Heft 03/2017

IXYPSILONZETT 01/2017

TYA in Germany: Current perspectives and experiences

Rückstichheftung mit 36 Seiten, Format: 210 x 280 mm
ISSN 0040-5418
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Editorial
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Aus Anlass des Weltkongresses der ASSITEJ in Kapstadt (Südafrika) erscheint diese Ausgabe in englischer Sprache.

Performing arts for young audiences are produced in many ways and in diverse settings. Theatre professionals simultaneously work on many different levels and address diverse audiences. However, on all these levels professional discourses exist, quality is at stake and new developments can be seen and heard. In this issue of IXYPSILONZETT – the magazine of theatre for young audiences in Germany – we want to introduce readers to projects, programmes and debates, thus contributing to the discourse of those artists who come to the ASSITEJ World Congress in Cape Town in May 2017.

Children and young people have long been more than just the audience to address. Wolfgang Schneider and Anna Eitzeroth ask theatres to open up new possibilities for participation. To participate may mean being included into programming processes as well as actively taking part in society and developing ideas for political changes. Sara and Gordon Vajen present one of these cultural education projects where children with disadvantages from an economically weak and ethnically diverse suburb gain access to cultural institutions via epic theatre and by learning to tell fairytales themselves for their classmates. Producing theatre with children has undergone a change in recent years, as it has played a major part in a public debate on the role of cultural education. Experiments with new forms and audiences, especially from Belgium, have given rise to a new format of theatre with children which address adults. At the same time, theatre has become a relevant activity in school curriculae and leisure time. Peter Galka postulates a new awareness of theatre with children as art. Inclusive theatre, as it is discussed by Yvonne Schmidt and Mira Sack, adds another perspective by characterizing ways of creating performances in joint processes of handicapped and non-handicapped artists and the prerequisites this work needs.

The latest developments in music theatre for children and young people are described by Annett Israel who chooses a European perspective. Major funding initiatives have made an impact on contemporary dance where children and young people are addressed as spectators and participants alike when stories and movements become open to interpretation. New concepts of communication, which invite even the youngest spectators to move and be moved, are leaving their mark on the genre as Gabi dan Droste reports. Many TYA professionals started off with an idea of making the world a better place. What is happening to this ideal when international politics change rapidly, when right wing populism and alternative truths rise to dominance in discussions? In this context Grete Pagan and Henrik Adler call for a new and courageous reflection of contemporary dramaturgies. Much of what is pictured in this issue can only be perceived within an international framework. Artistic co-operations across borders seem to have become part of the daily routine, but how can partners in these co-operations meet on equal footing when theatres abroad have completely different working conditions than theatres here in Germany. Annika Hampel’s research puts a spotlight on the idea of “fair cooperation” and finds some surprising results.

At best this issue offers a variety of insights rather than an overview. One appeal is common to all contributions: Diversity is defined by openness and a multitude of perspectives. Diversity is not a condition, but a mission for theatre professionals all over the world.

Meike Fechner & Eckhard Mittelstädt

Artikel	Seite
Artikel	Seite
Theatre for social change
Theatre for social chance Challenges for Cultural Policy through Artistic Participation von Wolfgang Schneider und Anna Eitzeroth	Seite 3
The culture of intercultural cooperation Structures, processes and conditions von Annika Hampel	Seite 8
Theatre for children by children	Seite 12
The twins who should be separeted Theatre with children between arts and education von Peter Galka
Inclusive theatre	Seite 15
“Inclusion does not mean that people somehow meet up in the middle” Yvonne Schmidt and Mira Sack in a conversation on inclusive theater von Yvonne Schmidt und Mira Sack
Music theatre
Music theatre for young audiences Current developments in Europe between tradition, contemporaneity and experiment von Annett Israel	Seite 18
Music Theatre for the very young (Theatre for early years – Insert) FRATZ International 10 – 19 March 2017 in Berlin von Dagmar Domrös	Seite 21
Dance theatre
Contemporany dance for young audiences in Germany Positions, Spaces and Perspectives von Gabi dan Droste	Seite 22
The Young Dance Network (Theatre for early years – Insert) A global network for exchange von Gabi dan Droste	Seite 25
Storytelling	Seite 26
Telling Fairytales to Chance Society Erzählzeit: Giving access to language and culture von Sara Vajen und Gordon Vajen
New Writing	Seite 30
Caught between the Furure and Today’s Challenges Thoughts on a panel discussion on contemporary dramaturgical practice in Children’s and Young People’s Theatre von Grete Pagan und Henrik Adler
About us	Seite 34
Calendar of Events	Seite 35
Impressum/Imprint	Seite 35

Henrik Adler

Dramaturg, Redakteur, Autor und Kulturmanager. Seit 2013 ist er am GRIPS Theater tätig, davor arbeitete er u. a. bei den Berliner Festspielen. Er arbeitet am Fraunhofer Center for Responsible Research and Innovation (CeRRI). works as a researcher for future solutions in processes and design at…mehr

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.

Dagmar Domrös

Dramaturgin und ist gemeinsam mit Vera Strobel künstlerische Leiterin des Theater o.N.. Sie hat die partizipativen Projekte in Berlin-Hellersdorf mit der damaligen Leiterin Ania Michaelis aufgebaut und konzipiert und leitet sie heute zusammen mit der Theaterpädagogin Cindy Ehrlichmann. is artistic head…mehr

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

Peter Galka

war Vorsitzender der Jury für das Deutsche Kinder-Theater-Fest 2016 und ist Theaterpädagoge am Jungen Ensemble Stuttgart. is a theatre pedagogue at the Junges Ensemble Stuttgart (JES), which hosts the festival “Bright View” (Schöne Aussicht) as an international biennial. He was a member of the ASSITEJ…mehr

Annika Hampel

Dr.works at Karlsruhe Institute of Technology (KIT). She took her doctoral degree at the University of Hildesheim. Her thesis “Fair Cooperation” was awarded the ifa-research award on foreign cultural policy 2015 and the ENCATC Research Award 2015. The focus of her work lies on the internationalization…mehr

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

Grete Pagan

Regisseurin, Übersetzerin und Kuratorin des Festivals Augenblick mal! 2021. Zur Spielzeit 2022/23 wird sie Intendantin des Jungen Ensemble Stuttgart (JES). is a freelance director, directing at Junges Schauspielhaus Düsseldorf, Junges Ensemble Stuttgart, Junges Schauspielhaus Hamburg and Grips Theater.…mehr

Mira Sack

Prof. Dr.Erziehungswissenschaftlerin und Theaterpädagogin. Sie ist Professorin am Departement Darstellende Künste und Film der Zürcher Hochschule der Künste und leitet dort die Vertiefung Theaterpädagogik, lebt in Zürich. is a professor of theatre-in-education at the Zürich University of Arts. At the…mehr

Yvonne Schmidt

Dr. phil.,Dozentin und Leiterin des SNF-Forschungsprojektes DisAbility on Stage am Institute for the Performing Arts and Film der Zürcher Hochschule der Künste. Sie studierte Theater- und Tanzwissenschaft und Komparatistik in Mainz, Paris und Bern und promovierte über nicht-professionelle Darsteller im…mehr

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

Gordon Vajen

Intendant am Theaterhaus Frankfurt am Main.Completed graduate studies in German studies, theatre, film and television studies, and educational theory. He has been the managing director of the Freies Theaterhaus since 1986.

Sara Vajen

has a university degree in sociology, philosophy and psychoanalysis. She has been the project head of ErzählZeit Frankfurt since 2011.

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