Interplay Europe 2006
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Liechtenstein Nenzing – Austria
1 Interplay Europe 2006 Festival of Young Playwrights Schaan – Liechtenstein Nenzing – Austria 18 –25 June 2006 The View from the foot of the mountain in Base Group (or should it have been Base Camp?) 2 Sunday 18th June I’m in the Alps – for the first time in my life ever – fantastic. I’m on a train from Zurich to Liechtenstein (well just outside actually – the last part of the journey has to be conducted by bus) and it’s hot…really hot…..mountainous, and beautiful with lakes, clear blue water, snow peaked mountain tops, wooden houses, and hardly any people, where are all the people? Even the 3 English playwright delegates I was travelling with have forsaken me, well actually it’s the opposite, I’ve had to go on ahead so I’m not late for the tutor delegates meeting scheduled for 5.00pm local time – one of our party, Tinu missed her flight due to the wonders of the London tube system (no such problems with the trains in Switzerland I can tell you – printed timetable, with all your connections for both trains and buses, timed to the minute, for outward and return journeys, all on one ticket, all one price, all completely reliable, and all conveyed in English – easy, amazing, so smooth, so good, but what’s all this speaking in English about, how am I going to brush up on my elementary standard German, if every time I say Guten tag to someone they smile at me sympathetically and then start talking to me in English?) so Hannah and Daniel have stayed in Zurich as a friendly welcoming committee for the tardy Tinu. -
Issue 17 Ausact: the Australian Actor Training Conference 2019
www.fusion-journal.com Fusion Journal is an international, online scholarly journal for the communication, creative industries and media arts disciplines. Co-founded by the Faculty of Arts and Education, Charles Sturt University (Australia) and the College of Arts, University of Lincoln (United Kingdom), Fusion Journal publishes refereed articles, creative works and other practice-led forms of output. Issue 17 AusAct: The Australian Actor Training Conference 2019 Editors Robert Lewis (Charles Sturt University) Dominique Sweeney (Charles Sturt University) Soseh Yekanians (Charles Sturt University) Contents Editorial: AusAct 2019 – Being Relevant .......................................................................... 1 Robert Lewis, Dominique Sweeney and Soseh Yekanians Vulnerability in a crisis: Pedagogy, critical reflection and positionality in actor training ................................................................................................................ 6 Jessica Hartley Brisbane Junior Theatre’s Abridged Method Acting System ......................................... 20 Jack Bradford Haunted by irrelevance? ................................................................................................. 39 Kim Durban Encouraging actors to see themselves as agents of change: The role of dramaturgs, critics, commentators, academics and activists in actor training in Australia .............. 49 Bree Hadley and Kathryn Kelly ISSN 2201-7208 | Published under Creative Commons License (CC BY-NC-ND 3.0) From ‘methods’ to ‘approaches’: -
Community Engagement in Independent Performance-Making in Australia: a Case Study of Rovers
THEMED ARTiclE Community Engagement in Independent Performance-making in Australia: A case study of Rovers KATHRYN KELLY AND EMILY COLEMAN This article offers a perspective on strategies for community engagement by independent performance-makers and cultural institutions in Australia today. Beginning with an overview of community engagement in Australian performance, the article then describes a specific case- study drawn from personal practice: Belloo Creative’s Rovers which was a new performance work based on the lives of its performers, Roxanne MacDonald and Barbara Lowing. As part of the production of Rovers, Belloo Creative, working with young Aboriginal artist Emily Coleman, trialled a community engagement project to welcome Aboriginal audiences to the 2018 Brisbane Festival. The article includes a personal reflection on Rovers that interleaves the commentary of Emily and Kathryn as the two artists who lead the community engagement project, and concludes by suggesting some key considerations for other independent companies who might wish to engage with community. Community Engagement and Australian Performance ommunity engagement is a broad term that Queensland across the last decade. QMF regularly Cembraces a diverse range of activities and practices commissions large-scale community engagement projects across sectors and disciplines in contemporary Australia, such as Boomtown in Gladstone in 2013, where a musical as noted in the introduction for this special edition of was co-created with the participation of 300 community Social Alternatives. Community engagement in the arts members and performed to an audience of over 20,000 is broadly defined by the Australia Council, the national (Carter and Heim 2015: 202). Community engagement funding organisation for arts and culture, as covering: projects are also now routinely showcased within the major programs of city-based festivals, for example, The [A]ll the ways that artists and arts organisations Good Room’s I’ve Been Meaning to Ask You: a work can connect with communities. -
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This file is part of the following reference: Carless, Victoria Leigh (2008) Making invisible pathways visible : case studies of Shadow Play and The Rainbow Dark. PhD thesis, James Cook University. Access to this file is available from: http://eprints.jcu.edu.au/3565 Making Invisible Pathways Visible Case Studies of Shadow Play and The Rainbow Dark A thesis submitted with creative work in fulfilment of the requirement for the award of the degree of Doctor of Philosophy at James Cook University by VICTORIA LEIGH CARLESS B. Theatre (Hons) School of Creative Arts 2008 STATEMENT OF SOURCES: DECLARATION I declare that this thesis is my own my work and has not been submitted in any form for another degree or diploma at any university or other institution of tertiary education. Information derived from published or unpublished work of others has been acknowledged in the text and list of references if given. ………………………………… ………………………………… (Victoria Carless) (Date) ii STATEMENT OF ACCESS I, the undersigned, the author of this work, understand that James Cook University will make this thesis available for use within the University Library, and via the Australian Digital Theses network, for use elsewhere. I understand that, as an unpublished work, a thesis has significant protection under the Copyright Act and I do not wish to place any further restriction on access to this work. ………………………………… ………………………………… (Victoria Carless) (Date) iii ELECTRONIC COPY OF THESIS FOR LIBRARY DEPOSIT DECLARATION I, the undersigned, the author of this work, declare that the electronic copy of this thesis provided to the James Cook University Library is an accurate copy of the print thesis submitted, within the limits of the technology available. -
6Η Διεθνησ Συνδιασκεψη Για Το Θεατρο Στην Εκπαιδευση "Θέατρο Και Εκπαίδευση Στο Κέντρο Της Σκηνής" Αθήνα, 27-28-29-30 Μαρτίου 2008
6η ΔΙΕΘΝΗΣ ΣΥΝΔΙΑΣΚΕΨΗ ΓΙΑ ΤΟ ΘΕΑΤΡΟ ΣΤΗΝ ΕΚΠΑΙΔΕΥΣΗ "θέατρο και εκπαίδευση στο κέντρο της σκηνής" Αθήνα, 27-28-29-30 Μαρτίου 2008 Πρόγραμμα Συνδιάσκεψης 2008 Το Πρόγραμμα της Συνδιάσκεψης 2008 "θέατρο και εκπαίδευση στο κέντρο της σκηνής" Αθήνα, 27-28-29-30 Μαρτίου 2008 ©ΠΑΝΕΛΛΗΝΙΟ ΔΙΚΤΥΟ ΓΙΑ ΤΟ ΘΕΑΤΡΟ ΣΤΗΝ ΕΚΠΑΙΔΕΥΣΗ Αθήνα, Μάρτιος 2008 Επιμέλεια κειμένων: Τζένη Καραβίτη, Αναστασία Μερκούρη Διόρθωση τυπογραφικών δοκιμίων: Αναστασία Μερκούρη Μακέτα εξωφύλλου: Δημήτρης Ξαρχάκος (βασισμένη σε χαρακτικό της Παυλίνας Γραικού) 2 Συνδιάσκεψη 2008 – «Θέατρο και εκπαίδευση στο κέντρο της σκηνής» Η κοινωνία των αρχών του 21ου αιώνα υφίσταται ραγδαίες αλλαγές. Η παγκοσμιοποίηση και συχνά εμπορευματοποίηση των πολιτισμών και των αξιών και η αποδυνάμωση της έννοιας της κοινότητας, που αποτελούσε στέρεη βάση για τη δημιουργία της αντίληψης του εαυτού και του ανήκειν έχουν αρνητικές συνέπειες στη ζωή και την ανάπτυξη πολλών νέων. Τα περιβαλλοντικά προβλήματα, οι παραβιάσεις των ανθρωπίνων δικαιωμάτων και των δικαιωμάτων του παιδιού, η κοινωνική αδικία, οι συγκρούσεις, οι πολεμικές συρράξεις και οι βίαιες μετακινήσεις πληθυσμών επισκιάζουν τα ραγδαία άλματα της επιστήμης και της τεχνολογίας. Τι ρόλο μπορεί να διαδραματίσει το θέατρο/δράμα στην εκπαίδευση μέσα σ’ αυτό το πλαίσιο; Τι μπορεί να προσφέρει; Τι μας δείχνει η έρευνα ότι συμβαίνει όταν τα παιδιά και οι νέοι συμμετέχουν σε θεατρικές διαδικασίες; Παρ’ όλο που οι λέξεις θέατρο και δράμα μάς κληροδοτήθηκαν από την αρχαία ελληνική γλώσσα και πολιτισμό, ο οποίος θεωρούσε το θέατρο ως εκπαίδευση («διδασκαλία»), στις μέρες μας χρειάζεται να αγωνιζόμαστε διαρκώς για να υπενθυμίζουμε αυτή τη διάσταση του θεάτρου. Ένας αγώνας με δυσκολίες, γιατί, ενώ η παιδαγωγική αξία και η εξανθρωπιστική δυνατότητα του θεάτρου/δράματος στην ποικιλία των εκφάνσεών του αναγνωρίζεται στα λόγια, φαίνεται να υποτιμάται στην πράξη. -
Fence En Français
FENCE, UN RESEAU INTERNATIONAL DE COLLABORATION D’AUTEURS ET METTEURS EN SCENE AU SERVICE DU THEATRE 1 SOMMAIRE Jonathan METH, directeur/coordinateur du réseau FENCE (biographie) p.3 Sélection et présentation de 10 compagnies coproductrices de FENCE p. 6 Présentation d’une sélection de 35 auteurs/metteurs en scène/interprètes p. 10 parmi les 170 membres actifs de FENCE Liste non exhaustive de compagnies rattachées à des participants de FENCE p.28 Autres connections internationale des membres de FENCE p. 29 Présentation de WONDERLAND, prochain grand projet de FENCE p. 30 2 JONATHAN METH /DIRECTEUR Nationalité Britannique 51 ans Expérience professionnelle 2003 – 2013 : Directeur et fondateur, The Fence L’association FENCE (réseau international d’auteurs et de metteurs en scène de théâtre) Fence est un réseau international de créateurs de théâtre (écrivains, dramaturges, metteurs en scène et directeurs de théâtre à travers l’Europe et au-delà). À l’origine Fence a fut lancée en 2003 sous l’impulsion d’un partenariat entre Writernet (UK), Le British Council et Creative Renewal, et en association avec IETM, réseau international pour les arts du spectacle, afin d’explorer la pratique de l’écriture dramatique contemporaine dans différents contextes culturels européens. Depuis le réseau s’est développé avec succès et compte aujourd’hui plus de 170 écrivains de théâtre et opérateurs culturels provenant de plus de 40 pays différents. Ils organisent régulièrement des rencontres comme à Budapest, Graz, Belgrade, Tampere, Utrecht/Amsterdam, Leeds, Istanbul, Timisoara, Glasgow, Guadeloupe, Paris/Bondy, Rabat et Toscan/Rome entre autres. Les activités du group ce génèrent de façon organique a travers le réseau entier, réunissant traditionnellement des groupes composés de 2 a 6 personnes. -
2014 Tätigkeitsbericht
AUFGABEN UND AKTIVITÄTEN 2014 Kinder- und Jugendtheaterzentrum in der Bundesrepublik Deutschland TÄTIGKEITSBERICHT FÖRDERN WAS THEATER ZUMFÖRDERN WAS THEATER ZUM GEBRAUCHT WIRD: WACHSENGEBRAUCHT WIRD: WACHSEN Kinder- und Jugendtheaterzentrum in der Bundesrepublik Deutschland Kinder- und Jugendtheaterzentrum in der Bundesrepublik Deutschland Aufgaben und Aktivitäten 2014 Tätigkeitsbericht Kinder- und Jugendtheaterzentrum in der Bundesrepublik Deutschland Schützenstraße 12 60311 Frankfurt am Main Telefon: 0 69/29 66 61 Telefax: 0 69/29 23 54 E-Mail: [email protected] ab 09/2015 bis 09/2016 Projektbüro Berlin Alt-Friedrichsfelde 60 Haus 1 Aufgang 1 10315 Berlin E-Mail: [email protected] Rechtsträger des Kinder- und Jugendtheaterzentrums ist die ASSITEJ Bundesrepublik Deutschland e.V., Internationale Vereinigung des Theaters für Kinder und Jugendliche Das Kinder- und Jugendtheaterzentrum wird gefördert durch das Bundesministerium für Familie, Senioren, Frauen und Jugend, das Land Hessen und die Stadt Frankfurt am Main. Redaktion: Gerd Taube (verantw.) unter Mitarbeit von Anna Eitzeroth, Meike Fechner, Henning Fangauf, Christine Hauck, Annett Israel, Jürgen Kirschner und Carmen Treulieb Foto Titelseite: Tobias Metz Deutsches Kinder-Theater-Fest 2014 Foto Rückseite: Meike Fechner ASSITEJ Weltkongress Warschau 2014 Druckerei: WIRmachenDruck, Backnang Satz & Layout: DAMM-VIRTUELL, Berlin Frankfurt am Main und Berlin, 2015 AUFGABEN UND AKTIVITÄTEN 2014 Kinder- und Jugendtheaterzentrum in der Bundesrepublik Deutschland TÄTIGKEITSBERICHT Kinder- -
Memoria-Oe2012-Angles.Pdf
Contents Welcome p.3 Agenda p.4 Courses and workshops p.7 Seminar Drama for the Age of Desire p.15 Open activities p.23 - Drama for the Age of Desire, Staged readings -7 in One Blow ! (Seven playwrights with a guarantee of quality) Other Activities p.25 - A Theatrical Menu (dramatic and gastronomic activity) - Coffee with… - Work in progress -The Obrador d’estiu on Núvol The Sala Beckett’s Obrador d’estiu Team p.27 Collaborators p.28 2 Welcome L’Obrador d’estiu de la Sala Beckett: Culture of Uruguay; the TINFO of Finland; the Artistas Unidos company of an international meeting place for new playwriting Portugal; the Italian Institute of Culture of Barcelona; the Govern de les Illes Balears and the Institut de les Lletres Catalanes. For the last seven years, the Sala Beckett/Obrador Internacional de The contact and the live exchange of experiences between participants, whether Dramatúrgia has been organising an annual international meeting of emerging between pupils and their teachers or among the emerging authors themselves and playwrights from around the world. Under the name of l’Obrador d’estiu, in the other professionals visiting l’Obrador, have turned out to be a great stimulus for the second week of July it runs an intensive week-long programme formed by courses, birth of new ideas and new individual or collective projects of creation, and this is seminars, staged readings and other activities based around contemporary drama, one of the aspects that most clearly justify the growth and consolidation of this directed by some of the most important playwrights and theatre teachers working project. -
LMDA Review, Volume 11, Issue 2 M
University of Puget Sound Sound Ideas LMDA Review Other Publications Spring 2001 LMDA Review, volume 11, issue 2 M. Louise Lytle Ginny Coates Winston Neutel Crystal Beliveau Cindy SoRelle See next page for additional authors Follow this and additional works at: http://soundideas.pugetsound.edu/lmdareview Recommended Citation Lytle, M. Louise; Coates, Ginny; Neutel, Winston; Beliveau, Crystal; SoRelle, Cindy; Erickson, Nancy; Quirt, Brian; Copelin, David; Dixon, Michael Bigelow; Blackstone, Mary; Wright, Michael; Proehl, Geoff; Rankin, Wynn; Etemad, Nakissa; Yahil-Wax, Mirian; and Rand, Jonathan, "LMDA Review, volume 11, issue 2" (2001). LMDA Review. 22. http://soundideas.pugetsound.edu/lmdareview/22 This Book is brought to you for free and open access by the Other Publications at Sound Ideas. It has been accepted for inclusion in LMDA Review by an authorized administrator of Sound Ideas. For more information, please contact [email protected]. Authors M. Louise Lytle, Ginny Coates, Winston Neutel, Crystal Beliveau, Cindy SoRelle, Nancy Erickson, Brian Quirt, David Copelin, Michael Bigelow Dixon, Mary Blackstone, Michael Wright, Geoff rP oehl, Wynn Rankin, Nakissa Etemad, Mirian Yahil-Wax, and Jonathan Rand This book is available at Sound Ideas: http://soundideas.pugetsound.edu/lmdareview/22 Highlights Inside • The Experiment Tradition by Michael Bigelow Dixon • News From CEAD in Montréal by Crystal Béliveau • Community and the Development of Scripts for Stage and • Technology Notes by Winston Neutel Screen by Mary Blackstone • Office Update, New Address by Ginny Coates The Newsletter of Literary Managers and Dramaturgs of the Americas Vol. 11, Issue 2 the lmda review Spring, 2001 “I believe that the basic requirement for all rehearsal work . -
“The Effects of Country-Of-Origin Image On
“THE EFFECTS OF COUNTRY-OF-ORIGIN IMAGE ON CONSUMER PRODUCT INVOLVEMENT: A PAKISTANI UNIVERSITY TEACHERS’ PERSPECTIVE” A thesis submitted to University of Salford in partial fulfilment of the requirements for the degree of Doctor of Philosophy AMNA SHAHZAD SALFORD BUSINESS SCHOOL, UNIVERSITY OF SALFORD, MANCHESTER, JULY, 2014 DEDICATION My research and every success are dedicated to these three most important people in my life: Hazrat Mohammad (PBUH) – my beloved prophet and father of the Ummah, who gave the vision, freedom and respect to the women in Islam. I am proud to be a Muslim woman who loves Him immensely. Rana Ayaz Mahmood – my beloved father, who always showed me the path of righteous, being follower of our Holy Prophet (PBUH) showered his love over me as a daughter, fought with the culture and society, and, gave me education, confidence, courage and motivation, to fight for my rights and to achieve what I got. Abu you are a shining star for me, no matter if you are not around me in this world now, but I strongly believe that you have knowledge of my achievements and are happy for me. I love you. Mrs Naseem Akhtar – my beloved mother, who always nurtured me with love and guided me through thick and thins of life. Thanks for being a constant support and treasure full of prayers and love. I am indebted to you for being great source of encouragement and inspiration. Ammi your prayers make me stand strong, firm and tall on my feet. At this last stage of your Cancer, your bravery, courage, patience and fight is inspirational. -
PROGRAMM 2016 Kinder- Und Jugendtheaterzentrum in Der Bundesrepublik Deutschland
PROGRAMM 2016 Kinder- und Jugendtheaterzentrum in der Bundesrepublik Deutschland Kinder- und Jugendtheaterzentrum in der Bundesrepublik Deutschland Inhaltsverzeichnis PREMIEREN 2015 / 16 (eine Auswahl) Impressum . 14+ 9+ Mattias Andersson Michael Alexander Müller Veranstaltungen und Termine 2016 . 2 ACTS OF GOODNESS FÜSSE IM HIMMEL DSE: Landesbühnen Sachsen, Radebeul UA: Junges Staatstheater Braunschweig Vorwort . 4 10+ 6+ Grußwort . 5 nach Anja Tuckermann / Tine Schulz Sofia Fredén ALLE DA! KÖNIGSKINDER Schwerpunkte und Ziele . 6 UA: Atze Musiktheater, Berlin DSE: Hans Otto Theater, Potsdam »Augenblick mal! 2017« . 13 6+ 14+ nach Alexandra Maxeiner / Anke Kuhl Evan Placey Deutscher Kindertheaterpreis 2016 & ALLES FAMILIE! MÄDCHEN WIE DIE Deutscher Jugendtheaterpreis 2016 . 16 UA: Theater für Niedersachsen DSE: in Verhandlung & Theater Karo Acht, Hildesheim 6+ Wege ins Theater! . 18 14+ Franziska Steiof ASSITEJ Artistic Gathering 2016 – on the edge . 20 Jonathan Harvey UNDINE, DIE KLEINE BEAUTIFUL THING MEERJUNGFRAU Spurensuche 2016: GRENZENLOS . 22 ÖEA: Theater der Jugend, Wien SEA: Luzerner Theater 5+ 14+ 7 . Deutsches Kinder-Theater-Fest . 23 nach Marcus Sauermann / Anja Hilling Frankfurter Autorenforum . 25 Uwe Heidschötter WAS INNEN GEHT DER KLEINE UND DAS BIEST UA: Theater praesent, Innsbruck ÖEA: Landestheater Linz Happy New Ears – Musiktheater für junges Publikum . 26 Schreiben für junges Publikum . 28 Kulturelles Erbe – Aktuelles Wissen . 30 Nachwuchsförderung für das Kinder- und Jugendtheater . 32 Impressum Servicestelle Internationaler Austausch . 34 Herausgegeben vom Kinder- und Jugendtheaterzentrum in der Bundesrepublik Deutschland, Ständige Konferenz »Kinder spielen Theater« . 36 Frankfurt am Main und Berlin, 2015; Redaktion: Gerd Taube, unter Mitarbeit von Anna Eitzeroth, Webpublikationen des KJTZ . 37 Henning Fangauf, Meike Fechner, Annett Israel, Christine Hauck, Jürgen Kirschner und Carmen Treulieb, Übersetzung: Roy Kift, Castrop-Rauxel; Gestaltung: Tobias Damm, DAMM-VIRTUELL, Berlin Arbeitsfelder und Projekte der ASSITEJ . -
Presentation File Fists (Poings, Editions Les Solitaires Intempestifs) by Pauline Peyrade Translated in English by Keziah Serreau Translated in Spanish by Coto Adanez
Contxto International network for the distribution of French-language dramatic texts Edition 2019-2020 Presentation file Fists (Poings, Editions Les Solitaires Intempestifs) by Pauline Peyrade translated in English by Keziah Serreau translated in Spanish by Coto Adanez Contxto is coordinated by ARTCENA, with the This play benefits from the support of the French French Ministry of Culture, the French Ministry of Institute in London via its Cross Channel Theatre Europe and Foreign Affairs, the Institut Français and program. the SACD (French Society of Dramatic Writers and Composers) Table of contents I. The play................................................................................................................................2 1. Overwiew..........................................................................................................................2 2. The inspiration for the play................................................................................................2 3. Extract from the text........................................................................................................3 4. Selected press reviews......................................................................................................4 5. The play in rance.............................................................................................................! II. The playwright.......................................................................................................................# III. The play elsewhere................................................................................................................$