DOCSLIB.ORG

WELCOME to The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WELCOME to The WELCOME TO The INTERNATIONAL THEATRE FOR YOUNG AUDIENCES RESEARCH NETWORK’S (ITYARN) CONFERENCE AND ASSITEJ FOCUS DAYS Cradle of Creativity: Examining intercultural exchange and diversity in theatre for young audiences As part of the 19th ASSITEJ World Congress and International Theatre Festival for Children and Young People Cradle of Creativity: Examining intercultural exchange and diversity in theatre for young audiences, 16 – 27 May, 2017, Cape Town 1 ASSITEJ.indb 1 2017/04/28 10:21:10 AM Cradle of Creativity: Examining intercultural exchange and diversity in theatre for young audiences The title of the 19th ASSITEJ World Congress and Performing Arts Festival is the ‘Cradle of Creativity’, based in Africa for the first time in ASSITEJ history. Welcoming everyone back to their autochthonous home, the Cradle of Creativity will profile Africa’s theatre for children and youth, alongside performances from other continents. ASSITEJ was first created because of a desire for intercul- dignity, respect and self-worth among young people. tural collaboration during the period of the cold war. In the The conference seeks to provide a platform for theatre re- 21st century, this desire for collaboration across borders, searchers and artists to unravel the tension embedded in a languages, ethnicities and personal histories seems more theatre of “universal values” and a theatre that encapsulates urgent than ever. There is a critical need to address a com- “cultural heritage.” Is it possible for a contemporary theatre mon international trend that has seen the dehumanization for youth to enhance cultural literacy, dexterity and a deep of youth through different forms of identity oppression respect for the “other’? How apt then that the 2017 World and cultural devaluation within a context of extremism Congress is being held in South Africa, a country where this and conflict across the globe. Theatre for and by young tension between ‘universality’ and ‘diversity’ is celebrated audiences could play a significant role in helping restore and explored through theatre. Welcome message from • Roné Herbst, our efficient research assistant. Associate Professor • Rob Keith, our departmental superhero. Veronica Baxter and Ms • Claire Watling, our intrepid layout artist. Terri Elliott, University • The National Research Foundation for their gener- of Cape Town Drama ous funding. Department • Mark Figueiredo from Millway Travel. • Wits Drama for Life for co-convening the academic As co-convenors from the University of Cape Town Drama programme. Department, it is our great delight to welcome you to the Cradle of Creativity’s ITYARN conference and the • The UCT Drama Department. ASSITEJ Focus Days. We have an extraordinary academic programme for delegates, enriched with performances, We hope that you leave re-energised and ready to make workshops, panel discussions, conference papers, sympo- an impact in your own cities. Most importantly … we hope sia and more. that you have fun and grasp this amazing opportunity with arms wide open. Much has already been said about the festival and what to expect. We would now like to make mention of a few key people who have helped us in our organisational endeav- Terri and Veronica ours: 2 Cradle of Creativity: Examining intercultural exchange and diversity in theatre for young audiences, 16 – 27 May, 2017, Cape Town ASSITEJ.indb 2 2017/04/28 10:21:10 AM Message from Yvette Hardie – International President of ASSITEJ ASSITEJ South Africa is proud to provide the home for the biggest ITYARN conference yet to take place within the history of ASSITEJ, at the Cradle of Creativity. In association with two fine local institutions – the University of Cape Town’s Drama Department and the University of Witwatersrand’s Drama for Life programme - we believe that the ITYARN conference with its focus on intercultural exchange, will be a rich space for the development and sharing of new knowledge about theatre for young audi- ences across the globe. Yvette Hardie This conference brings academics, researchers, students have a two-day engagement which tackles the questions and artists into one space – to inspire new directions, to around intercultural , we also have a number of focus days examine results, to analyse trends and to posit new ways thereafter, allowing for a more in-depth and practical of thinking and acting within the field. We are extremely exploration of key areas which we believe are particularly grateful that the National Research Foundation has agreed important in our rapidly changing world and to the global to support African scholarship to be in attendance at Cradle south. These Focus days have been curated by our part- of Creativity, providing the potential for ITYARN’s member- ners, UCT, DFL and the networks of ASSITEJ, including IT- ship and research activities to be enhanced and expand- YARN, IIAN (International Inclusive Arts Network), Small Size ed across the continent of Africa. We hope to be able to (Theatre for the Early Years) and Write Local, Play Global. For provide energy to a generation of academics interested in the first time, we welcome practitioners and researchers this field within the context of Africa. At a time when “decol- around Dance Theatre for Young Audiences and Music The- onization” is a rallying cry within our tertiary institutions, we atre for Young Audiences, and look forward to the impetus believe that hosting an ITYARN conference within the frame these gatherings will give to ASSITEJ as a whole. of Cradle of Creativity allows for a new articulation of ideas around childhood, theatre practice, arts access and arts education, grounded in cultural contexts which have been Yvette Hardie; Member of the ITYARN for too long peripheral. board; Director of ASSITEJ An innovation of this Conference is the fact that while we Cradle of Creativity: Examining intercultural exchange and diversity in theatre for young audiences, 16 – 27 May, 2017, Cape Town 3 ASSITEJ.indb 3 2017/04/28 10:21:10 AM Welcome message from Prof Dr Geesche Wartemann With the conference, “Cradle of Creativity: Examining intercultural exchange and diversity in theatre for young audiences“ in Cape Town, South Africa, 16 -17 May 2017 the International Theatre for Young Audiences Research Network (ITYARN) gains its highlight of a twelve years expedition! With this greeting I’d like to extend a warm welcome to all who contribute to a successful encounter of experienced researchers as well as scholarly newcomers in the field of theatre for young audiences (TYA). The abstracts lying in Geesche Wartemann front of you illustrate a dazzling diversity of perspectives on the conference’s topic and of the presenters’ cultural and mailing list please push the “follow“ button on the website institutional contexts. Not just the growing number of pre- or send an e-mail to [email protected]. sentations, but also the more focused interest of this year’s conference is a meaningful development. South Africa is On behalf of the entire ITYARN Board I would like to thank known as a super-diverse nation. Cape Town will be an ASSITEJ South Africa, the University of Cape Town’s Drama exceptionally interesting place to analyze and discuss the Department and the University of Witwatersrand’s Drama chances and challenges of contemporary diversity for Life programme for all efforts, excellent organization and visionary spirit to make this conference happen! In the beginning, it was not easy to guess that ITYARN would spread and grow so much: For more information on ITYARN activities, on publications Geesche Wartemann and members of the current ITYARN Board please go to the website: https://ityarn.wordpress.com To join the ITYARN 4 Cradle of Creativity: Examining intercultural exchange and diversity in theatre for young audiences, 16 – 27 May, 2017, Cape Town ASSITEJ.indb 4 2017/04/28 10:21:10 AM Contents Cradle of Creativity: Examining intercultural exchange and diversity in theatre for young audiences Welcome message from Associate Professor Veronica Baxter and Ms Terri Elliott, University of Cape Town Drama Department Terri and Veronica ������������������������������������������������������������������������������������������������������������������������������������������������������������������� 2 Message from Yvette Hardie – International President of ASSITEJ Yvette Hardie; Member of the ITYARN board; Director of ASSITEJ ����������������������������������������������������������������������������� 3 Welcome message from Prof Dr Geesche Wartemann Geesche Wartemann �������������������������������������������������������������������������������������������������������������������������������������������������������������4 ITYARN Conference ITYARN Conference Programme At A Glance CITY HALL ��������������������������������������������������������������������������������������������������������������������������������������������������������������������������������� 22 Day One 16 May 2017 Session 1 City Hall Multidisciplinary theatre: Educational reform and cultural tolerance in Ghana and beyond Keynote Speaker: Dr� Ekua Ekumah ����������������������������������������������������������������������������������������������������������������������������������26 Day One 16 May 2017 Session 2 City Hall “Hodja from Denmark - Theatre for Children and Youth in Asylum Centres in Denmark” - A 3-year project that will bring performances and creative workshops to children and young people in 50 asylum centres in Denmark Lene Thiesen, Jon Kraaboel:
Load more

Recommended publications
  • Sally Chance Thesis
    I SEE YOU SEEING ME An analysis of the relationship between invitation and participation in Theatre for Early Years Sally Chance BA (Hons), PGDip Submitted in fulfilment of the requirements of the degree of Doctor of Creative Industries School of Creative Practice Creative Industries Faculty Queensland University of Technology 2020 I See You Seeing Me I See You Seeing Me – Nursery, 2018 2 I See You Seeing Me • Abstract Abstract Through a process of scholarly research in the field of performance studies, and artistic practice in the field of Theatre for Early Years (TEY), my Doctorate of Creative Industries had the goal of understanding the work involved in structuring and presenting dance-theatre as an encounter (Kelleher and Ridout, 2006; Fischer-Lichte, 2009; Heim, 2016) between professional performers and audiences aged three years and younger, in the company of their adults. The practice-led nature of the research contributes to TEY practitioner knowledge infrastructure by uncovering a fundamental aspect of TEY practice, namely an analysis of the relationship between the work of the performers and their performative material, and the experiences of the very young audience members for whom the work is created. I chose the term participation to represent multiple types of involvement by very young audience members. My research makes an explicit link between the structure of the performance work, the work of the performers and the observable actions of young children as co-creative participants. I suggest that young children’s responses to live performance encompass a complex and codifiable spectrum of activities, expressed in aesthetic intention in relation to the world of the show.
    [Show full text]
  • The Seven Ages of Musical Theatre: the Life Cycle of the Child Performer
    UNIVERSITY OF SOUTHAMPTON The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook A thesis submitted in partial fulfillment for the degree of Doctor of Philosophy in the Humanities Faculty School of Music April 2016 \A person's a person, no matter how small." Dr. Seuss UNIVERSITY OF SOUTHAMPTON Abstract Humanities Faculty School of Music Doctor of Philosophy The Seven Ages of Musical Theatre: The life cycle of the child performer by Lyndsay Barnbrook The purpose of the research reported here is to explore the part played by children in musical theatre. It aims to do this on two levels. It presents, for the first time, an historical analysis of involvement of children in theatre from its earliest beginnings to the current date. It is clear from this analysis that the role children played in the evolution of theatre has been both substantial and influential, with evidence of a number of recurring themes. Children have invariably made strong contributions in terms of music, dance and spectacle, and have been especially prominent in musical comedy. Playwrights have exploited precocity for comedic purposes, innocence to deliver difficult political messages in a way that is deemed acceptable by theatre audiences, and youth, recognising the emotional leverage to be obtained by appealing to more primitive instincts, notably sentimentality and, more contentiously, prurience. Every age has had its child prodigies and it is they who tend to make the headlines. However the influence of educators and entrepreneurs, artistically and commercially, is often underestimated. Although figures such as Wescott, Henslowe and Harris have been recognised by historians, some of the more recent architects of musical theatre, like Noreen Bush, are largely unheard of outside the theatre community.
    [Show full text]
  • Statistical Overview of the Online 20Th ASSITEJ World Congress & International Performing Arts Festival for Children and Young People / MIRAI
    Statistical Overview of the Online 20th ASSITEJ World Congress & International Performing Arts Festival for Children and Young People / MIRAI Prepared by Co-Producer of the Event, Chris Blois-Brooke 1 CONTENTS Press Summary...................................................................................................................................... 1 Introduction........................................................................................................................................... 2 Number of Events................................................................................................................................ 4 Number of Delegates.......................................................................................................................... 6 Country Breakdown............................................................................................................................ 10 Streaming................................................................................................................................................ 12 Ticket Income....................................................................................................................................... 13 PRESS SUMMARY The 20th ASSITEJ World Congress & International Performing Arts Festival for Children and Young People / MIRAI was the first ASSITEJ event of its kind to take place online. By the end of the 11-day event, there were 1169 unique registered users on the event platform, with 906 delegates
    [Show full text]
  • Creating a Theatre for the Very Young Experience
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 The Power of Play: Creating A Theatre for the Very Young Experience Maria Katsadouros University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Katsadouros, Maria, "The Power of Play: Creating A Theatre for the Very Young Experience" (2018). Electronic Theses and Dissertations, 2004-2019. 6271. https://stars.library.ucf.edu/etd/6271 THE POWER OF PLAY: CREATING A THEATRE FOR THE VERY YOUNG EXPERIENCE by MARIA ELIZABETH KATSADOUROS B.A. University of North Carolina Wilmington, 2013 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2018 2018 Maria Elizabeth Katsadouros ii ABSTRACT The opportunity to enhance the sense of fulfillment necessary in revolutionizing and liberating a person’s daily life, regardless of their age, can be found in the manifestation of play. It is through the acknowledgment of instinct, nature, and discovery that play reveals its power. As a Theatre for the Very Young (TVY) practitioner, I utilize creative play to inspire exploration and innovation among students under the age of six.
    [Show full text]
  • Theatre for Young Audiences in Singapore: Dimensions of Creativity
    Theatre for Young Audiences in Singapore: Dimensions of Creativity Caleb Lee Wei Hao A thesis submitted for the degree of Doctor of Philosophy Department of Drama, Theatre and Dance Royal Holloway, University of London July 2020 Declaration of Authorship I, Caleb Lee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 3 July 2020 2 Acknowledgements This research would not have been possible without the help and guidance of my supervisor, Professor Helen Nicholson. Her knowledge, enthusiasm and patience have been a source of inspiration to many of us. Thank you for believing in me, pushing me and taking me on this journey of discovery. This study was supported by the National Arts Council Arts Scholarship, generous funding from Kwan Fook Ngah Estate and LASALLE – College of the Arts. Thank you for believing in the value of Theatre for Young Audiences and its promises. A big thank you to all my TYA colleagues back in Singapore for the valuable conversations, encouragement and your hard work in pushing the sector forward: Brian (I Theatre), Ruby and Lilian (ACT 3 International), Chandran (ACT 3 Theatrics), Luanne and Michelle (The Artground), Rachel and Glenda (Esplanade – Theatres by the Bay), Benjamin (Paper Monkey Theatre), Charlotte (Singapore Repertory Theatre), Tze Chien (The Finger Players), Sean (SOTA), Michele (Singapore Drama Educators Association), Elaine (The Learning Connection), Isabella, Jeffrey, Bright, Athena, Annie, Heather, Sadrina, Isyak and many others whom I’ve had the privilege of working with over the years.
    [Show full text]
  • By Virginia Radcliffe
    Transforming lives – the possibilities of theatre by Virginia Radcliffe Lspit-Report-AW o_p.indd 1 24/04/2013 14:56 ‘Let’s do it again!... We’ll do the same as we did to get up the mountain, through the bog, Oogly Boogly Lady and Fishy Lady - Come on! Let’s do it all over again!’ 3 year old, LicketyLeap Lspit-Report-AW o_p.indd 2 24/04/2013 14:56 Contents Follow us on our journey! – Margaret and Margaret Chapter One About Us .................................... 2 Chapter Two LicketyLeap ................................ 4 Chapter Three Evaluation ................................... 8 Chapter Four The Impact ................................. 12 Chapter Five Looking Ahead ............................ 22 Lspit-Report-AW o_p.indd 1 24/04/2013 14:56 About us “I’ve seen many of your shows with children over the last ten years. You’ve always been about engagement. 2 My 15 year old still talks about Magic Spaghetti eight years after seeing it!” Teacher, Glasgow Lspit-Report-AW o_p.indd 2 24/04/2013 14:56 About us Licketyspit Early Years Theatre Company Firing children’s imaginations! Licketyspit was founded in 2004. It grew This has resulted in a body of work that engages out of the Wee Stories Early Years Project and powerfully resonates with early years children, (2001-2003), which was the first dedicated families and teachers and places early years early years theatre project in Scotland, children at the centre of their community. led by director, Virginia Radcliffe. In 2004, It raises awareness of how well they can Radcliffe established Licketyspit, to continue participate beyond their peer group, and highlights with this work, where she remains Artistic how capable, thoughtful, expressive, empathetic Director/CEO based at North Edinburgh Arts and clever early years children can be.
    [Show full text]
  • From Stage to Screen: Adapting a Children's Theatre Production Into a Digital Toy
    From stage to screen: adapting a children's theatre production into a digital toy BEN FLETCHER-WATSON The Scottish Journal of Performance Volume 1, Issue 2; June 2014 ISSN: 2054-1953 (Print) / ISSN: 2054-19 1 (Online) Publi#$tion %et$ils: htt'://((()scottishjournalo+'er+orm$nce)or, To cite this article: -let#&er-.$tson, /), 2014. -rom st$,e to screen: $%$'ting $ chil%ren's the$tre 'ro%uction into $ %i,it$l toy) Scottish Journal of Performance, 1(2): '')323 2. To link to this article: htt'://%4)%oi)or,/ 10.14439/sjop.2014.0102.04 5&is (or6 is li#ense% un%er a 7re$ti8e 7ommons 9ttri"ution 4)0 Internation$l :i#ense) See &tt'://#re$ti8e#ommons)or,/li#enses/"1/4)0/ +or %etails) Fletcher-Watson (2014) DOI: 10.14439/sjop.2014.0102.04 From stage to screen: adapting a children's theatre production into a digital toy BEN FLETCHER-WATSON DOI: 10.14439/sjop.2014.0102.04 P !"#$%&#o' da&): 13 J ') 2014 T+#s p+o&o )ss%, )-p"o.)s &+) %(%p&%&#o' o/ &+) S$o&&#sh &+)%&.) fo. )%.", ,)%.s (TE12 p.o( $&#o' W+#&) #'&o % &.%'sm)(#% (#4#&%" &o,. I' 20135 Ca&+).#') W+))"s T+)%&.) Co3p%', $o33#ssio')( %' %pp ()6)"op).5 H#ppo&.#-5 &o $.)%&) %' %pp fo. 3o!#") &%!")& $o3p &).s %'( sm%.&p+o')s #'sp#.)d b, t+) 7o."( of W+#&). T+) p%p). o &"#')s &+) p.o$)ss o/ $.)%&#'4 W+#&) T+) App5 #'$" (#'4 7#.)-/.%3#'45 %sse& $%p& .)5 so '( .)$o.(#'45 $o(#'4 %'( p.o&o&,p#'4. I& %"so )-p"o.)s &+) #3p%$& o/ ()si4' ()$#sio's o' (.%3%& .4, %'( p).fo.3%&#6#&,5 'o&#'4 &+%& (#4#&%" 3)(#% o//).
    [Show full text]
  • “More Like a Poem Than a Play”: Towards a Dramaturgy of Performing Arts for Early Years
    Summary of findings “More like a poem than a play”: towards a dramaturgy of performing arts for Early Years by Dr Ben Fletcher-Watson Copyright Statement introduction Theatre for Early Years (TEY) has Using Grounded Theory as a rapidly expanded since its method to analyse interviews with emergence in the late 1970s. More 26 leading Scottish practitioners of than 100 new productions are now TEY, this project undertakes a staged annually around the world qualitative investigation of current for children aged from birth to practice in the devising and three-years-old. production of performing arts for very young audiences. TEY currently lacks a coherent theoretical framework or The process points towards a dramaturgy, instead drawing on theory that proposes that Scottish interdisciplinary strands of Early Years artists undergo an psychology, pedagogy and attitudinal shift towards a belief in existing dramaturgical practices equality, meaning that children from older forms of theatre for should access high-quality children. This study explores cultural experiences on the artists’ embodied knowledge as a same basis as adults. repository of skill, while also recognising external factors that Secondly, it suggests that these impact on creative production, artists believe they possess a from belief systems to training, the unique and hard-won skill-set search for funding and the struggle worthy of recognition by their for recognition. peers. 2 2 12 key findings Bob and Roberta Smith, Art Makes Children Powerful, 2012. Hales Gallery. § Artists in Scotland respect § Some artists also describe a the right of babies to struggle for recognition experience culture, from peers and funders, believing that very young although they feel children deserve theatre as supported by artist much as adults.
    [Show full text]
  • Ben Fletcher-Watson Phd Thesis
    “MORE LIKE A POEM THAN A PLAY”: TOWARDS A DRAMATURGY OF PERFORMING ARTS FOR EARLY YEARS Ben Fletcher-Watson A Thesis Submitted for the Degree of PhD at the Royal Conservatoire of Scotland & University of St Andrews 2016 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/8974 This item is protected by original copyright This item is licensed under a Creative Commons Licence “More like a poem than a play”: towards a dramaturgy of performing arts for Early Years Ben Fletcher-Watson PhD in Drama Date of submission: 26/01/2016 © Ben Fletcher-Watson 2016 Abstract This thesis aims to further our understanding of the emergent phenomenon of Theatre for Early Years (TEY) in Scotland. It interrogates a series of artistic practices – traditional, postdramatic, participatory – with the aim of proposing a possible dramaturgy of arts for the very young. Practice typically precedes theory in new fields of performance. TEY currently lacks a coherent theoretical framework or dramaturgy, instead drawing on interdisciplinary strands of psychology, pedagogy and existing dramaturgical practices from older forms of theatre for children. This study explores artists’ embodied knowledge as a repository of skill, while also recognising external factors that impact on creative production, from belief systems to training, the search for funding and the struggle for recognition. Using Grounded Theory as a method to analyse interviews with 26 leading Scottish practitioners, this project undertakes a qualitative investigation of current practice in the devising and production of performing arts for very young audiences.
    [Show full text]
  • Toward a Grounded Dramaturgy, Part 2
    Edinburgh Research Explorer Toward a grounded dramaturgy, part 2 Citation for published version: Fletcher-watson, B 2018, 'Toward a grounded dramaturgy, part 2: Equality and artistic integrity in Theatre for Early Years', Youth Theatre Journal, vol. 32, no. 1, pp. 3-15. https://doi.org/10.1080/08929092.2017.1402839 Digital Object Identifier (DOI): 10.1080/08929092.2017.1402839 Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Youth Theatre Journal Publisher Rights Statement: © 2018 Ben Fletcher-Watson. Published by Taylor & Francis. This is an Open Access article. Non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly attributed, cited, and is not altered, transformed, or built upon in any way, is permitted. The moral rights of the named author(s) have been asserted General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and
    [Show full text]
  • Candidate for the Executive Committee
    ASSITEJ GENERAL ASSEMBLY Cape Town, South Africa, May 17 – 27, 2017. CANDIDATE FOR THE TREASURER Name of Centre: ASSITEJ ITALIA Name of Candidate: ROBERTO FRABETTI Presentation of candidate: Roberto Frabetti has been the Treasurer and member of the Executive Committee for the period 2014-2017. In 1976 he took part in the foundation of La Baracca - Teatro Testoni Ragazzi di Bologna – Italy. For this company he works as director, actor and playwright, but also as artistic director, project manager and administrator. In 1986 he started the research on Theatre and Early years, and in 2007 he funded the Network Small size. He is project manager of Small size, Performing Arts for Early Years, a four year large cooperation project supported by Creative Europe, the Cultural program of the European Commission. He is artistic and organisational director of “Visioni di futuro, visioni di teatro - International Festival of theatre and culture for early years”, a La Baracca - Testoni Ragazzi project. He is one of the promoters of the “Charter of children's rights to art and culture”, a La Baracca - Testoni Ragazzi project awarded with Medal of the Presidency of the Italian Republic. On behalf of La Baracca - Testoni Ragazzi, he received the ASSITEJ Award for Artistic Excellence 2008 for the project “0-3 years. Theatre for the very young”. In 2013, he received the National Award “Infanzia (Childhood) - Piccolo Plauto 2013” for the “contribution to Children Culture”. Also in 2013, he was awarded the “ASSITEJ Germany Award 2013 - Assitej Prize for special achievements in the field of Theatre for Young Audiences” for “his dedication to our theatre’s very smallest and very youngest spectators and in appreciation of his tireless commitment to borderless dialogue and artistic exchange.
    [Show full text]
  • A Guide to Uk Theatre for Young Audiences
    A GUIDE TO UK THEATRE FOR YOUNG AUDIENCES 2009/2011 Edited by Paul Harman A GUIDE TO UK THEATRE FOR YOUNG AUDIENCES 2009/2011 Edited by Paul Harman AURORA METRO PRESS (i) We gratefully acknowledge financial assistance from Arts Council England. First published in the UK in 2009 by Aurora Metro Publications Ltd. 67 Grove Ave, Twickenham TW1 4HX [email protected] www.aurorametro.com +44 020 3 261 0000 Selection, compilation and editing © copyright Paul Harman 2009 [email protected] Photographs: We are grateful to the photographers who have given permission for the use of their photographs in this guide. The individual photographers retain copyright in the images reproduced within this guide. We are grateful to the authors who have contributed articles to this guide. The individual authors retain copyright in their contributions to this guide. Production With thanks to: Stuart Bennett and Cheryl Robson for invaluable editorial comments, the members of TYA – UK Centre of ASSITEJ for support and guidance, all my colleagues in Hungary, Israel, Germany, Denmark and many other member countries of ASSITEJ from whose promotional material I have drawn inspiration and ideas. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the prior permission of the publisher. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser.
    [Show full text]