Heft 03/2014

IXYPSILONZETT 01/2014

Facing the Audience. The Spectator as the starting point of TYA

Rückstichheftung mit 32 Seiten, Format: 210 x 280 mm

Editorial
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Das Magazin für Kinder- und Jugendtheater erscheint aus Anlass des 18th World Assitej Congress and Korczak Festival Special Edition in Warschau (Polen) in englischer Sprache. Die deutschen Originaltexte können unter www.jugendtheater.net nachgelesen werden.

This special edition of the children’s and young people’s theatre magazine is published in English on the occasion of the 18th World Assitej Congress and Korczak Festival in Warsaw (Poland). You can read the original German texts at: www.jugendtheater.net.

“The audience – this is the sole inviolable starting point on which every theatre must base its art. A theatre that has found its spectator is also able to find its style. A theatre which has separated itself from its spectator loses its style, and therefore its right to exist. – But just as every theatre is able to live simply from the presence of its audience, so similarly aged audience groups have the right to be given an appropriate form of theatre. We must therefore concede children and young people such a right.”1

With these words the director, Alexander A. Brjanzew, opened the Theatre for Young Audiences in Petrograd (Russia) in 1921. In doing so he confirmed a basic attitude which is still dominant in contemporary theatre for children and young people. Theatre exists for its audience, otherwise it loses its right to exist. Hence from the very start of the history of institutionalised theatre for children and young people in Europe there has existed a claim to stand up for the rights of children and young people to theatre productions appropriate to their age. Thus the basic idea behind theatres working for young audiences is, so to speak, the turn of the artists towards their young spectators. But what does this mean today? And is not theatre for young audiences primarily just the same as any other form of theatre? Certainly! For today's theatre for young audiences is shot through with the many different types of expression and productionstyles of contemporary performing arts. Whatever the case, it differs from theatre for adults in its choice of material and themes.

In this edition of IXYPSILONZETT we shall be presenting various different examples of practice in contemporary theatre for children and young people, in which the particular characteristics of young people's theatre and its audiences will become clear. Our authors are talking about productions and projects which have been specially created for a curious and adventurous audience: An audience which is open to look at the world in a fresh and unusual manner; an audience which is interested in an unprejudiced encounter with the forms of expression and communication inherent in interdisciplinary, participative and, in many cases, collectively produced contemporary theatre. I am talking about theatre which does not simply regard its audience as passive consumers but as people who are active, thoughtful and sensitive. Because it is the audience which makes the theatre meaningful.

Thus theatre for young audiences is also a theatre which is able to emancipate its young audiences. “It regards its audiences as partners and offers them a space and an opportunity to judge and act for themselves. Children and young people are mature responsible spectators when they are allowed to decide for themselves on the significance of what they are shown and its meaning for their own lives, independent of the ideas and goals of the accompanying parents and teachers, and without the need for special instructions on how they should understand the art of theatre. Art gives them the necessary space to do this.”2

Gerd Taube

1 quoted in Christel Hoffmann: Beschreibung eines Modells. Das Theater der jungen Zuschauer (Tjus) in Petersburg und Leningrad und Das Theaterzentrum Familie in St. Petersburg, in: Annett Israel, Silke Riemann (eds.): Das andere Publikum. Deutsches Kinder- und Jugendtheater, Berlin, 1996, p. 118

2 Gerd Taube: Facing Reality. Zeitgenossenschaft und Realismus im Theater für junges Publikum in: IXYPSILONZETT. Jahrbuch für Kinderund Jugendtheater 2014, Berlin: Theater der Zeit, 2013 p. 9.

Artikel	Seite
Artikel	Seite
Enabling Cultural Participation Theatre for young audiences (TYA) needs cultural policy von Wolfgang Schneider	Seite 4
Playing with the Audience Participation in TYA in Germany von Tabea Hörnlein	Seite 8
Let's talk to each other Authors and their audience von Henning Fangauf und Lorenz Hippe	Seite 12
Opening contemporary music theatre for young audiences von Gerd Taube und Annett Israel	Seite 15
From illusion to reality Spaces in theatre for young audiences von Gabi dan Droste und Kolja Burgschuld	Seite 19
Theatre and social enviroment Theatre as a public and social art form von Anna Eitzeroth	Seite 22
Updating a legend. How does the audience influence the artistic work Questions to Stefan Fischer-Fels, artistic director of GRIPS Theater Berlin, Vice-President of ASSITEJ International and member of the board of ASSITEJ Deutschland von Kirstin Hess und Stefan Fischer-Fels	Seite 25
More than a touch von Tristan Berger	Seite 29
Children and adults as today's conscious audiences! von Lucie Morin	Seite 32
Information \| Festivals \| Imprint	Seite 32

Tristan Berger

freier Autor, Kritiker, Theaterwissenschaftler und Dramaturg, München. Is a freelance dramaturg, theatre-in-education worker and author. He lives near Munich.

Kolja Burgschuld

Geschäftsführer der ASSITEJ Austria. was formerly the secretary general of ASSITEJ Austria. Since January 2014 he is the head of the communication department at DSCHUNGEL WIEN.

Gabi dan Droste

lebt in Berlin, arbeitet als Projektentwicklerin, Dramaturgin und (Co-)Regisseurin im In- und Ausland. Sie ist eine der Expertinnen in den Darstellenden Künsten von Anfang an und im Tanz für junges Publikum. is a freelance project developer, dramaturge and (co-) director. She lives in Berlin.

Anna Eitzeroth

Dramaturgin, sie ist Mitarbeiterin im Kinder- und Jugendtheaterzentrum mit dem Arbeitsschwerpunkt „Theater in der Kulturellen Bildung“ und leitet das Förderprogramm der ASSITEJ „Wege ins Theater!“. Sie hat die Studie „Darstellende Künste und Schule in Hessen“ als Projektleiterin verantwortet. Is a…mehr

Henning Fangauf

Stellvertretender Direktor des Theaterzentrums für Jugend- und Kindertheater der Bundesrepublik Deutschland, Frankfurt am Main. Fachmitarbeiter des Kinder- und Jugendtheaterzentrums mit den Schwerpunkten Autorenförderung und Internationaler Austausch, lebt im Rhein-Main-Gebiet. is the vice-director of…mehr

Stefan Fischer-Fels

geboren 1964 in Berlin, studierte Schauspiel, Erziehungswissenschaften, Psychologie, Soziologie. Von 1993 bis 2003 war er Dramaturg und Theaterpädagoge mit dem Schwerpunkt Autorenförderung am Berliner GRIPS Theater. Als künstlerischer Leiter ging er von 2003 bis 2011 ans Junge Schauspiel Düsseldorf.…mehr

Kirstin Hess

Dramaturgin und Theaterpädagogin. Sie war in der Freien Szene Berlins, am Theater Junge Generation in Dresden und von 2011 bis 2016 am GRIPS Theater in Berlin tätig. Ab der Spielzeit 2016/17 arbeitet sie am D’haus Düsseldorf.

Lorenz Hippe

is a theatre pedagogue and playwright. Since 2013 he has been the chair of the National Association of Theatre Pedagogues (Bundesverband Theaterpädagogik). He lives in Berlin.

Tabea Hörnlein

Leiterin der Theaterakademie am theater junge generation Dresden. is a theatre pedagogue and head of the theatre academy at the “tjg. theater junge generation” in Dresden. She is a member of the board of ASSITEJ Germany.

Annett Israel

Mitarbeiterin im Projektbüro Berlin des Kinder- und Jugendtheaterzentrums in der Bundesrepublik Deutschland. Sie koordinierte für Augenblick mal! 2013 u. a. den Austausch der Kuratorinnen und Kuratoren und das Rahmenprogramm.www.augenblickmal.de Is a theatre scholar and works in the Berlin project…mehr

Lucie Morin

Free lance culture mediator, theatre pedagogue and project manager. She is currently working part time at the German-French theater “Baal Novo” in Offenburg. She lives in Freiburg (Breisgau).

Wolfgang Schneider

Kulturwissenschaftler. Er war 1998 Gründungsdirektor des Instituts für Kulturpolitik der Universität Hildesheim und von 2012 bis 2020 Inhaber des UNESCO-Chair in Cultural Policy for the Arts in Development, er ist Mitglied des Vorstandes der Initiative für die Archive des Freien Theaters e.V., Mitglied…mehr

Gerd Taube

war in der DDR wissenschaftlicher Mitarbeiter der Humboldt-Universität zu Berlin, danach Leiter des Kinder- und Jugendtheaterzentrums in der Bundesrepublik Deutschland und Lehrbeauftragter am Institut für Jugendbuchforschung der Johann Wolfgang Goethe-Universität Frankfurt am Main. is a theatre…mehr

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