Romsdal and has two home-stages. One stage is situated in the centre of Molde in a modern cultural house together with the municipal library, a regional Centre of Arts, the Bjørnsonfestivalen - a national literature festival and Molde International Jazz Festival.

The other stage is in Arbeideren, a listed Jugend-style building in the centre of Ålesund.

We’re currently working together with Ålesund High School and Ålesund cultural school on how to co-operate when we move in 2022 to a new cultural house in a new part of the centre of Ålesund.

Teatret Vårt was established in 1972 and is owned by Møre og Romsdal county, Molde municipality, Ålesund municipality and Noregs Ungdomslag – which is a voluntary organization working with cultural community activities for youth.

Teatret Vårt recieves its main funding from the Norwegian State Cultural Department.

123 | TEATRET VÅRT

Teatret Vårt presents a repertoire of modern and classic theatre productions for a broad audience. Children and young audiences are equally as important as adult audiences - both in modern artistic visions and in the aim to take responsibility for being part of an evolving cultural society. Teatret Vårt is the only theatre in Norway with its own department for theatre for young audiences.

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Radio Don Quijote After the government closed the FM-band six people have joined in the effort to re-open the FM-band with their own radio station placed in a community hall. The audience is equipped with radios and headsets to watch this voluntary act take place. It is literary an adventurous play!

In a time where madness is broadcasted over a low threshold, Aurora is idealistic in leading a crusade against alluring and instrumental understandings of reality. With her faith in the project, education, and with the ability the arts have to develop insights into oneself, she is fighting for a world where literature can still give us answers!

The aim of the radio station is to tell the story of one of the best books in the world: Don Quijote.

It is said that Don Quijote was totally mad – that he fought windmills because he thought

them to be giants, that he fought sheep because he thought them to be armies, and that he did this and more bravery for a princess named Dulcinea, invented by himself.

The six volunteers take all the means of radiobroadcasting and the whole community centre in when they try to give you the answers to all the questions you might have about the masterpiece Don Quijote. To them Radio Don Quijote is the fight for an understanding of reality that makes life worth living. It just can’t go wrong....

Freely interpreted after Cervantes Director: Tormod Carlsen Scenographer: Thomas Bjørnager Actors: Vivi Sunde, Bjørnar Lisether Teigen, Johanna Mørck, Hugo Mikal Skår, Lars Melsæter Rydjord og Sara Fellman.

Sound: Ingvar Kristensen

Experience the magic of radio theatre unfold before your eyes.

This play has led to an experimental learning process with sound and has been a way to reach new levels of competence in the technical department, especially related to sound. The theatre is proud of experimenting with form and technical solutions to create a new way of presenting a classic piece of literature.

125 | TEATRET VÅRT

Reference Production

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EMERGENCY EXIT ARTS LONDON, GREAT BRITAIN Emergency Exit Arts (EEA) makes dynamic, surprising and ambitious work in the public realm by using a multi-disciplinary approach that responds to people, places and current agendas.

EEA believes in providing access to high quality, inclusive opportunities for children and young people, helping them create and express their responses to local and global concerns.

EEA’s Youth Arts programme encourages young people to become creative activists. Our projects are designed to empower young people to express their ideas, animate public spaces and take a role in becoming a catalyst for change. Positive transformation is at the centre of work, allowing young people to make change happen through the engagement of performative and artistic experiences. These programmes take place in primary and secondary schools, colleges and community settings. We make theatrical and participatory experiences happen in unconventional spaces, which include public spaces, community spaces and schools.

EEA has been based in Greenwich since 1980 and in 2020 we will be celebrating our 40th birthday.

127 | EMERGENCY EXIT ARTS

EEA helps develop the skills and talents of creative practitioners giving them further opportunities to work in the arts. The company has a national and international reputation for excellent site specific and touring work using visual performance, processions, puppetry, music and pyrotechnics.

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Reference Production

Spring Rising

In March 2018 Emergency Exit Arts collaborated with digital arts company, Output Arts, to create an event in South London that celebrated the start of the spring season. The life cycle of a plant was used as a metaphor to create art work that reflected themes of community, change, opportunities and heritage with people from different generations.

The collaboration between the two companies supported several strands of work: 1. An illuminated procession with lanterns, which led people to a public event and the creation of several light installations developed through artist-led creative processes with children in schools, family groups, a youth group, older people and a refugee group attending language classes 2. A poem created by Sophia Walker that included words and ideas from the

3. An Illuminated Garden created in a public park with specially commissioned work from artists including: • the premiere of the poem and film

projected on a large scale screen in the garden •

giant flowers, some containing the sound of people’s conversations

• a huge light box containing tree shapes

where children could add their own silhouettes •

the opening of a giant seed pod using pyrotechnics to reveal a bouquet of people’s hands reaching out

•

a mobile transparent snow globe containing a woman tending her garden

•

interactive projection works using a web server that enables people to connect, communicate and play through drawing and writing

•

large illuminated building blocks for children to play with

•

circles of fires where people could sit, think, talk, eat and drink

• performance by EEA’s Street Theatre

Squad that explored nature and technology The project was commissioned by the London Borough of Southwark, funded by Arts Council England and attended by 3000 people in one evening.

Spring Rising was produced and created by Emergency Exit Arts (EEA) and Output Arts Poem Sophia Walker and members of the East Dulwich community Music Ben Raine Videos Emily Taylor, Jonathan Hogg, Andy D’Cruz Installation Artists Thor McIntyre, Emily Tracey, Jess Dickinson, Cristina Ottonello Drummers South London Samba Artistic Director Deb Mullins Event Producer Kathryn Bilyard Production Manager Ben Raine Procession Artists Di Jones, Georgina Mackley, Cristina Ottonello Lighting Designers Craig West, Ben Moon Illuminated Dancers Marcina Arnold, Maria Scialdoni Pyrotechnics Frank Earle-Whiffen Event crew Gordon Allum, Liam Cahill, Emma Corck, Emma Garofalo, Asher Heigham, Billy Mullins, Sam Noble, Matt Stort, Kenji Takahashi, Chalkie White

129 | EMERGENCY EXIT ARTS

community about their neighbourhood.

This was recorded and set to music as a soundtrack for a specially created film involving the participants and showing spaces and places around the local area.

130

TEATRO O BANDO Palmela, Portugal

We developed the notion of “Portugality� in more than 100 creations, almost every time using texts from authors of the Portuguese language. We have made more than 5,000 shows for more than 4 million spectators. Normally, the largest shows are not always the most memorable ones, although the people who watched the following cannot forget: the red cloth that covered the concrete in Auto dos Altos e Baixos (1979); Os Bichos (1990) on the buildings’ facades; the seagulls flying over the Saga (2008); the vertical trip of Jangada de Pedra (2013); or the table with more than 100 meters length in Quarentena (2014). Rural or urban, for grownups or for children, erudite or popular, national or universal, dramatic, narrative or poetic: these are barriers that O Bando transgresses in their socially motivated shows.

131 | TEATRO O BANDO

Founded in 1974, Teatro O Bando is a collective that chooses aesthetic transfiguration as a way of civic and community participation. Its members begin on the cultural militancy, and by using historical figures, an explicit collage of literary materials and popular sources, they give shape to a community theatre that constitutes an ethnological legacy. This keeps alive the direct relationship between local and diverse cultural entities, forming the most diversified and unexpected results.

132

ADOECER (2017)

Text from the romance of HÉLIA CORREIA It is no measure of health to be well adjusted to a profoundly sick society.

[Jiddu Krishnamurti] Starting from Hélia Correia’s romance we dive in the life of Elizabeth Siddal, the model, painter and poetess that made part of the Victorian English society with the oddness of its romantic relationship with the painter and poet Dante Gabriel Rossetti, by the second half of the 19th century.

Dramaturgy and Direction Miguel Jesus Scenography Rui Francisco Music Jorge Salgueiro Costumes and Props Clara Bento e Sara Rodrigues Light João Cachulo / Contrapeso Production Raquel Belchior

Among this pre-Raphaelite universe (Siddal was the model for the famous John Millais’ painting “Ophelia”), we find Dante and Lizzie, moving a canvas against time’s corsets. In a shelter of tea and dirtiness they celebrate the most inevitable drives, creating through words and paintings a world where it is possible to flee from the world. A world where exceptional and aseptic beings gravitate, lighting up the pestilence.

A world where the necrophagic vultures feed on singularity. A world manipulated by epidemic dolls. A world where what frees them is what drowns them, submerges them and condemns them.

Cast Catarina Câmara, Miguel Moreira, Sara De Castro and special guests Antónia Terrinha / Juliana Pinho, Bibi Gomes / Raul Atalaia, Carolina Bettencourt / Rita Brito, Nélson Boggio / Guilherme Noronha, Nuno Nunes, Paulo Campos Dos Reis / João Neca, Ricardo Soares / Miguel Jesus and Rui M Silva

Musicians Carlos Lourenço, Eurico Cardosa and Nélson Ferreira (live) and Bizarra Locomotiva (recorded)

133 | TEATRO O BANDO

Reference Production

134

The South Bohemian Theatre has four ensembles (drama, opera, ballet and the Little Theatre), a lecturing section, five stages (a historical building used for drama performances, the studio stage for chamber productions and workshops, the Metropol House of Culture for opera and ballet, the Little Theatre for young audiences, and the Open-Air Theatre with the Revolving Auditorium in Český Krumlov for the summer productions of all the four ensembles. The South Bohemian Theatre is the only professional theatre with a permanent ensemble and permanent stage in the Region of South Bohemia.

The Region is a self-governing unit of the Czech Republic with a population of approximately 640,000. The capital and largest centre – in terms of tourism – of this attractive region is České Budějovice with a population of around 100,000. The city is the main incorporator of the South Bohemian Theatre, one of the major cultural institutions of this region.

The ensemble of the Little Theatre is the main implementer of the PLATFORM Shift+ project on behalf of the South Bohemian Theatre. The productions are focused on

young audiences of all ages. Since 2014, when Petr Hašek was appointed to the position of its artistic director and Janek Lesák became its in-house director, the repertoire started to focus on purely original productions, with a strong emphasis on the musical part and varied formal approaches to their themes.

To stage their productions, the artists look for untraditional non-theatrical (site-specific) venues and cooperation not only with the other ensembles of the South Bohemian Theatre, but also with other institutions (e.g. with the the Autobuď , the Transportation Company of the city, with Secret Concerts

and GAME projects) and local volunteers (cooperation with Majáles student festival, etc.). Their artistic activities (around five premieres in the season) seek to react both to the interests of various age groups and current affairs concerning the whole society. The Little Theatre endeavours to communicate with its audiences in a playful and original manner.

135 | THE SOUTH BOHEMIAN THEATRE

The South Bohemian Theatre České Budějovice, Czech Republic

136

GAME A theatre that you must experience This is not a theatre performance: this is a game. There is no auditorium and no stage.

It is a story that you can see only through the eyes of one of the characters. GAME is participation theatre based on the LARP (Live Action Role Playing Game) principles – a game where fictional characters play in real space and time. It is like playing a board game on a playing field the size of a tennis court. You need no game piece, because you are one yourself. The players turn up at the arranged time and we will drive them to a secret place to play the game. There is no emergency exit, and there is no recovery password. The players have to play the game and finish it.

They will spend approximately two hours there, and then we will drive them back to the meeting place. They will be told the rules on the spot, and they will go through the game as one of the 50 characters in the story.

To win they will have to solve all the problems of their character and fulfil all of his/her wishes. They will be able to influence the development of the game at any time, both through their decisions, their words and acts. The way their story ends is up to them only. The participant is not to use his/her skills as an actor/actress, but as a player. To play this game, the players will need to be ready to move around and perform tasks (physical activities, logic exercises, active communication with their fellow players).

All GAME participants need to take on an active role during the game, and they cannot simply be “bystanders”. Lighting effects, shooting, absolute darkness and scenes depicting explicit violence may be used in the course of the game. The game is not suitable for those under 15 years of age. To participate in the game the players will have to follow the 1930s dress code.

The game begins the moment you buy your ticket.

Director Janek Lesák Screenplay Janek Lesák, Natálie Preslová Stage Karel Čapek Music Jan Čtvrtník Dramaturgy Natálie Preslová Cast Martin Dobíšek, František Hnilička, Petr Hubík, Dana Ibragimová, Terezie Jelínková, Jan Kaštovský, Denisa Posekaná, Aleš Surma, Lucie Valenová, Bartoloměj Veselý, Vjačeslav Zubkov

137 | THE SOUTH BOHEMIAN THEATRE

Reference Production

138

University of Agder Kristiansand, Norway The University of Agder (UiA) is a public university with 13,000 students and 1,400 faculty and staff members and with stateof-the-art buildings on both campuses, in Kristiansand and Grimstad.

It seeks to be an open and inclusive university that is characterized by a culture of cooperation and aims to be on the cutting edge of innovation, education and research.

The Faculty of Fine Arts with approximately 500 students is organized into three departments: POPULAR MUSIC, CLASSICAL MUSIC AND MUSIC EDUCATION and VISUAL ARTS AND DRAMA. Our profile is characterised by the dynamic interaction between the creative, performing, didactic and academic approaches to the fine arts.

The Department of Visual Arts and Drama, primarily involved in PLATFORM Shift+, offers several mandatory and eligible subjects for the various teacher training study programmes. The study portfolio in theatre has been systematically expanded since the late 1990s. From 1997 we have offered a one year-programme, from 2002 a Bachelor programme in Theatre, from 2011 an Interdisciplinary Master of Arts with

Specialisation in Theatre and from 2017 an Interdisciplinary PhD Specialization in Art in Context. From 2019, we will offer a new programme: a Bachelor in Contemporary Theatre.

Through practical and theoretical approaches, we prepare our students for careers within performing arts and art education, and we aim to educate creative and reflective theatre makers. As teaching artists, it is possible to work in Schools of Music and Performing Arts, facilitators in applied theatre projects, as well as other projects in the field of performing arts. The Faculty members have an interest in, and a long history of collaboration with multimedia and e-learning, as well as ICT as artistic devices in art projects, as tools in art education and art mediation. Our studies allow for combined artistic and scientific projects and dissertations, both at the MA and Postgraduate level.

We have close collaboration with the region’s art and cultural institutions and are also internationally oriented, including a long partnership with the ASSITEJ (International

Association of Children and Young People) and the SAND Festival. The university was one of the funding organisations of ITYARN (the International Theatre for Young Audiences Research Network). Professional theatre for children and young people is on par with other contemporary theatre, and several of our employees have specialist expertise in Theatre for Young Audiences (TYA): Performing Arts for children, theatre with children and young persons, and theatre discussing childhood.

139 | UNIVERSITY OF AGDER

We prepare our students for a lifetime of learning and of responsible leadership, through a faculty dedicated to teaching and co-creation of knowledge.

140

MY DIGITAL ADDICTION In my position as a production and marketing manager at a large cultural institution, using digital technologies is an everyday reality. E-mails, social networks, videos, photographs, and obtaining information are indispensable for my work, which I can hardly imagine without them.

However, this unceasing contact with the virtual world also has its negative side. Receiving often unnecessary or useless information, checking your mobile phone automatically several times a day, nervousness and being absent from the here and now.

For that reason, I try to spend part of my free time completely without access to the internet and without being available on my phone. On the other hand, I must honestly say that I really enjoy using some smartphone applications.

Jiří Grauer, production manager of the South Bohemian Theatre (CZ)

Last August I decided to switch my shiny smartphone to a simple dumbphone. The reason was simple: I had begun to notice how this “smart” device affected my not-so-smart behaviour. Carrying the device with me where ever I went, in my hand, never losing it from my sight, like its life (ahem, I mean battery) depended on my nearness. It’s the quote from Fight Club: “the things you own, end up owning you”.

This had to stop. And to be honest, the shift was easier than I thought. Are you ready for the same kind of challenge?

Loore Martma, Actor VAT Theatre (EE)

141 | MY DIGITAL ADDICTION

MY DIGITAL ADDICTION

142

8th Annual Encounter and Festival Your Story In 2017 the PLATFORM Shift+ delegates met for their Annual Encounter in Dresden, Germany. Kraftwerk Mitte, the fantastic location in the middle of the beautiful city at the river Elbe, new home of the German partner tjg.Theater Junge Generation, was ideally suited for the festival of PLATFORM Shift+ Co-productions.

On the impressive grounds of a former power station, with its various indoor and outdoor areas, there was a suitable space for (almost) every production.

The entire 2016/17 season for the PLATFORM Shift+ partners was on the theme of collaborative work. The My Story Festival of the National Productions at the end of the last season in Budapest (Hungary) provided a good insight into the different working methods and individual theatres’ modes of expression. Eight co-productions grew out of a stimulating and exciting work process. In these productions, two theatre partners collaborated on the theme of “digital challenges” and put their ideas into practice, each in their own way.

143 | 8TH ANNUAL ENCOUNTER

Dresden/Germany, June 7 – 12

144

In addition, there was a large Round Table discussion about the contemporary digital political protest forms and a workshop for actors on the program of the Annual Encounter.

It was a tightly scheduled program but it allowed time for city excursions and individual conversations, the essential part of getting to understand cultural differences and finding ways to work together outside of national boundaries.

145 | 8TH ANNUAL ENCOUNTER

In this they aimed to achieve the challenge they had set themselves: to successfully speak to a “hard to reach audiences�. Seven co-productions were presented in Dresden in the PLATFORM Shift+ festival Your Story. The results were surprising and varied and were carefully evaluated.

146

Festival Your Story 1. tjg. Theater Junge Generation (DE) Emergency Exit Arts (UK) No entry

3. Pilot Theatre (UK) Teatret Vårt (Molde, Ålesund, NO) Traitor

147 | FESTIVAL YOUR STORY

2. Emergency Exit Arts (UK) tjg. Theater Junge Generation (DE) Paper Cities

148 4. VAT Teater (EE) Teatro ELSINOR (IT) Mister Green

5. Teatro O Bando (PT) Théâtre Massalia and Collectif Le Nomade Village (FR) This is (not) Europe

6. Kolibri Theatre (HU) VAT Teater (EE) Short Circuit

149 | FESTIVAL YOUR STORY

7. South Bohemian Theatre (CZ) Emergency Exit Arts (UK) Three Musketeers Only Open Air Summer Imaginarium

150

For this year’s Youth Encounter, youth groups from five countries gathered in Forlí (IT). From Tallinn (EE), London (GB), Český Krumlov (CZ) and Budapest (HU), young people arrived and were welcomed by their Italian colleagues. Some of them have already participated in one of the past encounters in England or Estonia.

On the first evening, a jumble of different languages fills ​​ the pizzeria where we meet for our first dinner. Full of curiosity, the young people exchange their experiences. They are facing an exciting week with a diverse programme. Suzanne McLean, who founded the theatre company “Young and Talented” in London and has often worked for PLATFORM Shift’s leading organisation, Pilot Theatre, will direct this year’s theatre workshops and work together with the international young people to produce the final presentation.

151 | YOUTH ENCOUNTER FORLÍ

IT Works Youth Encounter, Forlí,Italy April 22 - 29, 2018

152 The theme is the process of change in the world of work. How important is work for the adolescents? What significance does it have for the process of finding their identity? What do young people think about their future work and what role do digital technologies play in this?

The starting point for the artistic workshops are the individual family stories of the young people. What kind of jobs did family members have? What could they possibly identify with or even follow in their footsteps? What changes in the value of work can be seen in their family histories?

In preparation, each has brought a “work tree of life�, which are presented on the first day. An old candle factory, which has become a place for cultural events, serves as our workplace. With PowerPoint presentations, photos, self-designed graphics, videos, poems or documented installations, the youngsters vividly show the working worlds of their families. It is interesting to see how they proudly report grandmothers who were tailors, hard-working mothers or how they work in a century-old family business like a pastry shop in Budapest.

All these questions are addressed in the following days in various theatre and movement exercises. The young people also discuss what they expect from the future, and what expectations are placed on them.

In a lively ending of each working day, each group presents its country, culture and city, underpinned with local delicacies, under the working title “Local Habits”. Songs and dances were taught to each other in the warm evenings.

The youngsters also have the opportunity to participate in the Creative Forum organised by the Italian host, Teatro Elsinor. They listen to lectures on big data and entrepreneurship strategies and are able to attend workshops such as a radio workshop, a Makey Makey workshop, Q-Lab or Stop-Go Animation.

Parallel to the Youth Encounter, theatre makers from the PLATFORM Shift+ partner theatres meet near Forlí in the village Bertinoro to continue working on their co-productions. In order to give the professionals, who focus on theatre for a young audience, an opportunity to exchange ideas with young people, as well as to give the participants of the Youth Encounter the chance to see professionals at work, the youngsters are driven to Bertinoro for a day.

153 | YOUTH ENCOUNTER FORLÍ

However, there are also uncertainties. There are so many possibilities and freedoms offered nowadays that it is hard to figure out which way is right.

154 The professionals share the status of their productions with them and eagerly listen to their inspiring comments.

Work on the final presentation is in full swing as the day of the presentation comes closer. The participants work in small groups on theatre scenes including dance and vocals. They explore their engagement with the adult, the ego, the decision of what they want to become and how this decision is influenced by friends and family.

Framed as a game show, the audience is involved in a number of different ways. The presentation is set in the inner courtyard of the candle factory which has enough space for the audience, including the professional artists who have come from Bertinoro to see the young people’s work in return.

At the after-show party, the newly formed friendships are celebrated. The young people fall into each other’s arms and promise to meet each other again.

Sophia Neubert

155 | YOUTH ENCOUNTER FORLÍ

156

Advisory Board Meeting In preparation of the final productions/ events in the season 2017/18 the PLATFORM Shift+ Advisory Board met in York, the home of the leading organisation Pilot Theatre. First, the Artistic Directors gave an overview of the progress at their companies and presented the concepts for their Creative Forums, also due to take place in that season.

The 11 local concepts follow the core concept of the three big international PLATFORM Shift+ events (Lisbon, Budapest and Tallinn) and implement it on a national level. Different solutions, suitable for each partner, were chosen, but all combining exciting lectures with hands-on-workshops, either for professionals and/or young people.

The 2nd day of the meeting was dedicated to the planning of the final productions/events, which bring together at least 3 partner institutions in a common project. The partners used the time for intense debates searching for appropriate concepts, attractive to all involved companies, and possible schedules. This could just be the beginning – many more meetings and talks are needed to develop the productions/events properly.

157 | ADVISORY BOARD MEETING - YORK

York, Great Britain, October, 14-15

158

Advisory Board Meeting The regular meeting of Artistic and Managing Directors of the companies took place in Greenwich, London, where our partner Emergency Exit Arts is at home. Rothbury Hall, a lovely old building (former church) is the base for their numerous outdoor activities, but also place for creative workshops and other participatory actions.

The encounter was used to update each other about the ongoing processes within the PLATFORM Shift+ project and within the single companies.

Main topics were the state of affair of the final productions, the common rehearsal camp for the professionals and the 3rd International Youth Encounter taking place at the same time in Italy in April.

The plans for the local Creative Forums, organised by each company, were presented and the concept for the final PLATFORM Shift+ Annual Encounter, bringing together young people from all partner countries with professionals, were discussed.

For one of the evenings Deb Mullins, EEA’s Artistic Director, had arranged a theatre visit: “Revolution” by Exit Production brought together gaming and interactive theatre, involving the audience as the protagonists. For most of the AB-members a quite unusual experience, but definitely worth to participate.

159 | ADVISORY BOARD MEETING - LONDON

LONDON, Great Britain, March, 16-18

160

MY DIGITAL ADDICTION I’m completely addicted. In 20 years, I haven’t been away from computer longer than a month. And I think even this is an exaggeration, fasting-time is probably much shorter.

I feel this relationship has to end – all or nothing – no contact anymore, we had some good times, but I have to see the world. I understand that break-ups have to be painful, but why so painful?

What if I can’t survive on my own? What about the potential we had together? Or didn’t we have any potential?

Right now, our relationship is stuck in one place. That, what once felt so new and fun, is now boring every-day stuff.

I still get nostalgic though. I can still remember the first time I turned you on and off. How I spent hours drawing pictures in MS Paint. And how beautifully you sang to me with the dial-up internet ringtone. Can you remember, how young and fearless we were? How good everything was? What happened? Now there are only boring e-mails and always the same fonts. Enough of it. This on-off relationship has to end.

Roland Laos, Actor VAT Theatre (EE)

My digital addiction is probably my smartphone and the compulsion to always have everything under control and need to look things up. Likewise, the constant clinging to and documenting of moments in life and often the direct spreading over Instagram. For this I use over 200 apps on my iPhone.

However, I use only 10% – and 50% of the apps regularly less than 2-3 times a year. Of the three things I have when I leave the house that are always with me, the phone is next to the keys and wallet. Ultimately, the internet is my favorite friend when researching. “Knowledge is power” describe by Francis Bacon, as early as 1600. Today, stored knowledge is no longer the power, but the device that can constantly access the concentrated knowledge of humanity. And so, I feel safe, all over the world...at least as long as I have network.

Eric Christopher Straube tjg

161 | MY DIGITAL ADDICTION

MY DIGITAL ADDICTION

162

Digital Challenges in Theatre for Young Audiences 2014 - 2018

Evaluation

My relation to digitality underwent a distinct change during the project.

I have come a long way “from the theme to the tool” in my attitude to digitality in theatrical production. As I knew very little about this question, modern technologies were more or less a kind of bugbear (a discouraging topic) but thanks to the project, I have become better acquainted with this issue and started noticing its practical benefits. Thus, turning the “bugbear” into a “production tool”, which is, after all, the case with all bugbears about which we know nothing.

Our theatre makes full use of digital tools in its productions and is certain to continue doing so in the future, and in its thematic approach it has got rid of apocalyptic visions.

Lukas Prudek, South Bohemian Theatre (CZ)

163 | EVALUATION

The artistic directors of the PLATFORM shift+ partners were asked to answer three questions: 1. How did your relation to digitality change within the project?

Where do you see your company in terms of digitality at the moment?

164 EEA has embraced the use of digital technology in our work during this project.

We have been using it as part of performances and events in outdoor public spaces, as part of creative processes with young people and as a communication tool.

Web based applications have enhanced the way we engage our audiences and AR has provided playful interactive experiences for people of all ages. We have developed techniques using digital animations created by young people to inform professionally made work that has been used in our national and co-production. Digitally programmed lighting and sound installations have also featured in our public events. Our final coproduction with four European partners has explored new ways of sharing methods, ideas and actions between artists and young people across countries. We have also provided professional development for our artists using digital programming tools.

Deb Mullins, Emergency Exit Arts (GB)

I have a good relationship with the digital world and I guess it got even better with this project. The same can be said about VAT Teater. The digital world is a place of possibilities. As we can’t imagine a life without electricity, we can’t imagine a word without digitality anymore. The main question is, how to use digitality and I feel, exactly this kind of focus is the strongest part of this project. We live in a time when digitality has completely changed civilisation, but even digitality can’t turn back the time, so we have to say “Yes!” to new opportunities.

Aare Toikka, VAT Teater (EE)

The project has changed our attitude to digitality in general. We are definitely more confident in using such techniques in our productions and it has hugely affected our criteria in choosing a new play or novel to work with on stage… New technologies even appear in productions of our repertory that weren’t created in the framework of PLATFORM Shift+, like Emilia and the Angel or The School of Magical Animals. It is difficult keeping up with the rapid technological development since it is expensive and can be complicated but PLATFORM Shift+ has been great in supporting us in that field.

János Novák, Kolibri Theatre (HU)

The company is also much more aware of the opportunities offered by digitality. We have changed our website, we use social networks and applications more and we have created a digital magazine for our 30th anniversary!

Emilie Robert, Theatre Massalia (FR)

The project has inspired us to interrogate the ways in which the pace of technological change is altering our lives and the world around us, and what this means for future generations.

It has encouraged us to think about this both thematically and in terms of form, leading us to experiment with livestreaming, VR, and social media as part of our theatre projects with and for young people. At the beginning of the project we were making traditional touring theatre about technology and now we are making a live action game that uses VR connecting form and content more potently than a couple of years ago: without the opportunity of PLATFORM Shift+ to generate these kinds of ideas, I’m not sure this leap would have been made by our company.

Esther Richardson, Pilot Theatre (GB)

165 | EVALUATION

Before the project, I was interested in digitality but I hadn’t spend much time exploring it. Now, I have a Facebook (professional) account, a Pinterest and a twitter account (that I almost never use) and I downloaded several useful apps on my phone.

166 I started out being uninterested in exploring new technology and its theatrical possibilities.

This is why it was so interesting to be part of this project. It forces you to focus and explore something which is foreign and that I would never have explored had it not been for PLATFORM Shift +. Now I have a deep sense of a way of starting and exploring new technologies artistically, I am curious and interested in a different way. I still love published on social media. Students are also blogging when they are participating in the staff’s research project.

Merete Elnan, University of Agder (NO)

Teatro O Bando supports the idea that we find the solutions for theatre within theatre itself, in relation to the method of the actor’s work and the aesthetic and stylistic appeals of directing. BIRDS is the demonstration of this.

The application of technologies in creating the show had a dramaturgical root, that is, the shape appeared from the content we wanted to approach.

João Neca, Teatro O Bando (PT)

Our relationship with digitality has had a positive surge over the past four years.

Using theatre to reflect on these issues was fundamental to gaining more awareness and to becoming real “actors” of change.

Over the last decade, everything has begun to flow so quickly that it is often difficult to realise what is happening to us every day.

Letting new technologies be used on the stage and become an integral part of the show, and putting this theme in mind, was an effective way to stop and reflect on the sudden changes in our habits, our way of living and our social relationships.

Technology has also proved to be a powerful tool for building art and communicating content: a way to enhance the traditional means of theatre.

Giuditta Mingucci, Teatro Elsinor (IT)

Thanks to Humans of Budějovice, which was created in co-production with PLATFORM Shift+ and the Majáles of Budějovice, we managed to bring 100 volunteers onto the stage for two evenings. The volunteers were willing to jointly ponder the place where they live, why they live there and with whom. We owe thanks to the digital social networks for our success in building a physical analogue social network on the stage. For me, it was one of those crucial moments when theatre makes sense.

Lukas Prudek, Artistic Director South Bohemian Theatre

For EEA the most valuable aspect has been the work created directly with young people that has then informed the creation of a production. At the beginning of the project, we engaged young people in an exploration of the effect of social media on their lives and the use of phone apps as a creative tool to express themselves. This material was presented by our team in a very playful way at our first sharing in Palmela (PT) and inspired various elements of the national productions where the language of social networks, visual conversations using emojis and short timelapse videos featured in the work. I think that was an exciting time for everyone and was the start of a journey where new experiences and learning informed all of our work.

Deb Mullins, Emergency Exit Arts

All the co-productions that VAT Teater has participated in have given us exciting challenges and been appreciated by the audiences. This project has given us helpful and inspiring ideas: how to combine something very youthful, the digital world, with something ancient, theatre. And because theatre is the oldest form of art and can combine different parts of the universe together, it can also use the possibilities that digitality offers. The center of theatre is always the human being, and it should be like that also in the digital world. The center of the digital world should be a creative person, who dreams of A.I. Will A.I. ever be able to dream by itself? This is still questionable, for the time being.

I think theatre is a great place to discuss it. Right now, real A.I. is still a thing of the imagination, but we also have to dream about things like that. The creative process is always exciting but dreaming and thinking together is also exciting and these coproductions and forums have given us plenty of chances to do it.

Aare Toikka, VAT Teater (EE)

167 | EVALUATION

2. Which artistic process/moment, connected to the project, has been most exciting for you?

168

1st Annual Encounter Palmela (PT)

We experienced how the two groups learned to respect different knowledge: the analog and the digital could interact and fertilise each other. Despite dissimilar processes and diverse professional backgrounds, all were able to contribute in the creative process.

Merete Elnan, University of Agder (NO)

There were many enthusiastic moments for the creators, participants and audiences of BIRDS. The experience of watching a drive-in show, inside your own car, listening to the voices of the actors through a FM frequency on your own radio, we think are the moments that will be the most memorable for the audience.

João Neca, Teatro O Bando (PT) Seeing the different productions meet their audiences. How much fun the audience has had with our exploration and the different formats and genres we have been able to explore through the project.

Cecilie Lundsholt, Teatret Vårt (NO)

All the moments of common work, the exchange of experience and the sharing of ideas have been exciting. On top of them, is, of course, the period of common work for the final events: a special occasion that allows us to not only be working together with some partners, but also to see other groups at work at the same time and in the same place, having the opportunity to follow their process from nearby. This also involves getting feedback on what you are doing, from the point of view of someone who is involved but also out of the game. The process of coproducing is something really special that allows a real and deep (even risky) exchange of experience, a confrontation of different ways of working. This often leads to a show with elements that look different but are in the end inspired by the same principles.

Giuditta Mingucci, Teatro Elsinor (IT)

169 | EVALUATION

For us, the most exciting aspect of the artistic process in the project was the collaboration between theatre students and students from the Faculty of Technology. It was both challenging and inspiring for them to engage with skills and ways of working that were unlike what they already knew/were studying.

170 3. Which was the most inspiring input of the 3 common Creative Forums?

Friedrich Kirschner’s workshop in Lisbon and Michele Cremaschi’s workshop in Budapest strongly attracted my attention, because they dealt with the practical use of modern technologies in staging productions. They were also conducted playfully, which is very close to the manner in which theatre reflects reality. In the case of Kirschner, it applied the principles of digital technologies in the analogue form, while Cremaschi employed modern technologies on the basis of old baroque stage technologies.

Lukas Prudek, Artistic Director South Bohemian Theatre

We all enjoyed elements of the practical workshops and the presentations from some speakers at all of the Creative Forum events.

The predictions and revelations that were expressed during the Big Data conversations were clearly evident later on when Facebook etc. was exposed as being complicit in the subversion of democratic processes across the USA, the UK and elsewhere. The creation of new visual languages associated with social media was also interesting. We enjoyed learning to programme various games and devices and explored playful participation by creating analogue versions of video games. It has been refreshing and informative to hear presentations by psychologists, sociologists, artists and journalists and it has been exciting to see how this has also informed work made by our Platform partners.

Deb Mullins, Emergency Exit Arts

For me the most exciting topic has been personal data online. How can we assure free citizen´s privacy in this digital global village?

This topic has plenty of drama in it, and drama, as we know, is the fuel of theatre.

Aare Toikka, VAT Teater (EE) All of the Creative Forums were inspiring, especially the workshops in which we had the possibility of experiencing the newest technologies like building robots in Tallinn.

János Novák, Kolibri Theatre (HU) Hannes Grasseger’s two lectures gave me a lot to think about and a lot that I could share with my colleagues and the young people.

They still inspire me today in my relations to social networks and digitality. The two workshops on geocaching and Actionbound were very important as well, they have inspired some work we did with the young people and made me understand a lot about creativity through applications.

Emilie Robert, Theatre Massalia (FR)

Hannes Grassegger’s first Ted-like talk, Friedrich Kirschner’s workshop and Claudia Mayer’s introduction to Where I go – technology and the photo speak app.

Cecilie Lundsholt, Teatret Vårt (NO) Each of the Creative Forums were valuable to Pilot, especially the workshops in introducing us to tech and enabling us to explore it in a hands-on way. I commenced my Artistic Directorship during the project and was only able to fully attend the Forum in Tallinn - where I loved the talk from Gobsquad about the true vulnerability of collaboration.

This was inspiring for its honesty and for the opportunity it afforded us to meet and socialise with leading theatre artists working today in Europe.

Esther Richardson, Pilot Theatre (GB)

171 | EVALUATION

Creative Forum Budapest Karina Frick Emojis and Language

172 The implementation of the digital, its possibilities and limits, seem to be similar across different kinds of fields. There is some comfort in this thought. Seeing how much robots can learn and still not replace human beings. There is even more comfort in this thought. The digital future is here and there is still much more to come. But there is no need to be afraid.

Felicitas Loewe, tjg. Theater Junge Generation (DE)

Creative Forum Lisbon 2015 Workshop Friedrich Kirschner

Because of these inspiring workshops we invited Phillippe Domengie from the company to be a guest teacher in our study programme, and he is also giving one of the workshops at our national Creative Forum.

Merete Elnan, University of Agder (NO)

It was fundamental to listen and to be in contact with the many speakers and workshop leaders. Although all were different, they were capable of sharing experiences and solutions that can help us to think better about the use of technology in the shows we create. It is crucial that we look around us to understand the positive and negative influences that the digital revolution is having in society. This was the theme of Dirk Neldner’s workshop at the Creative Forum in Portugal, and it alerted all of us, as daily users of so many digital platforms, to be more aware of the advantages and enormous dangers that the future holds.

The three common Creative Forums were all very inspiring, and we saw a sort of a progression in them – in the sense that each one was a trampoline for the next, taking us further and higher. Both the reflection on topics and the hands-on workshops were interesting. The last ones gave us achievable and precious tools that we could use immediately in our daily work, relating to promotion and audience development. It was also important to be in charge of creating the national Creative Forum, in connection with the others.

Giuditta Mingucci, Teatro Elsinor (IT)

João Neca, Teatro O Bando (PT)

173 | EVALUATION

We attended and were hugely inspired by the workshops given by Collective Le Nomade Village. In the first Creative Forum the workshop was about green-screen in theatre, in the second it was a mixture of video, livestreaming, editing and dancing.

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175 | TIMELINE

176

DIGITAL CHALLENGES IN THEATRE FOR YOUNG AUDIENCES YEARBOOK 2017/2018

Kolibri Gyermek – és ifjúsági színház Budapest, Hungary Artistic Director: János Novák Jókai tér 10, HU-1061 Budapest www.kolibriszinhaz.hu

VAT Teater Tallinn, Estonia Artistic Director: Aare Toikka Uus 5, EE-10101 Tallinn www.vatteater.ee

Jihočeské divadlo České Budějovice, Czech Republic Director: Lukáš Průdek Doktora Stejskala 424/19, CZ-370 01 České Budějovice www.jihoceskedivadlo.cz

ACGD Théâtre Massalia Marseille, France Artistic Director: Emilie Robert Friche Belle de Mai, 41 rue Jobin, FR – 13331 Marseille cedex 03 www.theatremassalia.com

AS Regionteatret Møre og Romsdal Teatret Vårt Molde, Norway Artistic Director: Thomas Bjørnager Gørvellplassen 1, NO-6413 Molde www.teatretvart.no

Teatro O Bando Palmela, Portugal Artistic Director: João Brites Vale dos Barris, PT-2950-055 Palmela www.obando.pt

Universitetet i Agder Kristiansand, Norway Dean of the Faculty of Fine Arts: Marit Wegeland-Yates Gimlemoen 25, NO-4604 Kristiansand www.uia.no

Emergency Exit Arts London, United Kingdom Artistic Director: Deb Mullins Rothbury Hall, Azof Street, GB-London SE10 OEE www.eea.org.uk Elsinor Centro di produzione teatrale Milan, Florence, Forlí, Italy Artistic Director: Giuditta Mingucci Via Boltraffio 21, IT-2059 Milano www.elsinor.net

tjg. Theater Junge Generation Dresden, Germany Artistic Director: Felicitas Loewe Wettiner Platz, 01067 Dresden www.tjg-dresden.de

ADDRESSES

177 | ADDRESSES & ACKNOWLEDGEMENTS

Pilot Theatre Company York, United Kingdom Artistic Director: Esther Richardson c/o York Theatre Royal, St. Leonhard’s Place, York Y01 7HD www.pilot-theatre.com

178 Yearbook Season 2017/18

PLATFORM shift+ Digital challenges in theatre for young audiences Publisher Dirk Neldner Editor Odette Bereska Layout & Design www.wrappedagency.co.uk Printed by Druckhaus Köthen (Germany) | www.koethen.de English Corrections Sam Johnson Picture Index Marco Prill, Werbeplan (DE), Luca del Pia (IT), Archive pictures copyright André Forestier, Laurent Chappuis (FR), Karl Andre Photography, Hufton + Crow, Eve Bentley (GB), Siim Vahur, Gabriela Liivamägi (EE), Jon-Petter Thorsen-Aptum, Ingrid Anthonsen, Amund Hestsveen (NO), Elisa Braun (DE), Rolf- Inge Petersen (NO)

© PLATFORM Shift+ PLATFORM Shift+ Digital challenges in theatre for young audiences 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: Odette Bereska | odette@platformshift.eu Head Organisation: Pilot Theatre Company | York, United Kingdom Artistic Director: Esther Richardson | c/o York Theatre Royal, St. Leonhard’s Place, York Y01 7HD | www.pilot-theatre.com Office: Kalkseestrasse 7 A – D-12587 Berlin

www.platformshift.eu

DIGITAL CHALLENGES IN THEATRE FOR YOUNG AUDIENCES YEARBOOK 2017/2018

Pilot Theatre Company (York/Great Britain) South Bohemian Theatre (České Budějovice/Czech Republic) Elsinor Centro di Produzione Teatrale (Milan, Forlì, Florence/Italy) Emergency Exit Arts (London/Great Britain) Kolibri Theatre (Budapest/Hungary) Théâtre Massalia (Marseille/France) Teatro O Bando (Palmela/Portugal) tjg. Theater Junge Generation (Dresden/Germany) VAT Teater (Tallinn/Estonia) Teatret Vårt (Molde/Norway) University of Agder (Kristiansand/Norway) www.platformshift.eu