YOUTH PERFORMII{G ARTS IN AUSTRALIA

.i.:::tr :.|.tfuta:l :j a :!.1:l;-

.. :i. ' :a::1:.1

| i;:i' t&:''+# ':::!$i;.-,

t """''

: ::: . ,, .::: . , l:: .: ,

C WHO, HOW & WHY * LYON, SIBENIK, SADO ISLAND AND LgIUA CIIILDREN'S FESTIVALS g CFIITA'S T*{€ATRE FOR YOUNG PEOP!.E SPECIAI'C LU ES' SUPP LEMENT o P&ClFlC Dance in education companies EXC}IANGE PAPERS - a ADFLAIDE'87 Adelaide Festival and Fringe youth programs *sruGHEgs o Pedh and Sydney Festival reviews

REGISTERED BY AUSTRALIA POST PUBLICATION No. SBH 2433 ISBN O158-O99X fusociolion lnternotionole du Theotre pour l'Enfonce et lo Jeunesse lnternotionol fusociotion of Theotre for Children ond Young People It's importarrt, it's particular and it will be here in April L987

ASSITEJ is the acronym for the Association at the future of that organisation. Internationale du Theatre pour I'Enfance et la Its main objective is for the world-wide Jeunesse (or the International Association of promotion and development of professional Theatre for Children and Young People). theatre for young people. It was founded in 1965. It is a Category C of It currently numbers 43 member countries UNESCO (= acknowledged but no financial and is actively seking to extend this support). Its attempts to become a Category B (= membership. Two countries of particular acknowledged and financial support) are in interest to Australia which may become abeyance due to the withdrawl of the U.S.A. members in the next year or so are China and from UNESCO and the subsequent uncertainty India.

How does it operate? World; planning and finance the Executive Committee in * There is a 17 country/member including single projects that 1986 based on recommenda- Executive Committee including ASSITEJ may undertake. tions from Australia. (Attach- Australia, since 1981 * ment B). The Executive meets There is a secretariat currently * It is practice, but not obligatory, in different countries every year based in Paris which directs the to coincide the Congress with a to deal with general business, organisation. performance festival. It may be receive and discuss reports * national, international, a from member countries and to Initially every two years and combination of both, or not at pursue through commissions latterly every three years there all. Such a decision is entirely (working parties) themes and is a World Congress and up to the host country. The 1984 issues relevant to the moment. General Assembly. Any country Congress in Moscow was with Currently and up to the 1987 may bid for the Congress which an all-Russia Festival, the 1981 Congress the main theme under is decided by vote of the General Congress in Lyon was a discussion is "Towards the Assembly. All member combination of national and New Theatre" i.e. why and how countries attend the Congress international companies. The theatre for young people should to elect the Executive intention for 1987 is to have a deal with the current problems Committee for the next three limited number of perhaps five and needs of young people, the years, deal with particular international companies from competition and interest of business and discuss through our near neighbours whose other-than theatre activities, plenary and group sessions, work is relevant and cultural developments, and life themes of importance and contemporary and will enhance and living, including techno- significance. All dealings are and reinforce the distinctive, logy, in the late 20th century conducted in the three official different and seldom-seen by and beyond. languages of English, French the world work in Australia. Other issues under discus- and Russian. The 1984 sion include: Liaison with Congress was in Moscow. The countries in Asia (responsibility 1987 Congress will be in * In this connection any country of Japan), Africa (responsibility Adelaide and will discuss in any year may apply to of Portugal) and Latin America particulars of the "Towards the ASSITEJ for the designation (responsibility of Spain); New Theatre" theme. These ASSITEJ Theatres of the refinement of Theatres of the particulars will be decided by World. The Executive 35 Associotion lnternqtionole du Theotre pour l'Enfonce et lo Jeunesse lnternotionol Associotion of Theotre for Children ond Young People

Committee decides on this designation on the basis of the ASSITEI Theatres of the World intended festival offering at least 10 professional produc- Lyon, June L987 tions representing at least 3 continents and five different ASSITEJ has awarded the title perhaps playwrights), especially countries, seminars and 'Theatres of the World' to Lyon. from countries where it is difficult debates, national and interna- This is on the basis of the Festival to work e.g. Africa, and for them tional criticism, and with the program offering at least ten pro- to work with French companies in necessary financial, adminis- fessional productions representing the presentation of a piece. trative and managerial ability at least three continents and five o to support new playwrights to organise such a festival. The different countries. (three French, three other) in 1987 ASSITEJ Theatres of the At the Executive Committee staged readings of new work with World Festival will be in Lyon meeting in Sibenik in June, 1985, the possibility of publishing them. in June. Michel Dieuaide of the Lyon Fes- o to extend the number of national tival drew attention to their fol- and especially international critics Why Australia and lowing proposals for 1987: and journalists at the Festival. ASSITE ? o to increase the proportion of For further information contact: * It allows the opportunity for original and premiered produc- Australia to be involved in a tions. In 1985 three French com- Theatre des Jeunes Annees world-wide organisation panies presented new work. In 23 Rue de Bourgogne dealing with the development of 1987 three French companies and 69009 young people's theatre. t h ree ot her compan ies are Lyon proposed. France * It provides an outlet for o to invite foreign directors (and Tek (7) 86,4.14.24 Australia to promote itself, its product and its ideas. rtenabresAustrariatohavean ASSITEI NatiOffal il'llrru: Tg"!: T,ffflf"T ments. InformationLlIl-\-tI I and Reso'rce * It facilitates the breaking-down In the Youth Performing Arts In most countries ASSITEJ is of some of the disadvantages of Library at Carclew, as well as the best initial and official con- cultural isolation. the ASSITEJ offices, there is a tact. National representatives are volume of material from many very helpful and supportive. Why Australia and the ASSITEJ member countries. They can often open doors and 1987 Congress? make contact more speedily than These include magazines and most lines of * It is a significant distinction for periodicals, reports, notification other official communication. Australia to gain by vote the of festivals, special events and so Anyone doubt as the first-ever Congress in the on. There are also publicity folios in to Southern Hemisphere. from a number of individual standing and/or credibility of companies in countries. any international festival, com- different pany * It will allow the opportunity for or organisation should con- All this material is in the pro- tact Michael. the world to see our work first- cess of being catalogued. Once the ASSITEJ is concerned at the hand and engage in this is done, up-dated lists will and growing number of groups which Australian situation be circulated through I-owdown, experience. present themselves as of nationaV occasional mail-outs and other international standing, import- appropriate sources. It will also * allow Australians the ance and standard when this is It will be available on request. opportunity to meet and discuss not so. A quick check can easily with world colleagues. Any individual or group intend- be made. ing to travel overseas is advised It is Michael's intention to * It will re-inforce the opinion to contact Michael FitzGerald visit each major centre in held by many that our work is of well in advance of a proposed Australia during the first part of a world standard and has much trip. Michael has already made 1986 to meet with young peo- to offer to other countries. contact with a large number of ple's theatre groups, to discuss ASSITEJ representatives, as well the 1987 Congress and exchange * It will be both a focus and an as a host of directors, writers, information. These meetings will impetus of future importance to artists, dramaturgs, company be set up well in advance to the young people's theatre representatives and so on from allow for early notice and maxi- movement in Australia. many countries. mum particiation. 36 Associotion lnternotionole du Theotre pour l'Enfonce et lo Jeunesse lnternotionol Asociotion of Theotre for Children ond young people Speakers tell of Pacific conditions As a component of the first all Japan the- prese,nt social conditions and problems Performing Arts Festival for Young facing children in their countries of origin, and Audiences, held on Sado Island in August the current state of development and role of 1985, international delegates were invited to theatre for young people as it can contribute address a Symposium. to children's growth. The grridelines for these brief papers The following pages are edited from some required speakers to inform participhnts of of the papers presented: China heroes and heroines of the theatre ground you cannot expect any cul- have become models and examples tural activities to be shared by the An outline of the Chinese for them to follow. students. Children's Theatre, by Madam Three hundred million youngs- If you go to any school with the Luo Ying ters and children comprise one good intentions of showing a free Madam Luo Ying, Head of third of Chinese population. performance to students, the prin- Children's Art and Culture of the We, the workers of youngsters' cipal of the school would probably Ministry of Culture in China and children's culture and arts, say; "No thanks. No time for stu- headed the three-person delegation are now doing our best to help fos- dents to view the show. They are to Japan. She began her career as ter a wholly new young generation busy studying". an actor and director. China has with ideals, morals, culture and Theatrical diversion is literally begun to make contact with other discipline. a diversion from scholastic efforts. countries and it is hoped will In Korea most theatrical com- become a member of ASSITEJ in Korea panies do not have any chance for the near future. A Chinese delega- A better future for Korean getting grants either from the tion will probably come to the 1987 Theatres for Young Audien- Government or from private Congress. ces, by Woo Ok Kim business. o In the thirties of this century, Woo Ok Kim is a head teacher at Besides the tight financial situa- there were only a small number of the Seoul Institute of Arts and tions, there are other problems fac- ensembles performing specifically founding artistic director of the ing the youth theatre companies of for children. Dong-Rang Theatre for Young Korea. After the founding of the Peo- People. He worked for a number of We need more professional com- ple's Republic of China in 1949, the years in the U.S.A. (based in New panies, more professional actors, Party and the People's Govern- York) as an actor and director with' more theatres and original plays ment attached great importance to a number of renowned contempor- exclusively for the young and, the work for children. ary theatre groups. He is an execu- above all, a better educational sys- As a result, professional child- tive member of ASSITEJ Korea tem in which students feel free to ren's theatre ensembles, song and and headed its large delegation to be exposed to cultural activities. dance ensembles, puppet and Japan. His production of "Wander- However, amidst these problems, show-play ensembles have estab- ing Stars", has been enthusiasti- I am optimistic that improvement lished and developed rapidly with cally acclaimed throughout South is being made gradually for better State support. Korea. This play deals with prob- theatre activities for young There are now seventeen child- lems facing modern Korean youth. audiences in Korea. ren's ensembles in China. The o Thecurrent educationalsystem salaries, medical care and housing of Korea has caused several prob- Canada of the theatre workers, as well as lems in that society. The history and development the rehearsal places, expenses and Most critical problem amongst of young people's theatre, by properties and all other expendi- these is that all the energy of stu- Pierra Rouseau. ture are provided for by the central dents and their parents is directed Pierre Rousseau represented local governments. and toward the entrance to colleges ASSITEJ Canada. He is a freelance The children's shows play to a and universities. director in Quebec and in May,/ vast young audience, whom, The purpose of education is June 1985 was Artistic Director of backed by school teachers and par- focussed solely on how to get into the prestigious 16th Quebec Festi- ents, are organised into the theatre. college. Therefore all the other val of Youth Theatre, held in Through enjoying plays, child- activities of the students are to be Montreal at the same time as the ren are ideally and aesthetically discarded intentionally, though Theatre Festival of the Americas. moulded and educated. Some reluctantly. Against this back- o Over the last fifteen years a aa J/ Associotion lnternotionole du Theotre pour l'Enfonce et lo Jeunesse lnternqtionol Associotion of Theqtre for Children ond Young People theatre of research and creation, United States of The theatre for young audiences destined for audiences of children in the United States has developed and adolescents, has developed in America in both quantity and quality in the Canada and particularly in Quebec. Theatre for young audiences past ten years. Nevertheless, we in the U.S.A. today: Setting, are not content. New theatre companies have Status, Challenges Harold We know that many children been formed and are distinguished flr Oaks. - and adolescents have no opportun- from their predecessors in that Harold is ity to see live theatre, and many of they are principally or exclusively Dr Oaks Chairman of Department Theatre and the millions who do attend see devoted to children's theatre. the of Cinematic Arts at Brigham Young theatre of poor quality. Often these companies will play University, Provo, Utah, U.S.A. He New dramatic literature and directly to school audiences, both is also on the executive committee theatrical forms are required for to allow the largest possible of ASSITEJ U.S.A. Together with today's young audience. We recog- number of children access to thea- Jane Campbell, Managing Director nise the key role the theatre can tre, and also to compensate for the of the Honolulu Theatre for Youth, play in acquainting young people lack of halls available for child- he represented U.S.A. at the Sado with their cultural heritage. ren's theatre programming. Festival. We know we must seek and find o and young ways which theatre can The new children's theatre is a Theatre for children in the people positive honour the cultural heritage of our far cry from that which existed can make a contri- immigrant also give prior to 1970. bution to the world by choosing to children and maintain its artistic focus and ded- these new citizens access to their The majority of companies create ication to international goodwill. new culture. It is essential that new plays which are usually pro- More so, as it speaks with a clear excellent plays be written and pro- gressive and liberating in nature. voice to the needs and hopes of duced in ways which grasp and They are presented in innovative today's young audience. extend the minds and spirits of forms which allow a great deal of Three paths to the development children of the media age. room for the imagination of their of the theatre for young audiences young audiences. Indeed, several were laid out and cleared in the Japan plays are the result of a direct col- first quarter of the twentieth cen- What should we discuss now laboration with children them- tury. These paths can still be seen as playwrights for young selves, having been created in and continue to influence the field. audiences? Shin Shikata drama workshops. The first children's theatre path Shin Shikata- is the Vice Presi- The beginning of the 1970's was was cleared by the settlement dent of ASSITEJ Japan, as well as marked by the development of houses of our large cities in order a director and writer of Theatre touring networks within the scho- to provide wholesome entertain- Urinko in Nagoya. He was the key lastic environment. ment and learning experiences for speaker at the International Meet- immigrant children and their fam- ing of Playwrights for Young As teachers tended to favour ilies who would become citizens. Audiences on behalf of the Japan performances whose themes could The second direction which Council of Playwrights for Young be integrated within the children's developed was that of the educa- Audiences. This Council consists studies, several companies created tional theatre sponsored by college of professional dramatists both plays based on school subjects. and university theatre training theatre based and freelance. The result was that their works programs. o Almost ten years ago we had so were often rather didactic and The third route in our children's many stage versions of novels in could not really be considered out- theatre movement is the one children's theatre in Japan. Some side the scholastic context. ASSITEJruSA is currently pav- were good, but among them were It was perhaps inevitable that ing: the professional theatre which not a few productions which only this new theatre should have to go defines itself in artistic terms. followed the plot without any through such a primary stage, On November 6, 1905, the great dramatic excitement. It seemed since children's theatre had to Maude Adams made Peter Pan's that they simply dramatised become known and recognised in first flight on the Broadway stage famous novels to please school order to gain access to government of the Empire Theatre in New masters and teachers and so find a funding. York City. From that moment, market. many American theatre leaders Through these years we have Several companies sprang up in have known professional theatre been trying to find how we can the early 1970's, but many of them of the highest quality could and give dramatic excitement to our did not survive beyond mid-decade. should inspire the lives of our children, and now think of inde- Those that did survive, how- young people. pendence of drama from literature ever, are a significant group that, The professional theatre for as our common theme. from year to year, help create a young audiences has been slow to One of the features of children's national theatre for children com- develop in the USA for two prim- theatre in Japan is a long run of a posed of works whose character is ary reasons; it lacks money and repertory, usually for one year or universal. prestige. two. 38 Associotion lnternotionole du Theotre pour l'Enfonce et lo Jeunesse lnternotionol Associotion of lheotre for Children ond Young People

In such cases there will be two between performers and audien- special attention to theatre for conditions that keep performers ces, just as seen in our traditional young audiences with a specific always active; one is to select so plays and medieval European point of view on each stage of attractive a drama as to make per- theatre. children's growth. formers refreshed and encouraged For another instance we may We Japanese playwrights for at all times. The other is a good call it also a type of indirect control young audiences have had a com- relationship between a writer and to impose a miniature of adult mon big experience, directly or performers. drama on children's fresh and indirectly, that is World War II In Japan we have our plays per- unrigid minds. and its aftermath. formed mainly at school gymnasi- Some people insist that there Our common desire is, therefore, ums. Considering our audiences should be no distinction between to wage peace against war for are children who are almost free adult theatre and children's thea- children's future. From this point from established customs or rules, tre. Of course we know these two of view we have our task to deal we think it important to try to have common rules as theatre, but with the urgent threat of nuclear build an improvisational climate I dare say it necessary for us to pay weapons in the world. MORE ASSITEI I,OWDOWN: The Pacific Exchange

The Pacific Exchange of country. Michael FitzGerald has exchange of information and children's theatres was initiated taken this up with the especially ideas. Exchange would by the United States during the Bicentenary Authority. follow as a result of this. Louisiana World Theatre Hong Kong o there is a Children's Festival and Symposium at the Festival at Christmas/New Year It was felt there could be greater exchange of reports and New Orleans World Fair in 1984 every year . there will be a especially publications. this (see Lowdown Vol. 6 No. 4). Festival for the Handicapped, In The exchange was further young respect Lowdown received many including children and accolades quality developed in Japan during the people in April 1986. for its (including discussion of issues), Sado Island Festival in August United States o Hawaii will be last year. presenting new production the range and extent of articles a and its Australian profile. There Pacific country "Song for the Navigator" a tale of representatives from Australia, Micronesia in 1986 and wishes to It was also felt that, beyond Canada, China, Hong Kong, promote this production not only exchange or visits, countries in Japan, South Korea and the on "the mainland" (i.e. the United the region knew little or nothing U.S.A., plus observers, met to States) but throughout the region of such projects and often only exchange information on up- . ASSITEJ U.S.A. is in the after they were over. coming events and developments. process of compiling a directory Some interesting future events of "best plays" which will be The meeting agreed that much include: published in due course. greater value could be made by South Korea o an arts festival tapan o Stephen Long, an visiting companies including component of the 1988 Olympic American, is working on a 3 year other countries in overseas tours. Games celebrations. It is hoped exchange with and at the In summary, it was agreed: that young people's theatre will invitation of the renowned concentrate on publication -to get be a significant feature of this Himawai company. and report exchange to festival. Australia o the 9th ASSITEJ information and ideas flowing. inform each other of Canada . the 1988 Winter World Congress and General -to Olympics will include a program Assembly, 8th-16th April, 1987. overseas tours within the of young people's theatre. the This will coincide with the Come region. Vancouver Children's Festival Out Festival and, although there The Pacific Exchange will take will be from 2Lst-27th April in will be a small international place during the 1987 ASSITEJ 1986 and mid-May in 1987. The component drawn from Pacific World Congress in Adelaide. As 1987 Festival will feature countries in the Festival, it will be well as further information workshops conducted by national ' predominantly Australian. exchange, issues to be discussed and international directors o As well, the meeting discussed will include the extent and Canada would be pleased to ways and means of closer effectiveness of publication feature Australia in 1988, our collaboration between Pacific exchange and ways and means of Bicentenary year, both in countries. Everyone agreed there facilitating extended overseas Vancouver and across the needed to be much closer tours in the Pacific.o 39 Associotion lnternotionole du Theotre pour l'Enfonce et lo Jeunesse lnternotionol lssociotion of Theoire for Children ond Young People

gth ASSITRI World Congress and General Assembly Adelaide, Sth- 16th April, 1.987 This will coincide with the Come Out antagonists to come and see tor themselves. Festiual in that year. By 1987 South o the place of young people's theatre in a multi society. Australian schook will be working to a 4-term cultural Other topics for consideration include: dance- year. N.B. Friday 17th April, 1987 be will in-education and dance/drama, aboriginal Good Friday. theatre for young people, the changing role and Theme: Towards the New status of theatre-in-education, the role of community theatre (again in the Australian Theatre sense) in relation to young people. This is the overall theme adopted by the N.B. Anyone who has any ideas or suggestions Executive Committee at its meeting in Sibenik, for discussion topics at the Congress is asked to Yugoslavia in June 1985. It is in the context of send them in writing to Michael FitzGerald at ASSITEJ's recognition that, if theatre for young Carclew. These should be in keeping with the people is to have any significance, relevance or overall theme and related issues as set out above. value it must examine its style and themes in the Michael would like these by the end of March. light of past achievements and failures, current Venue needs, problems young and developments of The venue will be the Adelaide Convention people and young people's theatre and the prevailing Centre currently under construction. This will be social and cultural influences, the most up-to-date in Australia and will include including technology. modern interpretation facilities (English, French Under this theme the Executive will discuss and Russian are the official languages), congress new ways theatrical of creation, which is to and delegate facilities and a casino. It is include dramaturgy, at its meeting in understood the Centre will be completed by Scandinavia in May 1986. This will be followed November,/December 1986. by discussion on the role of the director in East Berlin in January 1987. Official Carriers It is up to Australia to present to the Executive o The official Australian airline will be Meeting in Scandinavia specifics for discussion ANSETT. at the 1987 Congress in keeping with the overall o The official international airline will be the theme, Towards the New Theatre. These Malaysian Airline System (MAS). specifics could include extension of the Registration Executive's discussions on theatrical creation anticipated and the director. From discussion and It is not that registration will be called for towards the end 1986. This observation during his overseas trips, as well as until of acknowledgement of developments within enables full time to detail plans of the Congress, Australia, Michael FitzGerald recommends accommodation, official and social ceremonies and the many aspects three topics under the theme: other of such an event. As the Congress coincide Come Out, details o the role of the playwright and especially the will with of young playwright. that Festival have to be set up including the proposed o youth theatre, including young people's international component. representation both in theatre activity and In due course Congress registration will be organisations affecting their future. It advertised nationally through the press and other relevant outlets. touches on youth culture and the role of young people in a nation's culture. Funding N.B. Michael reports that youth theatre in the The Congress has the full support of the South Australian sense (i.e. young people from Australian government which in 1985/86 has primary school age to under25 workingunder given a grant of $79,000 towards salaries and the guidance of experienced adult tutors, other costs. ASSITEJ is furthermore based at directors and writers in performances and Carclew and has access to all the resources this workshops) is either unknown, centre offers. The Congress, through Carclew, has misunderstood or rejected in a large number also received a grant of $25,CI0 from the Theatre of instances. Certainly the Australian Board of the Australia Council towards the salary movement is distinctive in style, standard of a program assistant. This position will soon be and "flavour" and Michael has urged advertised nationally.

40 lssociotion lnternotionole du Theoire pour l'Enfonce et lo Jeunese lnternotionol Associotion of Theoke for Children ond Young People ASSITEI Australia to the world As director of ASSITEJ Australia and the 9th In all cases, the host countries provided hotel ASSITEJ World Congress and General accommodation, meals and internal costs. My Assembly it is both necessary and essential that I own budget ($79,000) generously provided by the should become acquainted with as many South Australian government allowed for national centres, international members and international air fares, which were facilitated by companies and relevant government and official the Malaysian Airlines System (MAS), the departments as possible. official international air carrier for the Congress. In this way I can get an understanding of the Overall, I can report I am making considerable range and extent of work being undertaken; get headway in developing an Australian presence to know what is going on, the "flavour" of overseas as well as arousing much interest in the ASSITEJ itself and the shape of things to come; 1987 event. promote the Australian theatre for young people Edited versions of my reports to the South and, as the country's representative, give Australian Youth Performing Arts Council Australia a place in discussion and debate; and follow. stimulate interest in the 1987 Congress. The meetings, festivals and seminars I Michael FitzGerald, attended in Europe, the Far East and South Director, ASSITEI Australia, America during 1985 allowed me to achieve all of gth ASSITEI World Congress these to a marked degree. and General Assembly.

designed, funny and well-acted. LYON, June 7-L4 With great rapport from the actors, two "enemies" meet on the roof of In June, 7985, Michael trauelled to Lyon, Frante, to see a submerged house after some kind the renoutned RITEI Festival uthich is organised by the of war or devastation. Theatre des Jeunes Annees, and to obserae and. discrz"ss the Also notable was "Les Albatros", administration and mrnlrgement of the Festiual. a piece of street theatre by Teatro The 1985 Festiaal u)as designnted the first-eaer Tascabile from Bergamo in ltaly. 'ASSITEI Theatres of the World'. It consisted of fourteen Other productions ranged from a companies from eight countries across three continents; few good to mostly bad and seuenteen produetions (fiae French, hnelae from other indifferent. The standards countries); street theatre; international uideotheque; confirmed to me again that the an quality is exhibitions, discussions of our work in Australia and sentinars. at least on a par with what is The administration and Festival interesting work from Portugal. considered best overseas. In some Centre for RITEJ was housed in La Teatro o Bando of Lisbon aspects of design, themes and Condition des Soies (an old, presented two very fine theatre-in' scripts, energy and vigour, the modernisedbuilding,originallythe education pieces, hard-hitting, Australian "flavour" is generally Silk Trading Centre) which was with some excellent playing and better. provided at no cost by the City of strong, imaginative design. Lyon. One of the highlights at RITEJ Impressive organisation The theme of this Festival was was the production of "Pleurer The administration and "One Country, Two Images", pour Rire" (Cry to Laugh) by management of the RITEJ Festival reflecting the exchange programs Teatro Experimental of Casalus. was most impressive, including: that France is undertaking, This was a production for primary . day to day running of the particularly with Italy and schools reflecting the 'Me' and Festival involving notice boards; Portugal. Plans for 1987 include 'Myself' syndrome i.e. the a daily bulletin;- a computer and the extension of this exchange. conditioned and the real me. programmer; an information The overall standard of Particularly impressive was officer and publications, posters performance at the Festival was "Robinson O Crusoe" by Teatro and pamphlets booth. fair with some particularly dell'Angolo of Turin - very well o the break-down of the 4I Fssociotion lnternotionole du Theotre pour l'Enfonce et lo Jeunese lnternotionol Associotion of Theotre for Children ond Young People

management into artistic and in providing full typing, Some interesting facts and supervision / general management photocopying and other services to figures: / seminars, debates and workshops all participants. . the two-week Festival asdetailed ,/ special activities, exhibitions and o the regional and especially above cost four million French videotapes,/ and public relations national attention of the media, up Francs (approx. $A.658,979), each carefully defined under the- to Le Monde level. provided by: direction of efficient and effective Direct Grant, City of personnel. Not impressive: Lyon $A.247,rr7 o . poor Chairing of seminars and Direct Grant, National the friendliness and courtesy of not Govt. 82,373 day staff (RI'I'EJ Director, Maurice discussions which did encourage full debate and which Box Office rM,745 Yendt's daughter, Valery, and domination of a few City of Lyon support (cost of fellow University students). allowed the individuals. eight venues plus salaries of . the generosity of the Festival in o the quality of translators. During all front-of -house, back-stage facilitating attendance by some 79 the two sessions which I attended, staff and theatre out of 85 invited participants the English interpreter's stock manager) rM,745 (picking up the tab for phrase was "just a moment . accommodation, meals and tickets) it's gone".(!l) $A.658,979

The Executive Committee SIBEMK YUGOSLA\rIA, meeting enabled me to put faces and personalities to members with Jnne 2I-29 whom I shall be working over the ASf-I-lEf, next two years; to become involved The purpose of this aisit uas to attend the in the personal dynamics of the Exccutiue Committee meeting (Australia is an ASSITET organisation; and to contribute to Executiue member) and. to attend the httenty-fifth Yugoslav some surprisingly new and Festival of the Chil4 held in Sibenik. relevant developments. . comments and Festival and it Based on the Sibenik Festival venues were a week of a two-week opinions of others, my views of beautif ul, classical out-door square may have improved in the second. was Yugoslavia ASSITEJ were that it and an indoor theatre of quite However, ASSITEJ conservative and bY the Eurocentric, lovely proportions and tiered was itself embarassed ineffectual. they had tried, boxes. selection in which While some of these views still The Festival was popular, without success, to have some say. pertain, this meeting was heavily supported by the national To its credit the ASSITEJ impressive for the energetic and television (which insisted on wide- Executive took up the question of forceful direction of some appeal presentations) and was poor standards with the Festival progressive members. generally of poor standard. Committee and some telling The Executive was quite honest To be fair, I was there in the first remarks were passed. and open about its need to become relevant to the 'here and now' - to Assitej Erecutiue Committee, Sibenih, Yugoslattia, June, 7985. the needs, problems and developments of young people and young people's theatre in the late 20th century and beyond.

Of particular note: o the recommendation of the commission (working party) dealing with Themes. This states there should be one theme from Congress to Congress which should be discussed at each annual Executive Meeting and at the final Congress. The current theme is "Toward the New Theatre". The topic for discussion at the Executive meeting in Scandinavia May'86' will be "New ways of theatrical Associotion lnternotionole du Theotre pour l'Enfonce et lo Jeunesse lnternotionol Assrciotion of Theotre for Children ond Young People creation regarding the cultural o the enthusiastic reception to the Certainly, the 1987 Congress in evolution of young audiences". Australian progress report on the Australia will be critical to this At this meeting, Australia will 1987 Congress which underlines future development in its being present recommendations for the the wish of all members, both held outside Europe and in an area 1987 Congress. executive and otherwise, to come of great determination and new "The artistic approach of the to Australia despite the obstacles of forces: in assisting the organisa' director as the basis of highquality time, money and distance. tion to look outwards and forward; theatre will be discussed in East Scepticism allayed and in allowing Australia to show Berlin in'87. the world what we can do. (beyond the o I had gone to this meeting with a Furthermore the report of ASSITEJ Japan on fair degree of scepticism about plethora or thoughts and ideas I non-member in Asia. countries ASSITEJ, its future and the need have in my head, my copious and . the endorsement of the American for Australia to be involved. detailed notes and questions) I am recommendation that artistic While there are still problems, convinced that the 1987 Congress matters, both in principle and including personalities and power will be unique - an outstanding relating to any Festival blocks within the organisation, I theatrical event of the decade and coincidental to a meeting, should am convinced of the future of the of critical focus and future be discussed either through a organisation and the need for importance to the young people's commission or a full executive Australia to be involved in that theatre movement in Australia and meeting or both. direction. the world.

JAPAI{, August 1&3O Sado Island Festival The primary purpose of this aisit was to attend the 'First Festival for Young Audiences' The first-ever Sado Festival for All Japah Performing Arts Young Audiences consisted of Sea of on Sado Island in the JaPan. some fifty-six puppet and young Eqtnlly importnnt was to meet in Tokyo with ASSITEJ people's theatre companies from all pgople's Japan-fapan- and other organisations dealingd.ealing utith young over Japan. theatre and companies; to intsestigate the leael of work there The Festival program ran and to 'drum up' interest in the 1987 CongTess. simultaneous programs in the The trip was also an oQfuortunity to look at Farticulnr three major towns of the island. companiei that might be inuited to the Festiaal There were also major opening and accomfunying the Ninth Congress in Adelaide. closing ceremonies; an inter- national symposium (open to the public); a Pacific Basin information exchange; a playwrights' meeting; and two official receptions to attend. The Festival attracted thirty- five international delegates from twelve countries. More than thirty thousand of the island's total population of eighty thousand attended performances. Three hundred locals came to the International Symposium in Ryotsu. The administration was handled by ASSITEJ Japan in conjunction with a special committei set up for the purpose and the town-councils of those town involved. It must be pointed out that neither ASSITEJ Japan nor its members (nor any other company for that matter) receive any government subsidies. They all rely on their own foundations, private corporations or public support for their endeavours. Asociotion lnternotionole du Theotre pour l'Enfonce et lo Jeunesse lnternqiionol Asociotion of Theotre for Children ond Young People

ASSITEJ Japan. provided all They have, however, far greater Such is Mr. Sekiya's dedication accommodation, meals, internal physical skills than their to the young people's theatre costs and tickets to all delegates. Australian counterparts; including movement that he works with An of f icial program f or acrobatics, movement and mime, groups such as we saw at little or international delegates was also sense of space and dramatic no charge. organised by ASSITEJ. Neverthe- effects. less, the number of companies and Most impressive Tokvo the range of venues was quite companles: I me-t with representatives of bewildering. I saw two productions from ASSITEJJapan, the National Child It was certainly not easy, if not Himawari, "long, Long Time Ago" Welfare Association, the Japan impossible, to 'do one's own thing'. and later, in Tokyo, "Three Children's Theatre Association, Moreover, the Japanese character- Bewitched Princes" (three the Japan Foundation, Sou-Zebro istic of not wishing to offend by Brothers' Grimm stories). Oti-Ai (one of the most eminent expressing a forthright opinion The former is a sort of Aesop's- Japanese critics and journalists made it doubly difficult to find out fable,Japanese style. It consisted of specialising in young people's exactly what one should see. short, simple, humourous and theatre), Alison Broinowski However, by dint of a fair effective morality tales (some 12 or (Cultural Counsellor of the amount of both insistence and so in all), from which several are Australian Embassy) and various persistence, as well as follow-on in selected for a particular directors, producers and Tokyo, I am confident that I saw or performance. entrepreneurs. All discussed know about the best companies. Himawari use few or no props, developments in Japan as well as As a first-ever event, ASSITEJ have a wonderful sense of space young people's theatre in Japan is to be congratulated on the and stage, and use their bodies in Australia. organisation (which was co- amazing ways to create scenes, It would seem the general ordinated, communicated and theatre pictures, shapes and soon. consensus of opinion that the most impressive) and the considerable The Company has toured deservedly prominent companies artistic achievements. extensively in Europe and North inJapan are (in no particular order) Above all, the fact that the America. Although their Kazenoko, Himawari, Zenshu-Za'the (I Festival was for the community at productions are not new and, the saw them earlier in Lyon large, and not for delegates and two I saw, I felt were thematically Festival), Musabiza (a drama/ participants only, and that the questionable (especially "Bewitch- puppetry company) and Nakama public responded as it did is ed Princes"), the work of Himawari (whose production of "The Prince exemplary. is still very good theatre in the and the Pauper" I saw on Sado). The very healthy mixture of making. Japan: some cornments adults and children in the audience The Kazenoko theatre and conclusions: was a highlight. The plan of having company's production of "The I also saw videos of two youth the Festival at this distant-from- Treasure Pick" was sheer theatres (in the sense that they Tokyo location (rural, friendly and theatrical magic. No heavy theme, were companies performing to very Japanese; i.e. Japanese hotels, no immediate relevance to modern older students and young people) food, customs) is a definite plus. youth and a Korean folk story to which seemed to be of outstanding The overall standard of the work boot! works. I saw was very good. This ranged But the zest, exuberance, Seinen Gejiko (literally Youth from adaptations for and by theatrical skill, design, colour and Theatre) presented contemporary, children of classical Noh & Kabuki above all, joy of playing were relevant themes (anti-war, the (including a Living Treasure), overwhelming. It was good, old- problems of living in a heavy through Kodo, the sensual/sexual fashioned theatre music, industrial society, theJewish,/Arab and amazingly compelling Sado mystery and drama for the young issue), strongly performed and Island Drummers, to some very and I loved it. produced. fine young people's theatre - Again the production has been The other video was of Nakama. companies. All shows I saw were around for some time. It has toured Called "Mimo and the Thieves of for primary and lower secondary. extensively internationally and is Time", it was a surreal/Brechtian Japanese companies consist of unashamed escapist. But . . .!! piece dealing with modern large ensembles (average eighty) It should be noted that one of society's obsession not to waste broken into small playing groups. Japan's foremost directors, Yukio time. This work was based on a These groups work together for a Sekiya works with these novel by German writer, Michael long time and perform only one or companles. Ende. two pieces for a number of years. Yukio Sekiya is a man of distinct I regret not seeing live The ensembles have all the ability, theatrical skill, experience performances of these two groups. obvious strengths of such groups and expertise. We were fortunate To all appearances they were fine team work, rapport, to meet him in Tokyo where we companies of much significance tightness of playing, greater focus saw his workshop production for a and worth. and clarity of text etc. but with a group of young, amateur and'just Again, ASSITEJ Japan is to be certain detrimental predictability.- beginning' theatre artists. congratulated on the work it is 44 fusociotion lnternotionole du Theotre pour l'Enfonce et lo Jeunesse lnternotionql Asociotion of Theotre for Children ond Young People doing, on its first Festival and the writers would agree and that the Written papers were delivered example it is setting for other Adelaide Congress should meet by: Australia, Canada, China, East Pacific countries. this request. Germany, France, South Korea, It seems that a large delegation r The Pacific Exchange, first Romania and the United States. may come to Australia from Japan (Addresses were also given by: introduced in New Orleans in 1984, for the 1987 Congress. We must be Belgium, Ghana, Hong Kong and should be prepared to facilitate this to our continued in Japan Italy.) repeated in Adelaide in 1987. best ability. N.B. I have detailed notes . At the Japan meeting, and/or papers for: o The Pacific Exchange, Ryotu, playwrights requested their own Sado Island,23rd August, 1985. sessions at the 1987 Congress to o The International symposium, continue discussion of particular Ryotsu, Sado Island,2lst August, o The Playwrights' Meeting, issues. I think that Australian 1985. Niigata, Japan, 24th August, 1985.

play for young people. SEOUL, KOREA, The result is "Wandering Stars", a play dealing with seven August 3l-September 3 young people locked-up overnight in a Seoul prison. About ninety minutes long, "Wandering Stars" was simply and effectively directed. It combined good dance/movement Sequences and a five-piece pop band. Each character presents some of the problems facing Korean youth today the pressure to pass college -exams (which in Korea is paramount and untenable); T.V. addiction; parental neglect; leaving school early to work in support of the family; early sexual experience and so on. The eighteen actors included two of Korea's most respected senior artists and some fine character actors, through to recent graduates from the Institute. I was given an English synopsis performed A scene from The Wandering Stars, by the Dong-Rang of the text and, while I don't speak Theatre Young People Seoul, Korea. for - Korean,I sensed from the rhythms performance response ASSITEJ Korea had a delegation amateur or prolam. of and that play of seven at the Sado Island Festival The National Theatre of Korea is the was well written with sensitivity, good dramatic- peaks in Japan. This group included a mainly concerned with old- director, playwright, critic, leading fashioned musicals and pot-boilers. and lows and above all with actor, two choreographers and the The repertoire of most others veers humour and hope. Vice-President of the Association. from (potted) classics, to Neil Certainly the audience laughed a They also sent the seven member Simon and Pinnochio. lot - and cried - and there are one Korean Puppet Theatre Sonan- However, "Wandering Stars", or two scenes of astonishing effect! gdang to perform. by the Dong-Rang Theatre for Korea some comments The Korean delegation was keen Young People, was exceptional. and observations- for me to go to their country to meet The director, Woo Ok Kim has Generally, Korea now realises with ASSITEJ there; to get some received extensive training as an that in cultural exchange it is being idea of theatre at large; and actor and director with the best of squeezed out by Japan and China. especially to see a performance of alternative/contemporary com- Trade has been the main concern. the much-acclaimed production, panies in New York. Strenuous efforts are now being "Wandering Stars". Mr Woo lectures at the Seoul made to redress this both by Apart from classical theatre and Institute of the Arts (a drama government and private corpora- dance companies, there are only training institution) and tions. The Australian Embassy in two professional theatre persuaded a highly successful T.V. Seoul confirms this and wishes to companies in Korea, the rest being writer, Yoon Dae-Sang, to write a support the change. 45 lssociotion lnternotionole du Theotre pour l'Enfonce ei lo Jeunese lnternotionql Associqiion of Theotre for Children ond Young People

as one of the best. Interest, energy CHINA, September 4 -L2 and vitality are palpable every- where. Chinese young people's theatre is in a curious state of flux. It is like a Sleeping Beauty, who has woken after the Cultural Revolution but in the style of time she went to sleep. It seems to be in some time warp of the fifties a cross between stylised, melodramatic- classicism and something vaguely Russian/ Stanislavski. To my Western eyes, plays are over-long, over-written and predictable. They are didactic and out of kilter with young audiences and, often in the same produc- tion,- at odds with themselves both in theme and especially in style. Theatre companies are large, Members of the Liaoning Children's Theatre, after a peformance of The averaging 120, broken into smaller Ginseng Babies. groups. They are top-heavy with older members. China had a three-person members (even when I had tocatch While graduates from the delegation in Japan, including the night train for the next round!). country's training institutions Madame Luo Ying, Head of A rich feast of companies, casts, may request placement in a Children's Art and Culture in the cadres, communiques, conversa- particular company they are more Ministry of Culture. tions, communication, ceremonies often than not all placed in one With much assistance from - and all Chinese! company and there they stay, Madame Luo and Carrillo Gantner China is in an incredible state of institutionalised.- (Cultural the seems Counsellor at flux. Consumerism As in the companies are Embassy, Beijing) an rampant toys, cosmetics, Japan, Australian with more versatile than Australians in provocative, stimula- clothing material, clothes, and exhilarating, physical skills, dexterity and in foods and drinks of all kind heavily ting and exhausting eight days company "corps". However there China was enabled. in demand. Savings go towards the is sameness practically all I program included perfor- expensive washing a in My tantilisingly saw that is boring and dull. mances in Beijing, then in Harbin, machine, refrigerator, colour TV the Changchun and Shenyang in the and video. A recent directive from North-East (the old province of While the authorities are trying Ministry has asked all companies Manchuria) and then to Tsingdao to control foreign influences, they to rationalise their operations with in Shandung province, the sister cannot stop the flood of film and a view to reducing members and province of South Australia. video (including porn), magazines, allowing young and especially place. Most travel was by rail journeys records fashion and style creative artists to have their of amaztng distance and ex- (including punk) that is sweeping Again as in Japan, company periences (my final journey from the country. members can perform the same Tsingdao to Beijing was fourteen In a country of one billion people, piece for a number of years, hours). two thirds (660,000,000) are under although there is now a practice of My one plane journey from thirty-five and one third of those moving company members within Shenyang toTsingtao, should have are under twenty-one years old. the ensemble - especially younger taken two and a half hours but took Modernisation is the name of the members. seven 'due to bad weather'- the game. It would also seem that I sensed a restlessness and one and only reason given for what China is running harder to meet frustration in young company I gather is the usual such delay on the modern world than the modern members - and most certainly an any internal plane journey. world is fighting to get in. avid interest in the Australian I saw ten productions (some of Certainly McDonalds, Coca Cola system of open auditions and free them for me alone), had endless and take-away Chinese are there, choice; of director and actor; of official meetings (both government but so are modern technology and offer and acceptance or rejection; of and company) and attended never- modern influences. an actor's possibility to develop ending pre-theatre banquets with The Chinese are avid both to and play different roles etc. officials and post-theatre supper consume all this and to assume The plays I saw included some parties with officials and cast their place in the late 20th Century creditable attempts to make 46 Associotion lnternotionole du Theotre pour l'Enfonce et lo Jeunese lnternotionol Asociotion of Theotre for Children ond Young People

Discussing the deoelopments in children's theatre in China, Michael with the Quingdoa Drama Michael FitzGerald and the directnr Lianoning Child.ren's Theatre. Troup, Shandung Prooince.

Peking Opera more accessible to younger playwright after much new play by early next year. This young- peoble. research with students and company had more 'get and go' Th-ia was achieved by teachers on the problems and than most others I experienced. concentrating on the visual and pressures of today's students. physical, by substantially reducing While still two hours long, over- China: some cornments the running time to forty to fifty written, with unnecessary and observations minutes uia Uy providing slidi characters and predictable themes, o The keen interest in modern projections in modern Chinese of it was well directed (another trends and developments, a desire iheclassically sung arias. 'younger' member) and with, a to know and learn, the over- In my opiriion these were more stillness of playing that was the whelming interest in Australian successfulthanstylisedversionsof closest to naturalism that I theatre for young people and morality stories based on folk and encountered in China. especially our plays and fairy taies. The latter were mainly "Petrel" had a static set and playwrights - all underline one-dimensional, unreal and some very fine characterisation by China's wish to update her theatre always in the same vein. the young actors playing the lead.s. both in style and theme. I hlso saw plays presenting However, while senior male o From what I saw, it would be contemporary issues, all (with one students were played by young untimely to invite Chinese exception) in common style and male actors this was contradicted companies to perform in Australia theme. They were of two hours still by a young middle-school boy (unless with classical theatre or duration, melodramatic and naive being played by a female actor! workshop/demonstrations for (good is good, bad is bad and there The themes of the play - specialist theatre groups). are no shades of grey) predictable, competition, success and failure, At the moment they would most uniformly and- unexcitingly diligence, parental "back door" likely arouse boredom or laughter, presented. influence - werg pertinent and or both, in our mass media oriented An extraordinary feature of all relevant. It certainly caught the young audiences. but the classical plays was the attention and interest of the young A more helpful and useful way playing of young boys by middle- audience' would be individual or group aged lemale attors exchange te.g. director, writer, always suggested pantomime to supper discussion of the designer, actors) both to China and me and was wildly at odds with predominantly young company from China. attempts at naturalism in other after the play. We had a most In the case of visits from China it characters. constructive conversation and would be best to nominate actual However in Qingdao I saw one they agreed with a number of artists or kind of artists to suit play, "Take Your Wing, Petrel" criticisms. needs and conditions here, e.g. the ("Fly Away, Petrel"), which The playwright is working on younger creators. indicated a trend that could well be another theme of teachers' In this respect South Austraiia the way forward. problems and attitudes in could lead the way by exchange The play was written for upper conj unction with teachers with the Qingdao Theatre secondary school students by a themselves and hopes to have a Company of Shandung Province. 47 Associotion lnternotionole du Theotre pour l'Enfonce et lo Jeunesse lnternotionol Associotion of lheotre for Children ond Young People

the Pacific and especially Asia will HONG KONG, be a major force of world influence by the end of this century. September 1&16 It is appropriate that Australia should take its place in this area and I feel we can offer a great deal. To this end the Pacific Exchange should continue to be encouraged. While I saw a lot of good theatre, nothing was startlingly new or different. Again in many areas (youth theatre, young playwrights, standard and quality of scripts) we more than hold our own. One of the greater areas of interest is in plays, playwrighting and playwrights. Exchange should be encouraged in this. Whenever companies or groups travel overseas, playwrights should be included as part of the production. From the Australian side, I have ascertained keen interest in our work and I was able to heighten the Hong Kong's Chung Ying Theatre image of young people's theatre in Company at the 7985 Come Out Festiual. Australia, and of Australia itself. It is important to share the This was mainly a stop-over on the need for closer communication knowledge that I have obtained my return. I renewed contact with and exchange within the Pacific and that ASSITEJ .Australia the Chung Ying Company and countries as well as getting more becomes the link between watched a movement rehearsal of mileage out- of touring companies Australia and international "City of Cats", a modern classic by by building up a circuit. activity and development. Lao She. I had hoped to visit Vietnam but, To this end, I propose: "City of Cats" is Chung Ying's despite heavy representation on all o to utilise "Lowdown". production for the season of sides (including the Vietnamese . to issue frequent up-dated contemporary Chinese theatre to themselves, our Ambassador reports and communiques through be held at the Hong Kong Arts there, our own Embassies in Tokyo the network I have already Centre. and Beijing and my well-received established with the first mail-out. I also met with Nicholas James visit to the Vietnamese Embassy in o to continue to use media outlets. (General Manager) and Bernadette Canberra) the authorities only o to make regular but informal Tsui (Project Officer, also at Sado) gave permission two days after I contact, including occasional of the Hong Kong Arts Centre. returned to Australia. Now they visits, with companies and Hong Kong would like to join are almost insisting I go! individuals in each state and ASSITEJ but before they apply territory so as to let them know would like some indication of how Overall comments and what is happening and to allow this might be received, given conclusions their input. China's intention to join also. The creative energy, vitality, . to continue to consult with We discussed the issue (raised and potential of the countries I individuals of specialist and also in Japan, Korea and China) of visited is electrifying. Undoubtedly relevant interests.

The Lima Festival included L[IVIA, visiting international theatre companies from ten countries: 25th October4th November Spain, Sweden, France, Argentina, October, attend the Switzerland, Dominica, Columbia, In Michael uisited Lima, Peru, to Cuba, Canada and the United First Intertntional Festioal of Theatre for Children and States. Young People . It utas the first suth gathering eaer, not just in Italy and the Soviet Union Peru, but in all Latin America. Michael utas the guest of cancelled their groups at a late ASSITEJ Peru which prouided hotelaccommodation, mealq hour. and internal transport costs for the eight days of the Festiaal. There were also ten performing 48 Associotion lnternoiionole du lheotre pour l'Enfonce et lo Jeunesse lnternotionol Associoiion of Theotre for Children ond Young People

The opening procession of the First International Festiual of theatre for children and young feofle Lima, Peru. - groups from Peru and a variety of in democracy, in organisation, in poor translation, lack of care in observers from countries including business, in science, in rigid presentation of papers, and an Australia, Russia, Poland, the moral values. On the other hand, inability of most speakers to do United States and Canada. Latin America has something to other than ego-trips of "me and From rehearsals, it became contribute to an industrialised mine" in theatre. evident that El Teatro Popular and mechanistic world Exceptions were from Russia Latino Americano (a group of ex- concerning the value of the and Dominica because of patriots living in Sweden) would be individual, the place of careful, objective and honest the highlight of the Festival. friendship, the use of leisure, the presentations and one group Unfortunately, during the dress art of conversation, the from Argentina- (Galera Encan- rehearsal, a couple of them fell into attractions of the intellectual life, tada) who provided practical the orchestra pit while dancingand the equality of races, the demonstrations and workshops. the show was cancelled. (You see juridicial basis of international This was just what was needed in Footsbarn! It doan't only hapfon in life, the place of suffering and the local situation. Rockhampton. Ed.) contemplation, the value of the With some notable exceptions, impractical, the importance of the Festival program ranged from An apologia people over things and rules". amateur singing and dancing (on I cannot, in all honesty, say that I In organisation the Festival left simple folklore, animals and birds found my time in Peru to be much to be desired. There was themes etc.), to some second-rate "satisfying" or "rewarding" in the little or no official communication, companies and individuals from Western European/Australian no clear program set out and what abroad who somehow seem to sense. program there was got constantly "con" people into accepting them This is in all probability my changed, without notice. There in international festivals. As far as limitation not that of the people of seemed little or no focus of theme. I could gather, a few of these were Latin America (and particularly delays in totally unknown to representative Peru) met Never-ending ASSITEJ Centres. whom I and spent time transport, performing and other in discussion with. simply have It is imperative that all national I schedules resulted in many people, too much of the boring Anglo- non-Spanish centres of ASSITEJ take a stand on especially the this matter, not only for the sake of Saxon conditioning of time, speakers, organising their own precision and efficiency not to find their own credibility but to stop the time-tables. a great deal irksome. spate of sub-standard work that ' I would, however, emphatically Festival performances took place should never be allowed as agree with George Pendle in his in the afternoons and evenings in professional theatre let alone book "A History of Latin America" three different theatres. performed for young people! (Pelican Original, 1971): The mornings were given over to The exceptions to a generally "The world will hardly look to workshop discussions of poor standard of performance were the Latin Americas for leadership interminable tedium; mostly due to rare but worthy. 49 Associqtion lnternotionole du Theqtre pour l'Enfonce et lo Jeunese lnternotionolAsociotion of Theotre forChildren ond Young People

From Spain, La Pajarita dePapel theatre instead of a small intimate Despite my reservations, the trip presented "Parsifal" which was space. was most valuable for several professional and highly theatrical reasons: production. Observations and in its Strong visuals o the promotion of Australia, our puppetry. comments including some excellent theatre for young people and the In a fine example of theatre-in- The overall standard of work in 1987 Adelaide Congress etc. education, the California Theatre Latin America seems to have a long Apparently my interview on Radio Centre performed "The Most way to go. This was confirmed in Super FM was a highlight of the Valuable Player". discussions with Natalia Kovaleva, media coverage of the Lima Dealing with the first black Consultant and Spanish-speaking Festival, soliciting widespread expert of ASSITEJ, U.S.S.R. interest and inquiry. baseball player to break the colour years barrier U.S.A. was Natalia has fifteen in it contact . the continuation and develop- competently professional, included experience and close with Latin-American countries, ment of contacts with companies good use of back-projection and most excepting Brazil. and individuals. I have established sound, nice ensemble playing and However, the Lima Festival was some excellent world-wide some lovely theatrical moments of relationships on behalf of tension (the a beginning and Australia had a both and stillness presence Future plans Australia. latter a quality not preferred by in this. include a national seminar in Peru . now "know" from personal most Latin-American companies). I in 1986 and a 2nd International experience the state of play From Argentina, La Galera Festival in 1987. (literally) in Peru and to some Encantada's one-man show "I Undoubtedly the presence of extent other Latin American Won't Play Like That Any More" international participants and countries regarding developments dealt with various conflicts and delegates did much to enhance the in young people's theatre. facing young people. It was young people's theatre movement I took the opportunity whilst in delightful, fanciful, with strong both in Peru and throughout the Lima to meet with Mario Vargas issues and very well performed and continent. Llosa, one of Peru's most presented. It is through such "indirect" distinguished writers. Of A Cuban group, Teatro National support that much can be done to international r€oowfl; urbane, de Guinol also presented work advance a principle aim of passionate and informed, he will be which was simple, ingenious, ASSITEJ's the professional a guest of the 1986 Adelaide appealing and reasonably development of young people's Festival Writer's Week which will presented - albeit in a large theatre. include visits to schools.

commercial and professional Honolulu, 8th-13th November sectors. The company has fifteen full- Returning from Peru, it was too makes it one of the largest U.S. time staff members, including good an opportunity not to stop- grant recipients). three technicians, theatre over in Honolulu to renew contacts The company has considerable craftspersons, office staff and one made first in Japan. support from the State of Hawaii artist - the artistic director. All I met with Jane Campbell, (over $100,000) and also received a other artists, including actors and managing director of the Honolulu $40,000 special artistic project designers, are contracted for a Theatre for Youth, artistic director grant from the N.E.A. in 1984 (one show at a time. John Kauffman, playwright of the seven only awarded). Honolulu Theatre for Youth was Michael Cowell, consultant This grant is to research and founded in 1955. Each year it Charlotte Rath and members of the develop a show dealing with the presents approximately three company. amazing ancient navigators of hundred performances of between I was also fortunate to meet Micronesia who criss-crossed five to nine productions for up to Gayle Cornelison, general director the Pacific using- only the stars to 140,000 people. Virtually every of the Californian Theatre Centre guide them to pinpricks in the public school in the State has (seen in Peru). He was in Hawaii as ocean. . and returned! students attending at least one his script of "Cinderella" was in The first draft had been written H.T.Y. play each year. dress rehearsal as Honolulu (I have a copy) and the play went The overall management of the Theatre for Youth's final into rehearsal in early December company is undertaken by Jane production for 1985. for a 9th January opening. Campbell. She has held this This Hawaiian group is Honolulu Theatre for Youth has position for many years and is classified as a community theatre a 25-member trustee board, a knowledgeable, expert and (in American terms). They receive number of whom remain as experienced, and of considerable some $20,000 from the National founding trustees. It includes influence in company matters. Endowment for the Arts (which eminent people from business, John Kauffman is now in his 50 fusociotion lnternotionole du Theoke pour l'Enfonce et lo Jeunesse lnternotionol Asociotion of lheotre for Children ond Young People fourth year as artistic director. A exchange with the "mainland"; C-onclusion graduate of the Professional and the fantastic potential to have This trip certainly extended mY Actor's Training Program at the a well-supported, indigenous, as knowledge of and contact in the University of Washington, he has well as truly multicultural theatre Pacific, an area ofgreat importance worked nationwide as both actor company. to both ASSITEJ and Australia.It and director. I saw two performances of has strengthened my opinions: John has been an associate "Cinderella", a preview opening o that the Pacific basin is a vital director for the American for a selected audience and a area of future development for Conservatory Theatre in San school's performance. ASSITEJ. Francisco and the Empty Space Cornelison's one hour o that the Pacific countriesshould Theatre in Seattle. A veteran of adaptation is witty, in restoration undertake more exchange with film and television, he won an style and with relevant and each other. Most, if not all, areavid Emmy Award in 1972 for his one- contemporary themes of appeal to to do so - it just needs to get the man show, The Indian Experience. both young and adult audiences. ball rolling. Honolulu Theatre for Youth Unf ortunately, the mainly o that Australia has a good certainly reaches its community inexperienced cast could find reputation and international and has wide-spread community neither the style nor the wit. What regard, particularly in our field. support. I was concerned at the should have been a sharp, well- o N.B. I cannot stress too heavilY lack of an ensemble, even a small controlled and amusing perfor- the importance of Lowdown in all core group, but I was told that this mance became broad pantomine. my travels abroad. It is widelY could change by next year. The direction and production, distributed, enthusiasticallY Gayle Cornelison and I spoke of including sets, lighting and effects, received and thoroughly read from this, as well as the rich untapped were crisp and defined - but cover to cover. I spend a deal of time source of material in Hawaii and overall we had the form without discussing the various issues and the Pacific; the possibility of the substance. their content. NATIONAL CENTRES

ALGERIA SOFIA, Subsecretaria de Cultura, Mr Ghouti Azri, BULGARIA. Casilla 65 C - Sucursal 15, ASSITEI Algeria, Telephone 879041 QUITO, ECUADOR. Regional Theatre of Oran, CANADA FINIITND Place du ler Novembre 1954, Mr Peter J. Callagher, Ms Nena Stenius, ORAN, ASSITEI Canada, ASSITEI Finland, ALGERIA. Case Postale 190, Yrjonkatu ll E 10, ARGENTINA Succursale "E", OOT2O HELSINKI 12, Ms Maria Teresa Corral, MONTREAL, Telephone (90) 60 7238 ASSITEJ Argentina, QUEBEC H2T 347, FRANCE Alsina 1762 - Capital (1088), CANADA, Ms Rose Marie Moudoues, BUENOS AIRES, CUBA ASSITEJ France, ARGENTINA. Mr Eddy Socorro, 98, Boulevard Kellermann, AUSTRALIA ASSITEJ Cuba, 75013 PARIS, FRANCE. Mr Michael FitzGerald, Avenida Kohly N. 151, Telephone (1) 45884655 ASSITEJ Australia, Esquina a 32, GERMANY (EAST) Carclew Youth Performing Arts Centre, Nuevo Vedado, Dr Ilse Rodenberg, 11 Jeffcott Street, HAVANA, ASSITEI East Germany, NORTH ADELAIDE. S.A. 5006, CUBA. Am Stadtpark 2/3, AUSTRALIA. Telephone 326262 I156 BERLIN, Telephone (08) 2675111 CZECHOSLOVAKIA LICHTENBERG, BEI,GIUM Ms Milada Kaderabkova. EAST GERMANY. Ms Dominique De Ryck, ASSITEI Czechoslovakia, Telephone: 559 6316 ASSITEI Belsium, Divadelni Ustav, GERMANY (WEST) 321, Avenue De La Couronne, Celetna 17, Ms Hildegard Bergfeld, 1050 Brussels,. ]TOO1 PRAGUE 1, ASSITEJ West Germany, BELGIUM. CZECHOSLOVAKIA. Sektion Bundesrepublik Deutschland Telephone (02) 648 3458 Telephone 231 3595 Geschaftsstelle, BR-AjZIL DENMARK Steinmetzstrasse ll, Mr Clovis Garcia, Ms Biba Schwoon, 4IOO ESSEN 1, ASSITEI Brazil, ASSITEJ Denmark, WEST GERMANY. Rua Dos Miranhas,333, C/- Teatercentrum, GREAT BRITAIN 05434 SAO PAULO, Frederiksborggade 20, 3, Mr Nicholas Barter, BRAZIL. DK. 1360, COPENHAGEN, ASSITEJ Great Britain, BULGARIA DENMARK. Unicorn Theatre, Mr Victor Gueorghiev, ECUADOR Great Newport Street, ASSITEI Bulgaria, Mr Franklin Rodriguez, LONDON W.C.2, Dondoukov, ASSITEI Ecuador, Telephone (01) 3793280 36, Boulevard coNTrNUEr_) 51 Associotion lnternotionole du Theoke pour l'Enfonce et lo Jeunesse lnternotionol Associotion of lheotre for Children ond Young People

GREECE MEXICO SPAIN Ms Xenia Calqgeroroulos, Ms Socorro Merlin, Ms Maria Navarro, ASSI'l'EJ Greece, ASSITEJ Mexico, ASSITEJ Spain, 25, Rue Voukourestiou, Chihuahua 216 Esq. Monteney, Avenida Baviera 14, ATHENS 134, Col. Roma - Del. Cuauhtemoc Parque de las Avenidas, GREECE. c.P. 067000. MADRID 28, MEXICO D.F., SPAIN. HUNGARY MEXICO. SRI LANKA Ms Judit Nyilassy, ASSIl'EJ Hungary, NETHERLANDS Ms Somalatha Subashinghe, Ms Els Mazure, ASSITEJ Lanka, Radnoti Miklos Szinpad, Sri ASSITDJ Netherlands, Playhouse for Youth, Nepkoziarsasag Utja 31, Children and Wikor Ina Westerveen, Sri 1061 BUDAPEST VI, C/O Jayawardana Pura Mawatha, HUNGARY. Herrengracht 8, BATTARAMULLA, IO15 BK AMSTERDAM, SRI LANKA. IRAN THE NETHERLANDS. SWEDEN Mr Ardavam Mofid. NORWAY Mr Harrie Marten, ASSITEJ Iran, Ms Marit Jerstad, ASSITEJ Sweden, Theatre Centre, ASSITEJ Norway, Sv. Foren. for Barn O. Undg.-Teater, Takhte'l'avous Avenue, Dybwadsgt 4, Rasundavagen 150, ll1 .lam Stret, 0367 oSLO 3, 17I 30 SOLNA, 'I'EHERAN, NORWAY. SWEDEN. IRAN. PARAGT]AY Telephone (08) 82 3616 IRAQ Ms Edda de Los Rios, SWITZERLAND Ms Amal El-Sherqi, ASSITEI Paraguay, ASSITEJ Switzerland, ASSII'EJ Iraq, Casilla de Correos 223, C,z- Ms Esther Mischler, P.O. Box 14176, ASUNCION, Case Postale 77, BAGHDAD, PARAGUAY. cH - 3000, IRAQ. PERU BERNE 25, Ms Myriam Reategui, SWITZERLAND. ISRAEL ASSITEJ Peru, TIIRKEY Ms Orna Porat, Nosotros, Prof. Dr. Sevda Sener, ASSITEJ Israel, Centro Cultural, ASSITEJ Turkey, 'I-heatre for Children and Youth, Jr Corronel Zegarra 426 Goreme Sokak 7/9. 1, ZVI Brook Street, LIMA 1T, Kavaklidere, TEL AVIV 63423, PERU. ANKANA. ISRAEI,. POLAND TURKEY. ITALY Ms Krystyna Kostaszuk, u.s.A. Secretariat General, ASSITEJ Poland, Dr Ann Shaw. ASSITEJ Italy, Tear Ochotv, ASSITEI U.S.A. Inc., Via r. Teodolina 9, Reja 9, 42 Riverside Drive, 26100 CREMONA, 02-123 WARSAW, NEW YORK,/N,Y. 1024, ITALY. POLAND. Telephone (272\ 87 4 6439 Telephone 25 5294 Ir.s.s.R. JAPAN PORTUGAL Mr Kasuto Kurihara, Ms Natalia Satz, Mr Caldas, ASSITEJ Jose ASSITEJ U.S.S.R., Japan, ASSITEJ Portusal, 7F. Toho Building, 1612, Rue Gorki Uto, Rue Costa Cabral,242, MOSCOW 9, - 6-19-3 Jingumae Shibuya-ku, 4200 PORTO, U.S.S.R. TOKYO 150, - PORTUGAL. Telephone 2293574 JAPAN. Telephone 49 3958 Telephone (03) 4860035 VENEZUELA RUMANIA Mr Eduardo Moreno, KOREA Mr Ion Lucian, ASSITEJ Venezuela, Mr Eui'Kyung Kim, ASSITEJ Rumania, Instituto Internacional de Teatro, ASSITEJ Korea, P.T.T.R. 22 C.P.22.61, Apartado de Correos 913, 64-l Hyehwa-dong Chongno Ku, TIIOO BUCHAREST,- VALENCIA, SEOUL 110, RUMANIA. VENEZUELA, KOREA. Telephone (90) 506877 VIETNAM Ms Ha Nhan, ASSITEI Vietnarn, Theatre Tuoi Tre, HANOI, VIETNAM. YUGOSLAVIA Ms Svjezdana Ladika, ASSITEJ Yugoslavia, Dukljaninova l/IV, 41OOO ZAGREB, YUGOSLAVIA. URUGUAY Ms Espana Andrade, ASSITEJ Uruguay, Adolfo Lapuente 2360, CARRASCO, MONTEVIDEO, URT]GIJAY.