Topics XYZ 2014

Editorial

by Gerd Taube

Gerd Taube refers to the opening speech by Alexander A. Brjanzew, who founded the Theatre for Young Audiences in Petrograd (Russia) in 1921. At this very early time Brjanzew was already insisting on a basic attitude which still exists in contemporary theatre for children and young people. Theatre is there for its audiences and must relate to them otherwise it loses its reason for existence. Taube

Enabling cultural participation

Theatre for young audiences (TYA) needs cultural policy

by Wolfgang Schneider

There is a general consensus that TYA (or Theatre for Young Audiences) and arts education is fundamental to society and must be socially relevant. But it still lacks decisive cultural and political action. The chair of  ASSITEJ Germany therefore demands public cultural policies which are based on concepts which promote young people’s theatre, its makers and its audience in an adequate manner. Schneider

Playing with the audience

Participation in TYA in Germany

by Tabea Hörnlein

Theatre in Germany is about to take a new turn: participation is in full flood. So-called 'Bürgerbühnen' (citizen stages) are being set up in municipal and state theatres like in Dresden or Mannheim and so-called 'Volkstheater' (people’s theatres) like in Karlsruhe. People are being called upon to participate in decision-making at the Schnawwl 'Junge Bürgerbühne' (Young Citizens Stage) in Mannheim. Involvement, sharing and participation are the three principles in this turn towards artistic shareholding, and which reflect the different intentions of theatre makers. Hörnlein

Let's talk to each other

Authors and their audience

by Henning Fangauf and Lorenz Hippe

People working in young people’s theatre are seeking close contacts to their audiences at an early phase in the creation of their texts and shows. There are authors who do close research into the lives of young people before they sit down to write their plays. There are also dramaturgs, directors and actors who combine to form so-called 'author’s collectives' to develop a show with young performers. Thirdly there are people working in theatre in education who, per se, have a direct permanent contact with the audience. Fangauf and Hippe

Opening up contemporary music theatre for young audiences

by Annett Israel and Gerd Taube

On the one hand  Annett Israel and Gerd Taube outline the history of the development of musical theatre for young audiences, and on the other hand introduce contemporary forms like, for example, operas with young actors using themes from musical theatre. Musical theatre for young people is going its own way according to the motto: "See with your ears and listen with your eyes." Israel and Taube

From illusion to reality

Spaces in theatre for young audiences

by Gabi dan Droste and Kolja Burgschuld

In their essay on theatre spaces for young audiences Gabi dan Droste und Kolja Burgschuld follow "the movement from an illusionary stage space into a real space, from a concept of a closed to an open theatrical space". Using very different examples of contemporary shows the two authors show that theatre can be an open space for communication in which the spectators become co-creators. dan Droste and Burgschuld

Theatre and social environment

Theatre as a public and social art form

by Anna Eitzeroth

Theatre makers are leaving theatre buildings to go out into the social spaces inhabited by children and young people in order to create theatre with them and come face-to-face with new places and local people who have had any previous contact with theatre. Anna Eitzeroth describes the theatre projects undertaken by 'Theater o.N.' (Berlin) and the Düsseldorf Young Playhouse, and describes the opportunities and chances inherent in such theatre-in-education work. Eitzeroth

Updating a legend

How does the audience influence the artistic work

by Stefan Fischer-Fels

The artistic head of the GRIPS Theater Berlin, vice president of ASSITEJ International and member of the board of ASSITEJ Germany talks about his experience with audiences. What are the differences and similarities between audiences in different German cities? And to what extent does the audience influence the artistic process? Fischer-Fels

More than a touch

by Tristan Berger

In his review of volume 26 in the 'Spielplatz' series (2013) edited by the Verlag der Autoren (Frankfurt am Main) Tristan Berger describes the co-operative project 'TAtsch. TheaterAutoren treffen Schule' (Playwrights meet School) initiated by the German Children’s and Young Peoples' Theatre Centre. For the period of one year playwrights take over responsibility for a school class and develop a play with the school students. In the reviewed book five such plays are published. Berger

Children and adults as today’s conscious audiences!

by Lucie Morin

The author introduces a publication entitled 'Spectateurs d'aujourd'hui' (2013). The study was commissioned in France to examine the complete family as an audience group in theatre for young people. Lucie Morin thinks that the study provides us with new knowledge which can be of great relevance especially in the mediation of culture. Morin

 

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