1 THEATRE EMBASSY | 2001-2017 Theatre Embassy We achieve Development Cooperation in Performing Arts by working in five fields. Folklore Theatre Processions Folklore, or indigenous rituals/theatre forms. The roots of our We work on the streets to perform for the broadest possible theatrical discipline lie in performing artistic expression for public. This offers an opportunity to see and experience the- the community. These forms of expression: rituals, dances, atre to a broader public. The parade, or procession, is an old performances, and similar, are extremely diverse. They are form of theatre that can be used to tell a story or convey im- part of our intangible cultural heritage. The diversity of these ages to a broad public at unexpected times. Parades need to forms of expression is coming under pressure from popular rise above the crowd and, consequently, they require concise, culture and modern developments in communication: many clear images. Street parades have only gained in quality and forms have now become tourist entertainment. However, they power in today’s times of computer games and video clips. are actually the carriers of a rich cultural heritage. Thea- tre Embassy intends to devote attention to and support the Cultural Management wealth of this cultural heritage to ensure that ethnic theatre traditions can continue to flourish and develop. To lay a solid foundation for artistic development, it’s very important to create strong financial and organizational preconditions. This part is usually not the strongest point Theatre for Education of young talented artists. To realize the strengthening of our partner organizations in this sphere, Theatre Embas- Theatre for Education makes use of the theatre’s strength as sy frequently sends professionals in cultural management, means of communication. Messages have been communicat- production and organization. By strengthening the knowledge ed live for centuries: this method, which is also used by the of management we increase the independence of artists and church and politicians, continues to constitute a powerful they gain an insight into before unknown fields. way of communicating a live message to a public in an en- deavour to achieve changes in attitude to issues or themes such as Violence, Water, Child rights, the Environment and Armed conflict. Theatre Art The powerful intrinsic value that is possessed by our dis- cipline, makes it necessary to maintain and promote the technical and artistic quality of theatre. Investments in the quality of the theatre are of benefit to all artistic disciplines, such as song, the visual arts, dance, literature, media, light- ing, sound and drama, etc. In addition, the quality of seg- ments of the theatre in which students and schoolchildren participate will improve with the level of the development of the professional theatre. For this reason Theatre Embassy supports the development of talent, artistry and concepts. 2 THEATRE EMBASSY | 2001-2017 Theatre Embassy Mission Theatre Embassy sees a world in which art and culture are self-evident, necessary factors for the integral development of people, society and civilisation. In this ideal world the artist plays a central role as the driving force behind change and sustainable development. Theatre provides the necessary medium: theatre integrates a variety of art forms, irrespec- tive of culture or continent, and can reach a broad audience. Vision Theatre Embassy’s objective is to achieve global sustainable development: we focus our attention on socio-cultural de- velopment and human forms of expression. Theatre Embassy believes that the magic, power of expression, historical awareness and innovative capacity of the theatre contribute to the development of the world’s societies and civilisations. The universal language of the theatre unites people in their hopes, dreams and ideas: it offers them new perspectives for viewing the world. This in turn contributes to their wellbeing and happiness. Our creative encounters and relationships with our partners are based on equality. Our joint creation of theatre pivots on diversity and reciprocity. We enter into creative cooperation with artists who have the courage to take risks in societies in which the political or economic conditions complicate the realisation of certain forms of art expression. These artists engage with their social surround- ings and often operate in communities with restricted access to artistic schooling and inspiration for their work. In view of our unique focus and efforts we can justifi ably be referred to as an innovative development organisation which is active at the level of the development of creative network links. Theatre Embassy works with partner organisations in Africa, Latin-America and Asia with the objective of enhancing cul- tural infrastructure and developing a global cultural network. We exchange knowledge and experiences and we succeed in completing projects that the makers could formerly only dream of. 3 THEATRE EMBASSY | 2001-2017 Theatre Embassy 4 THEATRE EMBASSY | 2001-2017 5 THEATRE EMBASSY | 2001-2017 Chart Theatre Embassy Analyzing intercultural performance st ca DIRECTOR r te r ac eh ar ea ch rs in e g m u a t c s t co in g r e n subject ig s e content d structure process Analyzing interculturalscript performance body DESIGN ‘deadly’ ‘rough’ ACTOR empty space ' e t ia st d a e c DIRECTOR m r e m ct re 'i a h r e a a h r c s i feed forward n e g m dynamic form u a t c s t o i c n feed backward g r e subject n g i s content e d environment core = relation process structure 1 2 st a body ideal situation script g f e ie DESIGN d ‘rough’image ACTOR el ‘deadly’ o /b empty or d s ee space ‘holy’ n ' e t ia AUDIENCE d e m m 'i feed forward dynamic form feed backward environment core = relation 1 2 st a ideal situation g f e ie d image el oo /b rs ed ‘holy’ ne 6 THEATRE EMBASSYAUDIENCE | 2001-2017 Theatre Embassy In 2001 I founded the Theatre Embassy as a platform for Capacity building on Theatre and Education in exchange with Africa, Asia and Latin America. I began as a creative entre- preneur but built up a worldwide network. Within the twelve years I have worked with 44 theatre organi- sations realizing 64 theatre projects in 27 different countries. We coached and sent abroad 142 artists and cultural man- agers for 1281 local artists, 1200 volunteers and 16 interns from many different theatre schools within the Netherlands and Europe. Theatre Embassy became associated member of the International Theatre Institute Unesco in 2010. I was responsible for the strategic plan, structural fundrais- ing, selecting partner organisations, artistic and the more complex theatre projects with prolonged tours all over the world. I also managed the relationships with the Theatre Academies and the universities. www.theatre-embassy.org www.tierra-espiritual.nl La Carrecleta Nahuatl with Theatre group Monsterverbond en Movimiento de Teatro sin Fronteras ( Movitep-SF) was at the inspiration of the organisations foundation. In 1999 a group of artists from the Netherlands and Nica- ragua gathered together to make a road theatre play about the chance of the millennium and went on tour to 9 cities of Nicaragua. Carrecletanahualt shows how the project was realized and later played infront of an audience that hardly has acces to art, theatre or news. https://vimeo.com/191813477 7 THEATRE EMBASSY | 2001-2017 2001 2002 01. Nicaragua 02. Bolivia Taller de Las Mariposas Romeo en Julieta Partner organisation: Teatro Ronda de Barro http://www.compatrono.com Executors Theatre Embassy (TE): 1 Partner organisation: Teatro Trono/COMPA Local artists: 5 Executors TE: 1 Target group: Children Local Artists: 10 Volunteers: 5 Target group: Street Youngsters Audience: 2000 Volunteers: 4 Performances: 10 Audience: 1000 Participating Organisations: Stichting Rommelmarkt Haren, Performances: 2 Café de Plak Nijmegen, ICCO, Stedeband Utrecht-Leon, Gered Participating Organisations: CMC, Amsterdam-Light Gereedschap.LSBNN, Festival Mundial Theme: Sexuality Theme: Environment Budget: [€ 38.225] Budget: [€18.776] 03. Bangladesh Theatre Training Partner organisation: LOSAUK www.losauk.org/ Executors TE: 1 Local artists: 10 Target group: Jatra actors Audience: 50 Performances: 1 Volunteers: 3 Participating Organisations: Finances: Theatre Embassy, Mama Cash Theme: Theatre Techniques Budget: [€ 3500] Extra: Mama Cash first support for Theatre Embassy office [€ 5000] 8 THEATRE EMBASSY | 2001-2017 07. Bolivia La Asamblea de los Dioses de Agua 06. Netherlands Slavernij Moment Nu 9 THEATRE EMBASSY | 2001-2017 2003 Tv production team: 9 04. Namibia Audience: 3000 Performances:15 Sue Dark Blue TV audience: 200.000 Partner organisation: Red Cross Namibia Target group: General audience www.redcross.org.na Volunteers: 38 Executors TE: 2 Participating Organizations: NDSM Amsterdam Local artists: 7 Finances: Amsterdam’s Fonds voor de Kunsten, ASN bank, Volunteers: - DasArts, Mama Cash, Mondriaanfonds, NCDO, Prins Bernard Target group: Children Cultuurfonds, Stichting Doen, VSB fonds, Prins Claus fonds, Audience: 4000 Provincie Noord-Holland Performances: 1 Sponsoring: TAP Air Portugal, Surinam Airways, De Trap, Participating Organisations: Theater Krater, ‘t Voorbeeld, Theater Cameleon, Camelot camera rent Red Cross Society NamibiA Theme: Slavery History Finances: Kerk in Actie, HIVOS Budget: [€ 218.665] Theme: Education Budget: [€ 12.550] Slavernij Document NU: https://www.youtube.com/watch?v=vH4fDX6izYs by Guilly Koster & Theatre Embassy 05. India Jal UTSAV: