platformshift - yearbook 2015

DIGITAL CHALLENGES IN THEATRE FOR YOUNG AUDIENCES YEARBOOK 2014/2015

DIGITAL CHALLENGES IN THEATRE FOR YOUNG AUDIENCES YEARBOOK SEASON 2014/2015

4

PLATFORM shift+ is a larger scalecooperation project announced by the European Commission under their European Culture Funding Stream Creative Europe.

The network of 11 partners from 9countries was created to meet the newchallenges of producing theatre for youngpeople in the digital age. The partnershave identified the urgent need to engagewith digital technology in order tounderstand the target audience. They plan a major investment in theprofessionalization of theatre makers on an international level.

40 theatre productions, correlated to the reality of the digital age, will bedeveloped. In more than 50 activitiesPLATFORM Shift+ will connect theatremakers with young people in an artisticdialogue.

An extensive programme of activities willencourage transnational exchanges ofartists/artistic products and providetraining in digital technology throughCreative Forums.

Partners

1. Pilot Theatre Company (York/Great Britain) 2. South Bohemian Theatre (Ceské Budejovice/Czech Republic) 3. Elsinor Teatro Stabile d’Innovazione (Milan, Forlì, Florence/Italy)4. Emergency Exit Arts (London/Great Britain) 5. Kolibri Theatre (Budapest/Hungary) 6. Theatre Massalia (Marseille/France) 7. Teatro O Bando (Palmela/Portugal) 8. tjg. Theater Junge Generation (Dresden/Germany) 9. VAT Teater (Tallinn/Estonia) 10. Teatret Vårt (Molde/Norway) 11. University of Agder (Kristiansand/Norway)

DIGITAL CHALLENGES IN THEATREFOR YOUNG AUDIENCES

ˇ ˇ

PROJECT MANAGEMENTArtistic Director Dirk Neldner

Literary Adviser Odette Bereska

Project Coordinator Sven Laude

Project Assistance Sophia Neubert

Education / Engagement Mandy Smith (Pilot Theatre)

Creative Forum Marcus Romer (Pilot Theatre)

Youth Work Andrew Siddall (Emergency Exit Arts)

Financial Administration Charles Moore (Pilot Theatre)

Financial Assistance Jackie Raper (Pilot Theatre)

Support Project Administration Lucy Hammond (Pilot Theatre)

Monitoring Gunnar Horn (University of Agder)

Website & Social Media Administration Sam Johnson (Pilot Theatre)

6CONTENTS

8 Gunnar Horn “Attention! There is a PLATFORM shift”

12 5th Annual Encounter Programme

14 Preface Alvaro Balseiro Amaro, Mayor of Palmela (Portugal)

15 Preface Teatro O Bando

16 My Digital Addiction

17 Preface Dirk Neldner, Artistic Director PLATFORM Shift +

20 Lisbon Theatre and Film School (ESTC)

22 Digital Addictions

24 PLATFORM Shift + Creative Forum

Creative Forum speaker / workshops26 Dr. Kristin Alford27 Sarah Ellis28 Hannes Grassegger29 Stephan Jürgens30 Martin Zepter32 Philippe Domengie34 Friedrich Kirschner36 Samuel Schwarz

38 My Digital Addiction

40 PLATFORM Shift + National Productions Introduction

National Productions42 Pilot Theatre Company (York/UK)46 South Bohemian Theatre (Ceské Budejovice/CZ)50 Emergency Exit Arts (London/UK)54 Elsinor Teatro Stabile d’Innovazione (Milan, Forlì, Florence/IT)58 Kolibri Theatre (Budapest/HU)62 Theatre Massalia (Marseille/FR)66 Teatro O Bando (Palmela/PT)70 tjg. Theater Junge Generation (Dresden/DE)74 VAT Teater (Tallinn/EE)78 Teatret Vårt (Molde/NO)82 University of Agder (Kristiansand/NO)

86 Workshop Actor’s Conscience on Stage João Brites (Teatro O Bando)

87 Workshop Audience Development

88 Digital Addiction

ˇ ˇ

7| Table of Contents

PLATFORM Shift + Partners (Presentation & Reference Production)90 Pilot Theatre Company (York/UK)94 South Bohemian Theatre (Ceské Budejovice/CZ)98 Elsinor Teatro Stabile d’Innovazione (Milan, Forlì, Florence/IT)102 Emergency Exit Arts (London/UK)106 Kolibri Theatre (Budapest/HU)110 Theatre Massalia (Marseille/FR)114 Teatro O Bando (Palmela/PT)118 tjg. Theater Junge Generation (Dresden/DE)122 VAT Teater (Tallinn/EE)126 Teatret Vårt (Molde/NO)130 University of Agder (Kristiansand/NO)


134 World Assitej Advertisement

136 PLATFORM Shift + Activities

140 Timeline


145 Addresses

146 Imprint

ˇ ˇ

8

Attention! There is a PLATFORM shift.“ PLATFORM 11+

2nd Annual Encounter Budapest (HU) 2010 Schoolyardcrossers

Gunnar Horn Associate Professor Theatre,

Director of Centre for Teachingand Learning, University of Agder(Norway), storyteller, director and

author with a special focus onTheatre for Young Audiences.

9| Gunnar Horn ATT

ENTION! T

HER

E IS A PLA

TFORM

SHIFT!When Harry Potter takes the train to

Hogwarts from PLATFORM 9 ¾ at King’sCross Station, he travels from one reality and into another. Now we have leftPLATFORM 11+, let us bring along some of the experience we have gained, on ourway into the digital world of PLATFORMShift. We travel from the playground as weexperienced it, to playgrounds characterizedby other forms of communication. How far isit from PLATFORM 11+ to PLATFORM Shift?

"Artistic Discoveries in EuropeanSchoolyards" was the theme of the lastround of PLATFORM. Are the stories abouttoday's schoolyards significantly differentfrom earlier ones?

In many European schoolyards we seeyoungsters with their eyes firmly fixed onmobile screens, busy communicating witheach other, often side by side, the blue lightof the mobile screen enthrals them. It'salmost magical, like Harry Potter’s universe.Everything can be something different fromwhat it seems and everything is actuallysomething else. Through the screen, thejourney to Hogwarts is the easiest thing inthe world. So much is similar, but so much is different.

Today’s playgrounds are characterised by youngsters’ use of digital media, andindeed it is a major part of their lives, inmany ways significantly different than 10 to 15 years ago.

This is what we will examine through artisticand educational art creation.

However, are today’s young people soessentially different from the youngsters of10 -15 years ago? They play, formrelationships, experiment and adapt as theyhave always done. They talk to each otherand relate to each other and to adults. Theylearn new skills. Perhaps they play outside farless, but they are constantly active,physically and mentally.

GUNNAR HORN

10

One major difference is the current diversityof channels for information andcommunication. Today’s youth have severalmeans of acquiring information and moreways to communicate than ever before.

Many have in the past expressed concernabout technological development and itsinfluence on children and adolescents. Doesit take away essential elements that areimportant for the development of theirintellectual and communicative abilities?

There is one thing we can be sure of: Digitaldevelopment will not stop; we are in themidst of a revolution that affects us all.

PLATFORM 11+ brought theatre peoplefrom very different parts of Europe togetheraround artistic reflections on child andadolescent life in and around theplayground.

We learnt that the artistic expressionsaround Europe are quite different, that theperception of what kind of theatre is suitablefor children and young people are different,and that the perception of what goodquality theatre for young people is differentdepending on the eyes with which we see it,culturally, socially, aesthetically or politically.

Is this technological revolution in the processof putting theatre on the sidelines? The possibilities of digital creation andinteraction have become so numerous and so easily available that theatre could be seen as unfashionable.

Youngsters are familiar with digital mediaand the Internet; they are creative and mosttake for granted that they can always beonline. They prioritise images, sound andmovement rather than text and arecomfortable with multitasking.

But today's children and adolescents are nota homogeneous mass. There are largedifferences in how much time they spendonline, what they actually do and theirattitudes to technology.

In the landscape of theatre - the directart form, the art form of presence willsurvive. The big challenge will be how the"analogue" and "digital" world can melttogether, how new electronic mediaforms and expressions on the one hand, and the direct language of the theatre on the other can interact andfertilize each other. Those who see possibilities in new technologicaldevelopment will be in the forefront. So, how are we going to use all the new forms of communication to tellimportant stories about adolescent life in 2015?

11| Gunnar Horn ATT

ENTION! T

HER

E IS A PLA

TFORM

SHIFT!

SUNDAY, JUNE 7 ARRIVALS20.00 Dinner LisbonMONDAY, JUNE 8 CREATIVE FORUM10.00 Opening 10.30 TED like speeches by

Dr. Kristin Alford (AU), Sarah Ellis (GB), Hannes Grassegger (CH), Stephan Juergens (PT) and Martin Zepter (GER)

13.00 Lunch break14.00 Hands on Workshops by

Friedrich Kirschner (GER), Stephan Juergens (PT), Phillipe Domengie (FR) and Samuel Schwarz (CH)

18.30 Closing Session 18.30 Shuttle to Setubal (hotels)20.00 Dinner in Setubal

TUESDAY, JUNE 910.30 Welcome and walk to

Teatro O Bando12.00 Set up for the presentations

of the national plays/concepts (1)

14.00 Lunch15.00 Set up for the presentations

of the national plays/ concepts (2)

16.00 Presentations of the national plays/concepts 1 (each 30 min)

20.00 Dinner21.00 Presentations of the national

plays/concepts 2 (each 30 min)

WEDNESDAY, JUNE 10Half Day off (including offer for boat excursion) 11.00 Advisory Board Meeting

(only directors of the partner institutions)

14.00 Lunch17.00 Evaluation, discussion

about presentations of national plays/concepts

20.00 Dinner21.00 Performance by

Teatro O Bando

PROGRAMME 6TH ANNUAL ENCOUNTER AND 1ST CREATIVE FORUM

PROGRAMME 6TH ANNUAL ENCOUNTERAND 1ST CREATIVE FORUM JUNE

THURSDAY, JUNE 1111.00 Workshop for actors

(by João Brites, artistic director Teatro O Bando) Workshop “Audience Development”

13.30 Lunch15.00 Workshop for actors

(by João Brites, artistic director Teatro O Bando) Workshop “Audience Development”

18.00 Presentation of the actors workshop in Palmela

20.00 Dinner21.00 Presentation of the movie

“The knife That killed me” (by Marcus Romer, artistic director of Pilot theatre

FRIDAY, JUNE 12Departures

TEAM 6TH ANNUAL ENCOUNTER

TEATRO O BANDO Artistic Direction JOÃO BRITES International Relations RAUL ATALAIA General Coordination SARA DE CASTRO Stage Management FÁTIMA SANTOS Production Management MIGUEL JESUS Technical Direction GUILHERME NORONHA Training Coordination JULIANA PINHO Communication JOÃO NECA Audience Relation MARGARIDA MATA Treasury PAULA GATO Reception RITA BRITOKitchen LUCIA RUS Assistant PLATFORM Shift+ MARGARIDA ANTUNES

PLATFORM SHIFT +Artistic Director DIRK NELDNER Literary Adviser ODETTE BERESKAProject Coordinator SVEN LAUDE Project Assistance SOPHIA NEUBERTTechnical Support BENJAMIN DAVID PUGH (PILOT THEATRE), KATRINE TORP (UNIVERSITY OF AGDER), TALE SOLFJELD (UNIVERSITY OF AGDER)Support Annual Encounter ELISA BRAUN, JOHANNA MALCHOW, NIENKE-MARIE TREIKAUSKAS

ESTCCoordination ÁLVARO CORREIA, FRANCISCO SALGADOProduction and PR Management PEDRO AZEVEDOProduction Management CONCEIÇÃO ALVES COSTA

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In Palmela, we believe that networking isan important part of our developmentstrategy. This is based on a deepconviction that we are stronger together.

Proud of our rich natural and culturalheritage – in which the Arrábida mountainrange and the Sado river play anunmistakable role – the municipality iscommitted to the defense and promotion ofthe local ancestry, the memories, the uniqueknow-how that is transmitted fromgeneration to generation. This can be foundin products such as wine, cheese ortraditional pastries, in the handicrafts or inthe activity of our secular philharmonicorchestras, our folk groups, our choirs andamateur theatre groups.

The relationship that we’ve been developingand solidifying with professional theatrecompany O Bando, over the last 15 years,has allowed us to broaden our horizons,taking the best we have to offer to newaudiences and conquering the streets (apriviledged stage for the arts), opening us to the world, in a tapestry of differentcultures and relationships that leave usricher in our diversity.

The PLATFORM shift+ project fits perfectlyinto the work and purposes we have defined,concerning our cultural policy, inviting thelocals to participate and allowing us all totake a step further in sharing newexperiences, new colors, and new artisticlandscapes.

PREFACE

ÁLVARO BALSEIRO AMAROMAYOR OF PALMELA, PORTUGAL

So, dear friends, we welcome you toPalmela and hopeyou feel at home!“

15| Preface ÁLVARO

BALSEIRO

AMARO

& TEA

TRO O

BANDO

Once again Teatro O Bando hosts anothergreat Encounter. An Encounter that, likeall the others before, is intended to bedisquieting.

Disquieting because we still contend thatonly by confronting each other and bydeveloping our critical sense may westrengthen our own artistic convictions.

The diversity of thoughts, experiences andprojects that each one will share here, willcertainly breathe new life into those that intheir own countries, their own regions, theirown communities, still defend the artisticwork for a young audience.

We share with our European partners thebelief that the Arts and Culture are

fundamental engines to free thought,developing perceptions, sensations, ideas,fictions and strengthening our capacity toexpand our knowledge throughout life andsociety and to exercise that liberty ofthought against grey, common placeopinions.

We expect that the variety of artisticprojects within Platform Shift+ may be theparadigm of the Europe we dream of, onethat is alive, dynamic and diverse. We hopethat this statement of differences may beexplored to help build a many cultured map,and that this mixing and taking on of ideasisn’t just founded on an artificial gatheringbut also by a shared vision.

There are several training sessions, creativework presentations, meetings and collectivemeals planned so there will be enoughinformal occasions where the smiles andgazes will say more than words. Like intheatre, we believe that in these Encountersideas allied with emotions have a trulytransforming power.

We also know that concrete spaces definethe nature of each Encounter and so, thespaces will be diverse. The ESTC (Theatre and Cinema College), the Arrabida hill,Palmela village…

And so, may this be a disquieting andinspiring encounter for all,

The Team of Teatro O Bando

PREFACE

TEATRO O BANDO

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I am a man from the stone age. It takes me a long time to get usedto new things. I’m still not capable of using a touch screen, I needhelp to connect different devices or use new programs. Apple is amystery to me – I can’t even find the internet button.

Although, I have found one good place online, a promised land – it’scalled YouTube. Channels like Badge of Shame, TYT, What the Flick,Hishe, Fine Bros, ERB, College Humor and many more form a kind ofcomfort zone for even prehistoric men like me.

Mihkel Seeder (Dramaturge VAT Teater, Tallinn, EE)

I am responsible for most of our theatre's social mediaconnections so I am used to staying “connected” most of the time.Outside of work it also gives me the opportunity to connect andcheck back in with everyday life and old friends from studying abroad(that are spread across the globe) during my lunch break. Since wehad a great time together back then in New York I regularly catchmyself digging deeper into everyday life there to stay somewhatconnected to the place, even though I haven't been there for almostten years. It may sound strange but this addiction is mostly aboutreally banal things: Does the weather forecast suggest a good timefor hiking the Catskill Mountains this weekend? There seems to be adifficult game ahead for the Binghamton Bearcats. OMG, there is asale at the university bookshop on Thursday!

Norbert Seidel (PR, tjg. Theater Junge Generation, Dresden, GER)

MY DIGITAL ADDICTION “MY DIGITAL ADDICTION” IS GOING TO BE A COLLECTION OF SHORT TEXTS BY THE EUROPEANARTISTS, WORKING FOR PLATFORM SHIFT. WE ARE ALL IN A PROCESS OF SHIFTING – AFTER FOURYEARS OF THE PROJECT OUR APPROACH TO DIGITAL POSSIBILITIES WILL HAVE CHANGED FOR MOST OF US. BUT WE OF COURSE ALREADY HAVE FAVOURITES, PASSIONS, ADDICTIONS AND EVEN OBSESSIONS IN TERMS OF THE CONNECTION WE HAVE WITH THE VIRTUAL WORLD. IT IS GREAT TO GET AN INSIGHT IN SOME OF THEM:

17| Preface DIRK NELDNER

iREVOLUTIONA REVOLUTION IS A FUNDAMENTAL CHANGE IN POWER ORGANIZATIONAL STRUCTURES THAT TAKES PLACE IN A RELATIVELY SHORT PERIOD OF TIME.DIRK NELDNER (ARTISTIC DIRECTOR PLATFORM SHIFT+)

In my youth, I had a dream about beingable to participate in a revolution in(West) Germany. Unexpectedly, thepeaceful revolution happened “overthere” in the other part of Germany.After all this waiting, I am finallyexperiencing a revolution! A digitalrevolution that challenges us in verymany different ways. The Digital Age haschanged us and will continue to changeus. Steve Jobs - the new Che Guevara.

In the Industrial Revolution manual labourwas replaced by steam machines. In themodern revolution the brain power ofhuman beings is being replaced by

computers. For those of us involved inmaking theatre for young people it shouldgo without saying that we must confrontourselves with such radical changes.

Theatre is an artistic medium that aims notjust to portray social processes, but also toinfluence and shape the human debate andcondition. In order to do this, theatremakers must continually examine theworld to discover and understand thechanging realities. Theatre aims to functionfully in the real world, but real life is nowincreasingly experienced on a global level ina range of virtual spaces and platforms. Thedigital world is a reality. Theatre cannot

ignore it. The merging of analogue anddigital reality into a new model of humansociety demands immediate and radicalaction from theatre. Theatre must shift as ithas done many times throughout history.The world has changed and theatre mustchange too.

This central truth is nowhere moreimportant than in the field of theatre madefor and with young people. We have aspecial responsibility to introduce youngpeople to an artistic medium, which bringstogether real human beings in real timeand place. We must inspire them to believein theatre as a unique way of exploring

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European values and cultural legacy andsharing it globally. Our ability to meet thisresponsibility depends entirely on our ability to connect with the young people.Adolescents look for artistic products thatreflect the world they live in.

Today’s young people are digital natives,who naturally inhabit the virtual world. The impact of digital technology goes much deeper than their everyday use. It influences their behaviour in the ways they communicate and how they expect to contribute to the world.

The traditional model of theatre - as aspecialist provider where a few peopleproduce for a wide group of passiverecipients - no longer matches the spirit ofthe times. New content and forms must befound. An aesthetic debate in theatre foryoung audiences has to be initiated.

If theatre made for young people does notacknowledge this new reality in its processesand products, young audiences will be losttoday and future audiences will not exist.

Digital technology is not the enemy oftheatre. It is the reality of modern life,but also a powerful tool we can use torenew theatre. The changed capabilitiesand expectations of the young usersdemand recognition. Young people areready to play an active role in thecreation and dissemination of theatreproducts. To stay with that image, theatrefor young people must make itscontribution to this digital revolution.

The key to change is real acknowledgementand deeper understanding of how the digitalworld (the revolutionary forces) operates. We need to know how young people use itand the influence it has on their behaviourand thinking. We need to explore how it canbe used to meet theatre’s objectives. And we need to keep the unique nature oftheatre as a live medium in the digital age.

The future is being constructed every day in the hands, minds and virtual activities ofyoung people. Theatre can shift to be part of the world they build. It can provide theyoung people with unique artistic tools toexamine and shape this world.

As real and virtual worlds became one realityfor the young, theatre must, can and finallywill shift. The challenges facing theatre foryoung people in the digital age will provideopportunities for audience development and engagement, artist professionalization,artistic exploration and the creation ofground-breaking new work. This is the beliefof the partners from across Europe who have united to PLATFORM Shift+.

In order to approach the self-imposed goalsPLATFORM Shift+ will organize an annualCreative Forum. The first forum will takeplace in Lisbon, in co-operation with theESTC (Lisbon Theatre and Film School). InTED style talks and workshops, we intend tostimulate and provoke, to present new ideas,to discuss and above all we want to work

19| Preface DIRK NELDNER

together on creating a broader acceptancefor the digital revolution. This knowledge of the steps involved in the digital change(technical as well as sociological) is of vitalimportance to young theatre makers.

Children of the RevolutionWell you can bump and grindAnd its good for your mindWell you can twist and shoutlet it all hang outBut you won't fool the Children of the RevolutionNo you won't fool the Children of the RevolutionMarc Bolan

Over the next few years, in the numerousPLATFORM Shift+ productions, we will beable to see how European artists deal withthis large and significant theme. I am reallyexcited about this, but first and foremost, Iam very much looking forward to ourCreative Forum 1 and the PLATFORM Shift+Annual Meeting, which will be the 6thMeeting if we include the PLATFORM 11+Meetings.

In reference to the dreams I had as a youngman: the choice of Teatro O Bando as hostfor this Annual Meeting is surely no accident.The history of Teatro O Bando is tightlyconnected to the Portuguese CarnationRevolution in 1974. Through my many yearsof following the work the Artistic DirectorJoão Brites and his o bandos, I have learntthat one doesn’t have to give up one’s idealsas one grows older. With this youthfulidealism, we will shape a platform forTheatre for Young People for the future.

May 2015

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LISBON THEATRE & FILM SCHOOLESCOLA SUPERIOR DE TEATRO E CINEMA (ESTC)

The Lisbon Theatre and Film School(ESTC) was born in 1983 and has itsorigins in the National Conservatorycreated by Almeida Garrett in 1836.

The ESTC has been integrated into thePolytechnic Institute of Lisbon since 1985and proceeds with its objectives in Theatreand Cinema studies, preparing students witha high level of professional qualification,research activities, experience, artisticproduction and community projects.

The ESTC has 2 departments: Theatre and Cinema.

Since the academic year 2006/2007, theTheatre Department has offered a TheatreCourse (3 years) with the following branches:Acting, Costume and Stage Design andProduction Management. In addition to thiscourse, since 2007/2008 the department hasoffered a Masters in Theatre withopportunities for specialism in Directing,Costume and Stage Design, Performing Arts,Production and Theatre in the Community.

In the Cinema Department, there is also acourse in Cinema covering the followingsubjects: Cinematography, Sound, Editing,Production, Direction and Screenwriting, anda Masters in Cinema Project Development.

All of the programmes include practicaltraining and/or, an internal or external, finalstaging project, as well as a film production.This structure permits a strong relationshipwith the professional venues and activitiesoutside the school.

21| Escola Superior de Teatro e Cinema LISB

ON

The ESTC works with European programmes such as ERASMUS +, through bilateralagreements with schools in Europe outsidethe programme and with schools anduniversities all over the world, for students,teachers and staff exchanges.

The ESTC is a full member of CILECT –Centre de Liaison des Écoles de Cinéma et deTélévision and GEECT – GroupementEuropéen des Écoles de Cinéma et deTélévision, and also a member of École des

Écoles, a special group of Theatre Schools in Europe. In 2007 the ESTC and theUniversidade do Algarve created a ResearchCentre in Communication and Arts called theCIAC. It aims to develop applied researchand research networks in arts andcommunication.

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MY DIGITAL ADDICTIONAt the moment, I’m captivated by Karen. It is an app by Blast Theory,developed in partnership with National Theatre Wales, which mergesserialised narrative and interactivity through the intimate platform ofyour phone.

I also have Readability installed on all of my devices as it stores textfrom web-pages so that you can read articles offline.

UbuWeb is one of my favourite websites. It is a fantastic and vast educational resource that archives and shares avant-garde materials freely online.

www.blasttheory.co.uk/projects/karen/ www.readability.com/ www.ubuweb.com/

Sam Johnson (Digital Officer Pilot Theatre, York /UK)

“

MY DIGITAL ADDICTIONI never had time to write a diary but lately I have to take pictures ofeverything. Pictures taken with an iPhone look quite good and mypicture gallery represents a sort of visual diary. This diary helps me toremember days I would otherwise forget. Therefore it feels like Iexperience more. At the same time a written diary records only whatI write in it, while pictures preserve what really happened so that wedon’t idealise it too much.

On the other hand there is the possibility of adding a nice colourful filter to a picture so it ends up being the same as the memory.Janek Lesák (Director, South Bohemian Theatre (Ceské Budejovice/CZ)

23| My Digital Addiction “

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PLATFORM shift + and lead partner PilotTheatre (UK) bring the internationallyacclaimed SHIFT HAPPENS conferencemodel to a new transnational audience witha mix of global experts, seminars, practicaldemonstrations and participation. TheCreative Forums will be attended byPLATFORM shift+ delegates and are also open to a local/regional publicaudience. Global audiences will beconnected through digital channels.

In the first 3 seasons the Creative Forumtakes place at a single theatre partnerlocation. In the final season each theatrecreates its own Creative Forum at its homelocation in 10 European cities.

In order to involve young people asaudiences/participants in seasons 2 & 3International Youth Encounters take placealongside the Creative Forums. In season 4 young people will participate fully asperformers, co-creators and audience.

Each Creative Forum focuses on a differentaspect of the theatre/technology partnershiplinked into specific phases of PLATFORMshift+: In Season 1 the title of the CreativeForum is shift/alt - Arts Learning Technologyand is related to the implementation of theproject and to the National Production.

CREATIVE FORUMS IN EDUCATIVE OPPORTUNITIES CONCERNING DIGITAL TECHNOLOGY AREDELIVERED THROUGH ANNUAL CREATIVE FORUMS, A MEETING WITHLECTURES AND TRAINING OPPORTUNITIES.

25| Creative Forums Introduction - Marcus Romer P

ILOT TH

EATR

E/UK

The idea behind Creative Forums, thesesharing and learning events, is based onthe Shift Happens Conference modelthat Pilot Theatre has run since 2008.These again were modeled on the TEDand TEDActive format from the USA.

Here speakers would speak for no longerthan 20 minutes and prepare their talks aspresentations for a live audience. Their focuswas on technology, entertainment anddesign. It was in this format that speakerswith great slides and images would tellcompelling stories and present complextechnologies or ideas in a direct and easilycommunicated way.

The purpose of this was to breakdown froma more potentially academic format into amore accessible and performative experiencefor a wider range of audiences. These TEDtalks were then shared online and have beenused and seen freely all over the world,thanks to the translation and subtitlingprogrammes that have supported them.

These ideas were developed into the ShiftHappens programme, where the talks fromspeakers would be interspersed withpresentations by artists, technologists,gamers, and theatre makers. An environmentwas created to allow crossover ofconversation with food, drinks, social spacesand these talks to provide a creative andlearning environment.

With our project PLATORM Shift + - we aimto develop these further and extend thereach with our live streaming and subtitlingwork, to allow for the talks and presentationsto be shared across the web and to act asongoing resource material for the project.

There will be workshop and learning sessionswhere the issues of the opportunities forcreating work with, for and by young peopleutilizing the ideas from the emergent andexisting new platforms and technologies.

MARCUS ROMERARTISTIC DIRECTOR PILOT THEATRE/UK

26

There are five ways to see the futureThere are five ways to see the future, andmost people only use one. They rely on whatthey know. If we are to open up new spacesfor creativity and possibility, we need to lookbeyond our immediate circles, and beyondour hunches of the future, to imaginesomething new."

Summary on a 10 minutes speech: 1. Past Experience - our expertise, our

networks. This is not necessarily narrow, it's just limited (1 min)

2. Distributed Present - what else can we see that we don't yet understand, that's happening now.

Moves towards citizen engagement (journalism, science, manufacturing), asynchronous, temporary and curated memory communication (e.g. Slack, Snapchat, Instagram) (4 mins)

3. Project Futures - high, low, medium, we've expanded a bit. How do we appreciate the ridiculous? (1 min)

4. Envisaged Futures - values, metaphors, desire (2 min)

5. Emerging Futures - social technologies for the Anthropocene (2 min)

Dr. Kristin Alford will be joining usvirtually from Adelaide, Australia.

CREATIVE FORUM – SPEAKER

DR. KRISTIN ALFORD

Dr. Kristin Alford uses foresightand strategy frameworks to helporganisations and individualsdiscover new insights. Sheestablished Bridge8 in 2004following careers inengineering, human resources and product developmentacross sectors including

mining, R&D, aviation, agricultureand nanotechnology.

Kristin Alford holds a PhD in processengineering and a Masters of Managementin Strategic Foresight. She is a graduate ofthe Australian Institute of CompanyDirectors and a Fellow of the Governor'sLeadership Foundation. She was recently a member of the Australian Government'sExpert Forum on Enabling Technologies and served on the board of the AustralianNetwork for Art and Technology from 2007-2012. She is the licensee and organiser ofTEDxAdelaide.

27| Creative Forum DR. KRIST

IN ALFORD

& SARA

H ELLIS

What are the new possibilities for culturein a digital age? As we develop new ways ofworking through digital possibilities, newroles are helping define how an artsorganisation navigates the C21st.

Sarah Ellis is the Royal ShakespeareCompany’s first Head of a DigitalDevelopment working on new artspartnerships and initiatives for the company.She will share her experiences of working onthe RSC's digital strategies to date. Sharingher work on previous programmes such asthe online commissioning platformmyShakespeare and the reinterpretation of AMidsummer Night's Dream in partnership

with Google Creative Lab. Taking place overone weekend audiences were invited toparticipate by creating their own events,characters and content. Audiences could alsoengage by attending site-specific extracts ofthe play following its original time-line.

She will talk about the opportunities,challenges and the possibilities for thefuture.


SARAH ELLIS

Sarah Ellis is an award winning producerCurrently working as Head of DigitalDevelopment for the RoyalShakespeare Company. In 2013 shewas listed in the top 100 mostinfluential people working in Gamingand Technology by The Hospital Cluband Guardian Culture Professionals. Inpartnership with Google’s CreativeLab, she recently produced

Midsummer Night’s Dreaming, which wontwo Lovie Awards for Innovation andExperimentation. In 2012, she producedmyShakespeare, an online artisticcommissioning platform for the WorldShakespeare Festival. In 2011, she was theproducer of the RSC’s new work AdelaideRoad, which mixed live performance with anapp and website map. As a producer, she hasworked with the Old Vic Tunnels, BatterseaArts Centre, Birmingham REP and manyothers. She has been Head of CreativeProgrammes at the Albany Theatre andProgramme Manager for Apples & Snakes,England’s leading performance poetryorganisation. She is a regular speaker andcommentator on digital arts practice.

28

We no longer own ourselves. We aredigital serfs... It’s an old trick. They lureus with new land, ready to plow, with‘platforms’, and in return they keep theharvest. Our thoughts and feelingsencoded into letters and numbers.

This is the beginning of Das Kapital bin ich (Iam Capital), a short pamphlet by HannesGrassegger, angrily dubbed “capitalist Mini-Manifesto” by the German left. Das Kapitalbin Ich describes what happens to us in theage of Semio-Capitalism – a world whereour personal data has become “the new oil”.

Grassegger’s work unveils the shape of thenew data capitalism that is currentlyrevolutionizing our globalized business grid –

and starting to control our personal lives upto the most intimate situations. By analyzingthe Terms and Conditions as the “law of theland” of the social platforms we now inhabit,as well as the investment strategies of “BigData” companies like Google or Facebook,Grassegger lays out surprising analogiesbetween historical feudalism and the newdigital capitalism.

But moreover, Grassegger is optimistic. He envisions a move forward: a capitalistproposal for overcoming the current feudalpower structures of data-capitalism. Hispresentation will show how the personaldata-based semio-capitalism works – anddeliver insights into the technologicalstrategies that Silicon Valley is using for this.

Hannes Grassegger will be joining usvirtually from Zurich, Switzerland.

Hannes Grassegger (1980) is a Zürich basedeconomist and author of Das Kapital bin Ich(Kein & Aber, 2014). Grassegger is obsessedwith the financial aspects of the currentdigital disruption processes and theemergence of a world where our identitiesare part atoms, part bits. He is probably thefirst Post-Internet-Economist. Grassegger isan associate with W.I.R.E., a think tankfounded by Collegium Helveticum of ETHZürich and the University of Zürich. Hewrites for leading German-languagemagazines such as Die ZEIT Magazin and SZ-Magazin.


HANNES GRASSEGGER

29| Creative Forum HANNES

GRA

SSEG

GER

+ STE

PHAN JÜ

RGEN

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CREATIVE FORUM – SPEAKER & WORKSHOP

STEPHAN JÜRGENS

New Digital Tools for the Creative Processand BeyondHave you ever experienced one of thosemagical moments in a rehearsal and laterfound yourself unable to recuperate it forthe final version of the stage performance?Currently many professionals in all areas ofthe performing arts debate passionately howto document such precious moments inrehearsal in an unobtrusive way and retrievevital information from hours of videorecordings in an efficient way.

The author of this presentation is a choreographer and theatre interaction designer who was invited to collaborate with a teamof researchers towards the development of anovel video annotation tool supporting thecreative process in the performing arts. Hewill use examples from his own artistic practice to introduce possible applications ofthis recent methodology both in moreconventional and experimental productionsof theatre pieces.

Stephan Jürgens holds a Ph.D. inContemporary Choreography and NewMedia Technologies. His research interestsconcentrate on designing creative strategiesfor live performance involving interactivesystems. He has been teaching movementresearch, interdisciplinary choreography andinteractive system design in many differentlearning environments and institutions. Hecollaborated on several internationalresearch projects. As a choreographer, he haspresented several works supported by thePortuguese Ministry of Culture. www.sjurgens.net

30

Theatrale subversion’s EPNOTIA and theuse of theatrical structures in video-walksthrough public space as a key toaugmented reality.

In 2014 the artist collective theatralesubversion created a video-walk in a districtof Dresden that is currently threatened bygentrification. As the visitors were sent on a walk through the neighbourhoodindividually, guided by a video onsmartphones, they met three maincharacters inside the video who werediscussing the benefits and negativeconsequences caused by gentrification.

These figures werepart of a fairytale-like backgroundstory that wedeveloped to get a more distanced view on the topic and togive our discourse further validity.

There was a wizard who saw businessopportunities everywhere and magicallyturned run-down areas into cash cows. Heobviously represented the investors. Hiscounterpart was a young anarchistic girl andher friends who represented the alternativecommunity of the district. And in betweenwas a lady called Miss Cityplania, whorepresented the community trying to

moderate the process and smooth downdifferences.

In my workshop I will first introduce theparticipants to the way we shaped theproject. In the second part we will developnew ideas in a moderated group devisingprocess.

Here is a link to a short scene ofEPNOTIA: http://theatrale-subversion.de/epnotia-arbeitstitel-premiere-mai-2014/


MARTIN ZEPTER

31| Creative Forum M

ART

IN ZEP

TER

Martin Zepter (1976 Ansbach/GER) is adirector, performer, and producer forindependent art projects. He studied English,German, and philosophy in Wuerzburg,directing at Rose Bruford College in Sidcup(Greater London) and theatre, arts andmedia in Hildesheim. In 2004 he foundedthe artist collective “theatrale subversion”.The collective develops new productionsthat aim to find experimental approachesfor political issues.

In 2009 he managed the PR for theinternational theatre and performance festivalTranseuropa in Hildesheim. Between 2005 and2010 he was executive director forTheaterhaus Hildesheim e.V. Since 2010 hehas mainly worked as a developer for projectsbetween arts, education, politics and society,mixing art forms like performance art, streetart, installation, video, and theatre. The bestknown example of this work is X pe d/t itions(2012-2014), a two year Dresden based,federal funded, artistic research project withtheatrale subversion.

www.theatralesubversion.de email: [email protected]

32

Green screen A green screen is just that, a green screen,but without Chroma Keying it is not muchuse. Chroma Keying is the process by whicha specific colour element (Chroma) isremoved from a video scene and replaced(keyed) with a different element. Essentially,it’s the way video producers remove onebackground and replace it with another. Youwill have seen hundreds of examples of thisin films, such as superheroes flying in thesky, and on TV, as it’s the process used whenyou see someone presenting the weather infront of a moving map.

Green or blue screens have become theindustry colour standard for Chroma Keyingsince it was invented in the 1940s. Unlikeother bright colours such as Yellow and Red,neither are found within any skin tone andthis is very important. For effective ChromaKeying, the distinction between what youwant to keep (the presenter) and what youwant to remove and replace (the greenbackground) has to be made. Therefore usinga green or blue screen means there is nochance of the background mixing with theskin tone of the subject.

At the same time, lighting the subject mustbe made to match the lighting of the scenein which the performer will be keyed asmuch as possible.

All that said, we will talk about adapting thisstudio technique to live stage.

CREATIVE FORUM – WORKSHOP

PHILIPPE DOMENGIE

From my experience, the main skill in the art of achieving aperfect Chroma Key effect is lighting. Powerful lights areneeded to increase the intensity of the backdrop to give a strong consistent colour to work with.“

33| Creative Forum PHILIPPE

DOMEN

GIE

Philippe Domengie (42) left his maths and physics studiesin Lyon for a Jazz School. He then played guitar in manybands before he arrived in Grenoble, where he foundhimself at the controls of a recording studio and crossedpaths with Sinsemillia, Gnawa Diffusion and BarbarinsFourchus. Then, in love, he discovered Street Art in Annonay.Living above a printing house, photography and videobecame part of his daily life. Depressed by the weather, hesettled in caravans near Aix en Provence to join acontemporary circus. He produced the first album of thesinger Anais, which became a platinum selling album. Then,in love again, he moved to Marseille and collaborated withmany artists as musicians, actors, directors, and dancers. Hefounded the collective Le Nomade Village, whose mission isto collect all these universes. Since then, he has become adad, a director and a producer. He works on various projectsincluding the companies L’Entreprise (François Cervantes),Dynamo Theatre (Joelle Catino) Dehors / Dedans (ClaireLasne Darcueil). He was the artistic director of the firstdigital creation Overclock Festival edition (May 2015) andwill realise a multimedia installation for the nationalmuseum Le MuCEM (Marseille) in 2016.

www.lenomadevillage.comwww.facebook.com/[email protected]

34

Performing VideogamesWhat happens to screen based games whenwe transfer their rules and conventions tothe real world? To what extent are screenand gamepads just vehicles that make itokay for us to play, a sort of technologicalexcuse? And how can they be emulatedand/or exchanged with everyday objects?

Friedrich Kirschner is a theatre director, animator and software developer. He re-purposes computer games and real-time animation technology to hybrid narratives and interactive performances.

His work has been shown at variousinternational animation festivals andexhibitions, including the Laboral Gameworld exhibit in Gijon, the AmericanMuseum of the Moving Image in New York,the Ottawa international Animation festival,the Seoul Media Art Biennale, the HAUBerlin, and Berlin concert hall.

He was the director of the MachinimaFilmfest in New York in 2008. Friedrich is currently Professor for digital media in Puppetry at the University for Performing Arts "Ernst-Busch" in Berlin.


FRIEDRICH KIRSCHNER

35| Creative Forum FRIED

RICH KIRSC

HNER

36

Polder – Transmedia Experience Escapism, internet addiction, burnoutsyndrome and off-line longing are topicsthat are currently generating great concernfor people. There are almost noconversations that do not revolve around thedesire for dissociation from the flow of data.Terrible events such as the attacks inNorway (2011) - also associated withpsychopathic escapism, conspiracy theoriesof internet mania, and malicious fantasy–made clear to us, that it is time for atransmedia story that reflects these issues.

For us, the most interesting aspect of ThePolder is the ambiguity of the digital cloud,the fascination with it, and its dangers.People today are fascinated by the narrativepossibilities of the digital world and by theoption to share and link their individualfantasies with those of other people. At thesame time the focus always lies in theportrayal of the dangers of these escapistparallel dimensions. The Polder is a dystopia,a counter-utopia, a fictional futuristic storywith negative outcomes, infused with lustand imagination. We are interested ingathering these topics in a genre plot thatengages with our archaic fears. Inspired bythe originality of Japanese genre cinema likeRingu and The Grudge, I mix in the

philosophy and concepts of The Polder withtopics from western society.

The transmedia approach - a film, anAlternate Reality Game (ARG) and onlineplatforms - is the essence of the wholeproject entitled The Polder. The narrativegrows from only one seed of a story anduses it for all platforms. To be able to usecurrent smartphone technology for narrativestrands is crucial for the ARG. The ARG letspeople take advantage of currenttechnologies, but it also brings themtogether in real urban spaces throughtheatrical events and interactions. In 2013we realised three theatrical ARG. Of coursewe had a special target group in mind, thesewere young people, techies, gamers, and


SAMUEL SCHWARZ

people who use the big brands like Google,Facebook, and Apple. In 2015 we will releasethe movie of Polder and will mix the movie-release with other ARGs.

In the workshop we will discuss the chancesfor theatrical and storytelling forms likePolder. Polder was funded with public andprivate money – and this aspect will bediscussed in the workshop, because thefunding institutions from Zurich and state(Pro Helvetia) supported the project becauseof it’s critical potential (analysis of big data,internet-addiction), but private partners likeSamsung supported it because the projectfor them was an ideal platform for branding.

The project has to balancethis complex issue and isstill doing so, as we are inmiddle of the release of thePolder movie. We areconfronted with the problemthat the partner doesn’twant the same thing fromThe Polder project. We usethis conflict in a proactiveway, we use it for the contentof the storytelling... but is that a solution?

Samuel Schwarz (1971) lives inZurich. He trained at theSchauspielakademie Zurich andworked as an actor withSchauspielhaus Zürich (inperformances of B. Besson and P.Palitzsch, an important Brecht-Impact). He founded his owntheatre-group 400asa in 1999.He has worked as a director with

big theatres in Bochum, Hamburg, Basel,Berlin (Maxim Gorki Theater) and Maribor. In1999 he directed the film Eden (with R.Signorell) and Aufstand der Unanständigenin 2002 (400asa/3Sat with Ch. Kohler). In2003 he produced Ein Tor für die Revolution(400asa/SFDRS).� Schwarz foundedKamm(m)acher Ltd in 2006 as the cinematicarm of 400asa. Since then he developed thecompany towards transmedia-productions.In 2010/11 he produced and directedKamm(m)acher’s first film Mary & Johnny.2013 - 15 he created Polder, a transmediaexperience.

www.derpolder.com

37| Creative Forum SAMUEL SCHWARZ

MY DIGITAL ADDICTIONI love taking pictures with my phone, and I take a lot of them. Overthe last few years I have been experimenting with many differentapps for photo editing. Apps that give me possibilities for combinephotos creatively with text and emoji to make collages. Apps thatwith using slide bar adjustments or automatic one-touch fixes let memake better looking pictures. Cut and paste apps, which give meoptions to rearrange more photos in one. And apps with templates,stickers, borders and photo corners I can edit onto my pictures. Toinvestigate how I can totally shift the atmosphere in a picture,refocus, zoom in and make playful looks, is something I spend a lot oftime doing. Just by operating my phone I can now make a birthdaycard, invitations, photo books, programs, theater posters and so on.Lots of the photos I also post on Facebook and Instagram. Photoshave become my main way of sharing on social networks.

Marit Wergeland-Yates (Professor University of Agder,Kristiansand, NO)

38

MY DIGITAL ADDICTIONEvery morning and throughout the day I read Netvibes.com, a newsaggregator you can personalise with RSS feeds that you choose. Ihave 5 dongles with 5 to 10 websites each: News, Video, Computer,Sciences, Art and Design.

I have Facebook with a pro account for Collectif Le Nomade Village, itis used for 2 purposes: to promote the Collective and read news fromother sources.

I always use my emails and read a lot of Wikipedia.

My favourite devices: I pad, Hackintosh, and my digital camera. And everything on Arduino world!! I ‘m obsessed by most powerfulcomputer graphics cards, as it’s very useful for video computing.

Philippe Domengie (Digital Artist, Collectif Le Nomade Village,Marseille, FR)

39| My Digital Addiction

I use the Internet frequently tolearn about new techniques andgear: tutorials!!!“

40

In order to develop our audiences we must produce work for them.Theatre is a real life manufacturer of practical work; the creationof new artistic products is at the heart of our artistic vision.“This is reflected in the central place thecreation of new work has withinPLATFORM shift+. We believe in theunique nature of theatre as a livemedium. We do not intend to replace“real theatre” by theatre on the Internet,but as a means for us to discover new

ways to portray young people’s realitylive on stage. Everything we learn aboutdigital technology and discover fromEuropean colleagues and young advisorsflows back into the creation of artisticproducts.

As part of the project plays/ concepts/(co-) productions will be developed by all theatres on a national, bi-national andinternational level. Within the four yearseach theatre guarantees the productionof at least four shows.

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The National Production is in the focus of the first project period.

The PLATFORM shift+ - productionprogramme started with an Artistic Kick-Offmeeting in Budweis (CZ) to bring togetherwriters/directors/theatre makers/videoartists from each theatre for a commonbriefing on the processes for the National

Production. The artistswere required toengage with youngpeople to gatherthemes for newplays/concepts in newaesthetics. Newperformative modelswere encouragedalongside thetraditional text-basedplay to reflect thegrowing importance of

non-written, conceptual work incontemporary theatre. Opportunities tomerge these new aesthetics with digitaltechnology will be supported. Site specific -,public space - and other innovative theatrewill be explored to discover artistic links withthe open and participative nature of digitaltechnology.

Each theatre has the freedom to adopt itsown approach within different themes.PLATFORM shift+ focuses on the creation of short plays/concepts (20-30 minutes) to maximise the range of work that can be practically achieved. This will also makeexperiments with digital technology morepossible.

Since November 2014 11 new developedshort plays/concepts, based on researchamong young people, were developed. They will be presented at the 1st AnnualEncounter in Palmela (PT) in June 2015. Each company will choose from the pooltwo more plays/concepts to integrate them in the own National Production. They complete show will be produced in theseason 2015/16 and partly presented at the2nd PLATFORM shift + - Annual Encounterin Budapest (HU), June 2016.

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We see the child laughingon the video, but it is nother laugh, it has been stolenfrom another time. Thechild is no longer here.

“

Run

ning

on th

e Crack

s Je

ssic

a H

enw

ick

(cre

dit J

ohn

John

ston

)

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eatre YORK, GREAT BRITAIN

Amber is stuck in her room. She is stuckthere like insects in sap as the fluidslowly oozes round and traps them. She is21 and lives her life in this room. She isdifferent things to different people, andwe see and hear different voices as shereacts and responds to the chatter andmessages that bombard her on screens,on phones, and in her head. She hasdifferent identities and knows when andhow to use them. She knows how tooperate in this space.

Together with Amber, we piece together the threads from the diverse stories andconversations, the texts, the selfies, andvideos that she collects, shares, and plays.We see, hear, and contribute in liveconversations with Amber, discovering whyshe is still in the room, why she is intent onrevenge, and why she can no longer listen to the sound of children’s laughter. She justneeds to wait for the right call. The rightcontact. She needs to hear his voice onemore time.

GREEN / AMBER / REDWITH NEW TEXT WRITTEN BY ROY WILLIAMS / EMTEAZ HUSSAIN / MARCUS ROMER

PILOT THEATRE COMPANY(YORK/GREAT BRITAIN)

Running on the Cracks Jessica Henwick (credit John Johnston)

Blood and Chocolate (credit John Saunders)

44

The timeline is live. Amber is live. Thedrama will unfold in real-time, thereforethe conversations are also live and we canbring characters into the space from bothwithin the building or beyond via livestreaming.

We want to examine and explore what it islike to be in that ‘liminal’ space between onand offline, between real and virtual, and toplay this out as part of the story. As part ofthis, Amber is also online via a camconnection so that she can receive liveinformation from people watching bothonline and on TV.

These are messages which we can scrollthrough and monitor, and she can choose to interact with them within the drama’snarrative framework. We will build in anairlock of time where these can be broughtcentre-screen to be replied to, ignored,deleted, or blocked. Some of these can beplanned and timed and some can be randomquestions and answers. The drama willunfold as per scripted narrative and somebackgrounds and locations can be swappedor replaced depending on the activity.

All of this will develop in real-time, mergingan innovative exploration of form andtechnology with an engaging and relevantnarrative to produce a unique cross-platformevent.

This is not a whodunnit - it is a ‘whydunnit’where we can discover through the threadsof conversations, the shards and fragmentsof the past, how we can rebuild the narrativeback together with the help of Amber, herfriends, and her online community of friendsand past enemies.

LIVENESS

The Knife That Killed Me(credit Stuart Ord)

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eatre YORK, GREAT BRITAIN

46Im

age ta

ken from shu

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.com

SOUTH BOHEMIAN THEATRE(CESKÉ BUDEJOVICE/CZECH REPUBLIC)

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eatre CESKE BUDEJOVICE, CZECH REPUBLIC

We approached a group of high schoolstudents from Ceské Budejovice (all kneweach other through a school theatreclass) and asked them if they wereinterested in working on a productionthat would be part of the repertoire inthe next season. The assignment was: thecontent and form of your production isexclusively up to you. We will put intoeffect whatever you come up with or we dream of. During the staging of theproduction our theatre will be in yourhands.

After a few sessions theteam of young creatorsstabilized to a group of 6-7students aged from 17-18years old. Though it was not intentional, itshould be said, that it was the older studentsfrom the original group that came to formthe team. Proposals for acting workshops oractivities during which the studentsthemselves would become actors weren’tpopular. They saw themselves much rather inthe position of authors/ dramaturges/philosophers.

HUMANSFROMSOKOLSKÝ ISLAND

ˇˇ

48The first part of the brainstorming focused on thetopic “theatre I would really like to see” revolvedaround the external form. The students searchedfor examples of productions that had fascinatedthem in one way or another. We discussed thedivision of stage and auditorium space,improvisation, engagement of the online world,life screening, digital devices etc.

“

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eatre CESKE BUDEJOVICE, CZECH REPUBLIC

The outcomes of the debates had onecommon denominator: we came to describeit as “the highest ability of the spectator toinfluence the production process.” Weestablished this as the goal that every groupmember would sign off on. We will specifythis task in more detail later. From thebeginning we had little success in breakingdown personal boundaries and getting thestudents open up to tell us somethingpersonal. Therefore, we made the decision togive them the role of documentarians ratherthan objects of the documentary.

We found inspiration on the Facebook page “Humans of New York”(humansofnewyork.com), which wasestablished by a photographer who takespictures of random people in his city. Thesepictures along with answers to some - oftenquite personal - questions become individual

posts on the page. We decided to use thisconcept and to apply it to our town. In themiddle of Ceské Budejovice, there is theSokolsky� (Eagel) Island park, the centre andmeeting point for our town’s younggeneration. On an almost daily basis, thestudents surveyed their peers who spenttheir free time there. They explained ourproject to everyone, and asked forpermission to take his/her picture, and have a conversation. They aimed to learnsomething personal about the individualthat he/she doesn’t commonly reveal. If aperson didn’t want to publicly link a piece of information with his/her picture, it wouldnot be published. The purpose of the projectis to use the collected material and create a theatre collage of the young generationliving in Ceské Budejovice and people whoregularly spend their time on Sokolsky� Island.

We are fascinated by the idea that we couldcome to the theatre and hear our own storyon stage, even if in just a few sentences. Weare also considering whether to stage theproduction on the Sokolsky� Island. It wouldbe a production by teenagers for teenagers,from Sokolsky� Island on Sokolsky� Island.

This is the current state of the project. We are collecting material and havingconversations with the young generationof our town on the territory they occupy. Half a year of work is still ahead of us.

ˇˇ

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MILAN, FORLÌ, FLORENCE, ITALY

Elsinor has been working, these last fewmonths, on several theatre workshops, indifferent cities, with different kinds ofprocesses. Some were oriented towardscreating performances, others to developplays. From these works, there emergedstories of bullies, fake marriages on thebeach, first experiences of flying, horrormovie-like scenes in cemeteries,imaginative rewritings of classic stories...

Among others:#suddenlyIcanchooseLike an eternally repeating movie, the storyof Romeo and Juliet has been told in thesame way again and again for centuries. Oneday, though, something goes wrong (orfinally right?) and the Shakespearian heroinis free to choose her own destiny. That's thedifficult part: freedom puts us in front of bigresponsibilities, first of all to our own selvesand the responsibility of building up our life– exactly what happens when we pass from

childhood to adulthood and the age to makedecisions for our existence.

#whatsapp&discordiaFollowing a pattern that has generated manyimages on the web, Whatsapp is investigatedas a microcosm where dynamics that aretypical of interpersonal relationships arereproduced. Our mythic story is set in themodern day, and is used to show how theseways of communication work. Directly fromHomer to us, “Turn off your mobile phoneand fight, you coward!”

ELSINOR TEATRO STABILE D’INNOVAZIONE (MILAN, FORLÌ, FLORENCE/ITALY)

52

#lostinthewoodsA group of youngsters get lost in the woods,but their smart phone tools happen to be agreat help in finding the right path – as longas the phone battery is charged... The groupgetting lost is also an opportunity to developand change the relationships among theparticipants on the journey.

#awayfromhereUnhappy with his social life, a boy takesrefuge on the web, replacing realrelationships with virtual ones. The web isnot a bed of roses though, and can hideunwelcome surprises that can pass fromdigital to real life.

#thewhiteroseA series of workshops outside of our nationalborders became the starting point for thecreation of a show that saw the alternationon stage of real scenes and videos. Theaudience that wanted to watch the classgroups were not there during the trip but thegroups wanted to show their work whenthey arrived back home, the result showed apart of what happened in the places wherethe scenes where created.

#alightfromtheshadowsshallspringImages as a starting point for creating –both text and physical actions. Trust, conflict,beauty, search, obligation, sharing, betrayal,respect, sacrifice: these were the topicsextrapolated by the participants from the

series of frescos in the beautiful CappellaFarfense, that were translated into wordsand movement.

The texts were devised by the group sharingmaterial on Facebook, whereas the physicalactions were created in the 'real world'workshop.

The work is still in progress and it will be thebase for the concept of the production thatwill be created in the Spring of 2016.

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MILAN, FORLÌ, FLORENCE, ITALY

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merge

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it Arts LONDON, GREAT BRITAIN

The Street Arts Academy is a performanceensemble made up of participants aged13-19. EEA runs weekly laboratoryworkshops that combine visual andperforming arts to make unexpected artmoments, events, performances andinstallations happen in the spaces wherethe participants live, learn, work and play.In the past the group has devised andperformed for public events and festivalsin streets and open spaces for passingaudiences. In these circumstances the

group has responded to a brief or a themefor the event such as the Tall ShipsFestival in Greenwich, London, lastsummer.

This term the focus of the Street ArtsAcademy has been to explore what digitalmeans to young people in a technologicalworld. Lead by Associate Artists Alex Evansand Lisa Hayes, the group has explored theiruse of the internet. We have discovered thatour young Londoners feel that Facebook hasbecome irrelevant and most of their social

networking is achieved via speedier moreinstant programmes. We know the groupwell and some of them have been membersof our young company for over six years.They attend the sessions for a variety ofreasons – it provides both a creative and asocial outlet and some are prepared to travelacross London to attend on a regular basis.It wasn’t surprising therefore that they wereprepared to share some of their personal andsometimes negative experiences on socialnetworks.

THE STREET ARTS ACADEMY

EMERGENCY EXIT ARTS(LONDON/GREAT BRITAIN)

56

This led to several short improvisednarratives being explored about cyberbullying and engagement with adult sites.However as an outdoor arts company weasked our young people to explore how wemight use digital media for engaging thepublic in street performances. Some ofthis was explored through physicalizingthe Internet and becoming human searchengines.

“

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The playfulness of this led to severalhumorous sketches. The group has recentlybeen producing narratives and exploringsuccinct storytelling using a series of shortvideos through a phone app called Vine.Exploring the world of Vine has given thegroup opportunities to see the work ofinternational artists and some have beeninspired to create artistic responses.

In addition to this the Street Arts Academyhas been playing with projection and livestreaming, looking at the interactivity oftechnology and the aesthetic it creates.Emerging from this playful. Improvisatoryprocess the group has started to streamlinetheir ideas into specific areas of interest, thefirst being digital masks that are created

through holding videos on mobile phonescreens of talking mouths or eyes onto theirfaces. Pre-recorded conversations take placebetween the participants wearing the digitalmasks. The group have started to use thisform on the environment and inanimateobjects, which has opened up variouspossibilities of applying digital arts to theirwork in public outdoor spaces.

The devices allow the landscape to beanimated and create opportunities forpromenade performance where the audiencediscovers narrative through the use of thetechnology as the key to unlocking the nextchapter of action.

Currently the group is re-telling familiarchildren’s stories, such as Grimm’s Hanseland Gretel, and contemporising thenarrative. The Gretel character leaves homein search of her Internet ‘friend’. Her journeyleads her into danger but along the way sheleaves a ‘digital’ trail of messages, videos andemoticons that help us to find her.

I. Katalin Gyori (teacher andplaywright):34 students have startedworking on the project, and theirshort films will be done by thebeginning of May 2015. Theyhave also created an Internet“dictionary” together.

Project sheet – Part 1Choose one of the four developedscenarios. Write an opening dialogue inEnglish (minimum 2, maximum 3 A4 pages)using the given characters, as if it was thefirst scene of a film. Don't write anyinstructions or director's notes, JUST thedialogue.

Project sheet – Part 2Create a fake Facebook page for yourcharacter IN ENGLISH (with as manydetails and info as you can), and send me a friend request.

Project sheet – Part 3Choose two other people from the group(one of them will be the director and thecameraman, the other will be the actor oractress), and shoot ONE out of your threescenes. Make it as professional as you can.Please list all the participants of your film.Hand in your film on a memory stick. Do not forget to back up your work!!!

KOLIBRI THEATRE(BUDAPEST, HUNGARY)

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II. Sári Oláh-Horváth(playwright, stage director) –Péter Horváth (playwright,dramaturge):

Sári started working with young people inTargu Mures (Romania), who are editing theYouth program of the Transylvanian Radiostation. Their topics were: how to make aradio-program, what it means for them tobe part of an ethnic minority (Hungariansin Romania) and communication on theinternet.

The theme of her play, 'Hamlet's Breakfast'was invented based on their ideas(manipulation, identity, loneliness on theinternet) with the help of Péter.

Hamlet (16) is about to break into theworld of rappers and break-dancers. Heuploads his latest video on YouTube.

Soon after that, he is injured badly in amotorbike accident and is now disabled.Ophelia (18) finds his song on the internetand hopes to save her declining X-Factorcareer with him.

She is trying to get in contact with Hamletbut to no effect...

III. István Tasnádi (playwright)– Gyuri Vidovszky (stagedirector, drama pedagogue)

The work started in a Budapest secondaryschool (Nemes Nagy Ágnes) with 30students at the beginning of 2015. Aftertheir first meeting, the students created aFacebook Group page to share their ideasand themes for the project.

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The topic of their potential play came fromdifferent sources, but it will be tested anddeveloped together with the students and adeaf friend of theirs.

The story is about a cyber-relationshipbetween a deaf Hungarian girl and anAlbanian refugee. The story – which ispacked with twists – is about a relationshipin which the characters can only show theirtrue personalities through the Internet. Theshow would use different techniquesincluding interactive image and soundprojection to express how it feels to bedeaf.

IV. Márton Kiss (playwrightand director):

Márton is working on the topics of Teen-Safe and Cleverbot.

Decisions about the presented themes willbe made by Artistic Director János Novák,dramaturge Péter Horváth and GyörgyVidovszky, director of the national play bymid May, 2015.

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We gathered seven teenagers for theproject, most of whom were around 15years old and arranged workshops withthem about once a month. The first of theworkshops were lead by the writer KarinSerres.

In our first workshop, Karin proposed someexercises in order to ‘wake up’ the group’simagination. The group became like a writinglaboratory where personal drafts and writingwere spoken out loud, discussed and shared.Everyone there had to play by the workshop

rules and share, including Massalia’s team.The main idea was to get to know eachother by doing different things around thewords, in order, step by step, to find apossible common territory.

Karin showed us some pictures she hadtaken in La Friche at night; we chose theones we felt a connection with to write astory, focusing on sensorial details. Some ofthe short stories were poetic, others werefantastic or funny.

We also chose small objects Karin hadbrought, to write about a charactercomposed from the objects: Whom couldthey belong to? He / she had to have asuper-power which we had to imagine.

After that last writing exercise, we looked at some petrol platform pictures Karin hadbrought, and began to discuss as a groupwhat they could look like in a story. Most ofthe young people found them very inspiringas bases for fantastic, futuristic stories.

THE GIRL FROM PLATFORMS

THEATRE MASSALIA(MARSEILLE/FRANCE)

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One month later, we held a 2nd workshopwhich developed on the characters we hadimagined the first time. We begun by readingsome stories or poems written by the youngpeople, then we went outside and madechalk drawings of our heroes on the walls.

We also read and discussed the first draft ofKarin Serres’ text, from its form to its story.The young people were very fond of it,especially the fact that the charactersweren’t named (so far).

They enjoyed the mix of mystery, real lifeand fun they had asked for, and the title.

We also talked about the posts on FacebookKarin aka Diego de la Vega had been doingfrom Day One, as an attempt to createfiction with her real life. Karin sent them bye-mail, 5 by 5, some of the young peopleread them regularly and sometimes alltogether, which changed the perception theyhad of it.

At the end of the first workshop, we shared theshort play-lists of the young people’s own culture.The elements were as diverse as our young team:Kipling, mangas, Fra Angelico, a joke book,different songs... This was put in our commonterritory too.

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After talking about the next steps, wedecided to use realtimeboard.com to sharepictures, sentences that we liked and all theelements we were going to create. It becameour main tool to keep connected, but theworkshops also went on, mainly withPhilippe Domengie.

At the same time Karin Serres had beenwriting a text based on all we had sharedwith the young people, entitled “The girlfrom platforms”.

It introduces a group of teenagers talkingabout a mysterious girl, coming from aplatform in the sea, who has spent sometime with them, and suddenly disappeared.Is it a lie or is it true? Is she real or virtual?What proves her presence?

The Production is being discussed betweenPhilippe Domengie and Karin Serres. It willmix young people and professionals on andaround the stage. It will use digital devices to create an environment for the group ofcharacters. Autumn 2015 will be dedicatedto new workshops with the young peopleand preparing the production.

We no longer wait. In the moments wherenothing is happening, a button emergesand a screen turns on.

After carrying out workshops with youngpeople from the Drama Club of theSecondary School of Palmela, our counselorsin digital technology and artistic research,we thought that Communitary TheatreGroup As Avozinhas (The Grammas) were theperfect ally to help us think about this digitalworld. With them we began questioning howteenagers and elders interact, questioning

our dependence of technology, questioningour amusement, our needs, our will tomumble and to scream. What if we couldknit through a keypad? What if we couldsend everyday text messages inside bottles?The clash between different generationsleads us to an aesthetic idea of absurdityand humour. And what if we have whitesheets of paper inside our cell phones?

We no longer wait. Waiting for the bus tocome, waiting for the store to open, waitingfor the school to burn. A button emerges.

What if all of this was possible? What ifpossible and impossible mingle and dissolve?What if the wave appears? What if the bigfire rises? What if technology dies fromnatural death? Did we fear it so much thatwe ended up desiring it?

TEAM BUTTON

TEATRO O BANDO(PALMELA/PORTUGAL)

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The first workshops,attended by young peopleaged between fourteen andsixteen years old, tried toanalyze the content of themessages sent and receivedin different social networksthat the students used.

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Then, we tried to divide and classify thiscontent into different categories and crossedit with content derived from the workshopswith women aged between sixty andseventy years old. This brought us newinformation and new ideas. Are we alwayssaying the same thing? Will we thinkdifferently in fifty years? How did thosethoughts crossed our minds for a moment?How can you look behind us, look ahead ofus, and still find ourselves?

We no longer wait. But here, in Vale dosBarris, Palmela, we await you all, with ouropen stages and our open hands, looking foran Annual Meeting that can be an importantstop in this path of ours, helping us anddeepening our future work. We no longerwait. A button emerges.

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I’m sorry that I’m telling you by WhatsApp, but I have decided to concentrate only on me, the school, and sports in the next few months.

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Breaking up hurts. It hurts for bothpeople, for the one who is confrontedwith the conclusion as well as the personthat ends the relationship. Breaking uphas reached a new dimension in the ageof digital media and social networks.

Until a few years ago, the one who ended arelationship by SMS was pictured as aninsensitive lout. Today the German KniggeSociety gives it a green light on socialnetworks.

Even though someone says "It's over", it isusually far from over. How fast can youchange the relationship status withoutoffending the ex-partner? Does "Let’s befriends!" apply for Facebook and WhatsAppas well? How do you get the ex-partner toclear the photos from their timeline? Inschool you can avoid them, but online it isdifficult to lose sight of each other.

Social media such as Facebook, WhatsApp,and Instagram have changed the way wecommunicate.

Whether we laugh out loud (LOL: Loughingout loud), are horrified (OMG: Oh my God)or apologize (Sry: Sorry) - there is a suitablestandard abbreviation for the range of ouremotions.

A growing army of smileys illustrate ourfeelings and indicate whether we are in love,sad, or just tired.

A PROJECT ON THE BREAKUP IN THEDIGITAL AGE (WORKING TITLE)

tjg. THEATER JUNGE GENERATION(DRESDEN/GERMANY)

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Together with our PLATFORM shift+ schools,we will explore what theatre in the digitalage could be, what digital media offerscontemporary theatre, and how can you useit to negotiate personal issues.

At the start of this three-year partnership,the young people share their professionalexpertise and experience about digital mediaand relationships. They will question whatrelationships exist on the web, how they aremaintained, and how they are terminated.

Together, they will develop and researchtexts, and collect videos. The results will beincorporated into the development of theplay "A project on the breakup in the digitalage”.

In parallel, the young people are working ona video-based three-year future researchproject. In interviews, the students askquestions to their own future self. As part ofthe PLATFORM shift + Festival 2018, theyoung people will face their own questionsand create platforms for answers, further

questions, and discussions with the help oftheatre and digital media.

Julia Kuzminska, theatre educator

We want to examine how these forms of communication affect ourrelationships and what is the best way to break up in the jungle ofsocial networks. We will do this with “A project on the breakup in the digital age. Susanne Zaun, Director

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To find the most burning issues, VATstarted visiting schools to have meetingsand deliver workshops with students. We combined already existingeducational workshops (Playwriting,Storytelling, Forum Theatre, Media in Our Life, Youngsters in Virtual World) with new ones to give the studentsdifferent possibilities for engagingthemselves in the topic of the internet.For example, the workshop “Youngsters inVirtual World” took place with a group of

students discussing different aspects ofthe internet and their connection to it. After that, they had the workshop“Playwriting”, where we looked at theways that they could translate theirfeelings and ideas about the topic into a dramatic form.

The workshops took place from March toApril 2015. We met with some groups once,but two school groups had continuousworkshops and we plan to further ourcooperation with them in the future.

As expected, the interest of the studentsvaried on a broad scale. Still, one themeemerged again and again: a rumour aboutthe existence of a particular Web Demon. We created a Facebook group “Veebinaudid”(Astronauts of the Web) to exchange theseideas with the students. We played throughsome of the situations when this demonemerges (e.g. in viral posts or chain mail),but we never got really close to the core ofthis anomaly – some invisible force kept usaway.

VAT TEATER AIMS TO SOLVE AN ANCIENTWEB-MYSTERY

VAT TEATER(TALLINN/ESTONIA)

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The youngsters themselves didn’t have clearanswers either. A lot of them felt that theyhad signed a pact with someone, when theyfirst came into contact with the internet andare now in a way chained to their phonesand laptops – and an attempt to run awayalways ends with a punishment.

We found it especially interesting that theyhad no answer to the question “Who didthey sign the pact with?” Was it the parentswho nowadays use web-time as a newcurrency with their children? Or friends, whoincreasingly demand to interact primarilythrough the internet? Was it the web itself?But what or who is the ‘web’? Or are theytoo embarrassed to tell us? But why?

So it seems to us that finding out who thisWeb Demon is, helps us to clear out a lot ofquestions about the relationships we havewith and on the internet. For that purpose,we deiced to provoke this faceless entity byputting it inside a story - there is a saying inEstonia, that when you once have been putinto a song, you never get out.

And we even raise the stakes by starting amanhunt on the Web Demon inside thestory. Two investigators, Armadillo andPenguin, are assigned to solve a dreadfulmurder and every sign points towardssomething intranatural (the supernaturalonline). Even though Penguin seemsskeptical, Armadillo is intrigued right awayand starts a quest into the lowest layers of

the web with a growing obsession to proveto the whole world that the Web Demondoes exist – even when everybody else triesto convince him of the opposite.

This story is a mix of film noir, Angry Birds,Lion King, and classical teen angst.

Mihkel Seeder (dramaturge)

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1) Creating a character/ characters in an interactive process.

2) Reaching out to youth and creating a digital path leading to the theatre.

3) Using local “urban legend” as framework.

TEATRET VÅRT (MOLDE, ÅLESUND/NORWAY)

80PROLOGUE:In 1904 the entire city of Ålesund burneddown. A blazing fire consumed thepicturesque city of wooden houses in asingle night, and at the break of dawn thesun rose to one of the biggest civilcatastrophes of modern European history. It was Kaiser Wilhelm of Germany thatinitiated an international collection torebuild the city.

And after only 15 years a new city was built according to the latest fashion inarchitecture. Today the city of Ålesund is on the UNESCO world heritage list as thelargest homogenic jugendstyle urbanlocation in the world. One of the stunningJugendstyle houses is built as a peoples’palace and today houses Barneteatret Vårt.In over 100 years the people of Ålesundhave laughed, danced, and fallen in love inthis house and their lives and stories are partof it. It is a quirky house, with dark corners

and creaking floors. Is someone tiptoeingthrough the corridors in the night time? ...

CAN YOU FEEL ME?You just feel it. Something is wrong. Oldpostcards keep falling out of books in thelibrary. Strange scribbles all over them. Theysmell of smoke and fire, and there is a chillrunning down your spine when you discoverthat there is some kind of system there. Thatsomeone is reaching out to you, calling foryour help. Something looks like a web-address. You type it into a computer, just forthe fun of it, and get goose bumps all overwhen this mysterious website with burnedpages offers just one clue to take you furtherdown the line of discovering andbefriending…who?

CAN YOU SEE ME?One clue leads to another and soon you aresolving small puzzles or running around inyour village trying to find exact coordinates

that contain further clues. You find more andmore codes that enable you to see more andmore pages in the burned family album onthe website. Soon pictures appear. It is a girlof your age. But she is coming from anothertime. IT IS A GHOST. She lives at a theatre.

CAN YOU HEAR ME?Eventually more and more pictures appear.And suddenly small films and sound files areaccessible. You are getting to know thischaracter’s voice. You and your friends arespending afternoons gathering codes andfilling in answers on the website. Yourfeedback seems to direct the developmentof the character in this or that direction.

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“CAN YOU TALK TO ME?You reach the next level. You get anappointment with the ghost. A live Skypemeeting to get your final instructions.

CAN YOU MEET ME?You’ve solved the mystery. Like many othergroups of kids all over the region you havespent your time finding out about the ghostand her whereabouts. You’re a success. Andyou are invited to a great performance atthe house of the Ghost.

Eventually more and more pictures appear. And suddenly smallfilms and sound files are accessible. You aregetting to know thischaracter’s voice.

82The theatre students say: When we first got together we decided that we would start an Instagram account so that people could see what we were working on. However, before we could open an Instagram account, we had to come up with a name for our little theatre group. We all agreed on Alveol, a namefor the place in the body where blood meets oxygen.

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One of our first tasks was to meet with aclass of 17-year-olds and talk with themabout the use of technology. During thesession they were asked to hand in theirphones. Then, when they had a quick break,they wanted them back and asked “Butwhat are we going to do now? Do we haveto talk to each other?” We later discoveredthat this question would inspire us a lot.

We started thinking about things that youcan’t do over the Internet, like touching, andfrom here we started working physically to

explore how we could communicate withour bodies or without words. This is whenwe started exploring acrobatics, and sincewe’re not exactly acrobats, we got help from our teacher.

In the following days we did a lot ofdifferent exercises, like making each otherlaugh without words. We did this to observehow people reacted to body language andfacial expressions. One exercise that weused a lot was improvised movement tomusic were we reacted to each other and

had a simultaneous growth in energy. This helped us connect with our bodieswithout words.

We all agreed that we didn’t want to haveany clear character or roles on stage. Wewanted to portray the people as a wholeinstead of as individuals. But there is a scenethat’s in a kind of different style. It is theonly one where we speak and it’s alsopartially improvised.

SAFELY DETACHED

UNIVERSITY OF AGDER(KRISTIANSAND/NORWAY)

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We wanted to have a scene where we feltthe audience could breathe a little, since therest of our play is more abstract.

Everything that is projected on the screen,the floor or us, has different purposes andeffects. One of the films on the screen isthere to amplify what is happening on stage,while another is there to create fictionaladditional space. In the start we have acompilation of sounds and images to portrayhow fast and hectic our modern digitalcommunication is, and then at the end whenwe have removed all of the technology andstimuli we show how vulnerable andexposed we are without our technologicalshields.

The multimedia students say: As the technical part of Alveol we have beenworking alongside the theatre students fromthe beginning. We did research on what kindof media or technical devices we could usein the play. We’ve been testing differentthings, from light and sound controlled bythe actors’ movement, to filming live, usingpocket projectors and fogscreen. There was alot of trying and failing, and while the playwas evolving we decided to use GoPro,Wirecast and pocket projectors.

The play has six scenes that each have atechnical input. While the theatre studentswere making the content, they wouldpresent ideas that they thought would besuitable for each scene, and we would workon it and see if it was possible.

We’re aiming to find out how the actorsreact when we take away their technologybit by bit.

We are always on the stage in a ‘technician’sbooth’ where we work with light, sound, andvideo, but we also sometimes interact withthe actors on stage.

Randi Sofie GundersenElin Sørli Marte Ø. KnutsenJenny DrevlandKatrine Breievne TorpTale Futtrup SolfjeldArtistic Leadership Marit Wergeland-Yatesand Merete Elnan

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O Bando's theatre training offers a way ofsharing knowledge and experience withpractical and theoretical reflections. It is alsoan answer to the growing demand fromacting schools, professional actors, andaudiences, for a creative methodology thatenhances their own creativity and trainingmethods.

Building a specific theatrical language withinthe actor’s work has been João Brites’ labourfor over 24 years. As founding member andartistic director of Teatro O Bando, he wasalso an Actors Teacher at the Lisbon Theatreand Cinema College, where he was able tobond concept and learning techniques tomethodology, methods and pedagogicalsensibility.

The course is a pedagogical result of 40years of O Bando's artistic vision. It is builton a theoretical foundation that reflects theactor’s capacity to exercise, in real time, thedomain over the expression plans (interiority,orality, corporality), enhancing awarenessover technical possibilities, artistic virtuosity,and recurrent characteristics.

The course is based on systematized speechsupported by a theoretical and practicalconsistency and does not endeavour tobecome a specific aesthetic format. The fulltraining is 175 hours long and composed of7 modules (25 hours each) organizedsequentially: Theatricality; Time-Presence

Dilation; Expression Plans; Graduations;Intermediate Character; Building a Character;Automatism; and Management.

In the training session within this PLATFORMShift+ Annual Encounter we will be workingon the Graduation of the Expression Plans.The actors will be challenged to test theiralready built characters by applying differentgrades of expression to them. Can onecontrol a character's grade of expression sothat a theatre built character may seemcoherent in a cinema screen? Can a realiststyle character exist in a grotesque streetplay?

ANNUAL ENCOUNTER - WORKSHOP

ACTOR’S CONSCIENCE ON STAGEBY JOÃO BRITES (TEATRO O BANDO)

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ANNUAL ENCOUNTER - WORKSHOP

AUDIENCE DEVELOPMENTIS...Inspiring and reaching more people

Creating opportunities for participationand engagement with the arts

Developing relationships between artists,arts organisations and audiences

PLATFORM shift+ will be exploring, sharingand developing how we, as arts organisationsand artists across Europe, committed toworking with and producing work for and byyoung people

• Increase the number of people, particularly young people, we reach through our work

• Increase the amount of content made available to our audiences digitally to expand reach, encourage participation and enhance audience experience

• Engage with diverse and new audiences

Through our work we will be asking

• How can we better understand how our audiences engage with us

• What are the innovative ways we can research and develop our engagement with audiences

• How do we creatively respond to the shifting and changing patterns of behavior in our audiences

And we will be

• Commissioning and programming new work and texts

• Working in partnerships with each other to realize a shared artistic vision and values to our identified and target audiences of young people

• Offering and developing participatory programmes and digital outreach to increase access and deepen relationshipswith our audiences

• Working across a range of online sociallynetworked platforms, creating new models for touring and delivery of work so inspiring and reaching more people

Mandy Smith (Producer Pilot Theater)

MY DIGITAL ADDICTIONYoutube is my digital Achilles heel! I keep being sucked down a neverending tunnel of recommendations. I tend it use it as my personaljuke box. It’s a music utopia, any artist, any song, any genre. WhenI’m cooking in the evening, YouTube provides my soundtrack.

Ross Bolwell-Williams (Youth Arts Producer, Emergency Exit Arts,London / UK)

When we asked teacher students how their teaching in the internperiod had been, they too often answered “OK”. Then we started touse the iPad as a tool for observation. We asked their fellow studentsto take films, photos and write comments on the iPad, and send itstraight away to everybody in the group. It has made a greatdifference! There was suddenly a lot to discuss and comment on, andthey had lots of good questions to ask. “This is what you did, and lookat this kid, what she is doing”

Gunnar Horn (Professor, University of Agder, Kristiansand, NO)

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MY DIGITAL ADDICTION

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I cannot live without Spotify. Dancing in the kitchen is just not thesame without it. I love how it creates your own radio station fromthe music you like. I am obsessed with the game Two Dots. It’s great for a long train journey and beautifully designed. Guardian Film and Deadline Hollywood are my addiction. I’m always looking for new film trailers and reviews. I want everyone to watch Tate Shots, art is so important and these give you so many new perspectives.

Spotify – www.spotify.comTwo Dots – App Store Guardian Film - theguardian.com/filmDeadline Hollywood - http://deadline.com/Tate Shots - http://www.tate.org.uk

Lucy Hammond (Company Administrator, Pilot Theatre, York /UK)

90Pilot Theatre in De Grey Rooms

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91| THEATRES

Pilot Theatre Company YORK

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Pilot Theatre is an international touringtheatre company based in York, UK. Wedevise and develop projects with particularfocus on working for and with youngaudiences. We also work across platforms toproduce and distribute work digitally, runtraining conferences, livestream events andperformances, and provide a wide range ofonline educational resources.

We work with established artists, leadingpractitioners and diverse teams alongsidenurturing young and emergent talent todevelop our practice across all our platformsof delivery.

The audiences and communities we aim toreach are reflected by the diverse teams whomake and deliver our work across all ourplatforms of activity.

PILOT THEATRE COMPANY(YORK/GREAT BRITAIN)

We have delivered a wide range of work over the last few years, including the six-camera livestream of the York Mystery Plays for the Space and speciallycommissioned plays including Loneliness of the LongDistance Runner, Running on the Cracks, Blood +Chocolate and more recently the new adaptation ofAntigone by playwright Roy Williams.

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92Antigone

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93| THEATRES Pilot Theatre Company YORK

, GREAT BRITAIN

Antigone is Pilot’s reference production for Platform Shift +. It is a moderninterpretation of Sophocles’ classic play,written by acclaimed playwright RoyWilliams, that transports the story to theunderworld of urban London. Directed byPilot’s artistic director Marcus Romer, theshow’s design and direction included the use of digital live-feed projection.

Accompanying the show were a series ofpost show discussions, workshops for bothyoung people and teachers and extensiveonline education materials.

The final performance was subsequentlywebcast free of charge. The playtext isavailable from Pilot, published byBloomsbury.

More information on the production can be found at www.pilot-theatre.com/antigone

Cast Doreene Blackstock, Gamba Cole, Savannah Gordon-Liburd, Luke James, Mark Monero, Sean Sagar, Frieda Thiel, Lloyd Thomas, Oliver Wilson

Director Marcus Romer

Designer Joanna Scotcher

Lighting Designer Alexandra Stafford

Sound Designer Sandy Nuttgens

Associate Director Tom Bellerby

BY SOPHOCLESADAPTATION ROY WILLIAMS

Gamba Cole, Savannah Gordon-Liburd (credit Robert Day)

94South Bohemian Theatre (Small Theatre)

Small Theatre in Ceské Budejovice is part ofSouth Bohemian Theatre, which consists offour groups. Throughout its history the workof Small Theatre has been focused on youngaudiences and the various forms and shapesof puppet theatre (not only classicalpuppetry, but also theatre of objects, masks,physical and street theatre, etc.). In additionto adaptations of classical fairy tales (TheSinful Village of Dalskabáty, Forgotten Devil,Hansel and Gretel, The Animals and theRobbers, Cinderella) and famous works ofboth Czech and world literature for childrenand youth (Quixote!, Ronia, the Robber'sDaughter, Tom Sawyer, White Fang), moreand more original productions have beenmaking their way to the stage in recentyears (Etiquette for Rascals, Gulliver’s Travels,

How I was Cyrano, A Hundred Years’Vacation, About One Little Hedgehog).

In terms of art, the work is always in anunmistakable and distinct style, placing agreat emphasis on the components of musicand movement within the production. SmallTheatre gained great popularity through theproject Punch in the Roll: Baby Punk - amusical theatre project that has made a lotof Czech children and their parents go crazy- in the positive sense of the word - over thelast six years. Punch in the Roll has producedthree separate cabarets and a concert show,released three CDs, and a TV broadcast,performed at a number of importantfestivals and sold out leading stagesincluding the New Stage of the NationalTheatre.

During the summer season Small Theatre is going to produce a set of open-airperformances (Puss in Boots, A JourneyAround the World, Punch in the Roll: We're going to have fun!, Fox Zorro, Baron Munchhausen) in front of theRevolving auditorium in the gardens of the Baroque chateau in Cesky� Krumlov. The Revolving auditorium (not "stage!”)ranks among the rarities of the world'stheatre architecture.

Since 2014 Petr Hašek has been the artisticdirector and Janek Lesák the main director of the theatre.

95| THEATRES South Bohemian Theatre CESKE BUDEJOVICE, CZECH REPUBLICSOUTH BOHEMIAN THEATRE

(CESKE BUDEJOVICE/CZECH REPUBLIC)

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97| THEATRES South Bohemian Theatre CZECH REPUBLIC

The FILMMAKERS, a production by SmallTheater, is designed for audiences from theage of 13+. It gives them a tour through theworld of film and film technologies. A tiny,but perfectly equipped film studio is createdon stage to show spectators everything thata big movie screen can do. Is it possible tocreate a high-budget film without camerasand post-production technologies?

The Filmmakers was created as a collectiveimprovisation without a script based on aconcept and idea. Each member of theactors’ team is a co-author of the wholeproduction.

You will see a short, single story on stage.But you will see it six times as it transformsin film history. Starting with silent moviesover to Alfred Hitchcock’s horrors, westernmovies in sepia, misery of war, sitcom couch,and all the way to space sci-fi.

In our film-theatre lab you will look underthe hood of where all big movies in theworld were created. One musician operatesthe sound design of the whole film history ofthe world, five actors perform in dozens ofroles, 40 costumes with more than ahundred sets and props are used in front of a2 meter film screen and all completely in3D!

Cast Denisa Posekaná, Lucie Škodová,Bartolomej Veselý, Jan Hönig, Jan Vejražka,Petr Hubík

Director Janek Lesák

Set / Costumes Kamil Belohlávek

Music Petr Hubík, Jan Ctvrtník

Animations Tomsa Legierski

Dramaturgy Petr Hašek

REFERENCE PRODUCTION

FILMAKERI(THE FILMAKERS) BY JANEK LESÁK

AND COMPANY

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98Teatro Sala Fontana, Milan

99| THEATRES Elsinor Teatro Stabile D’Innovazione MILAN, FORLÌ, FLORENCE, ITALY

The theatre is a centre of theatricalproduction and performances. Elsinorspecialise in plays and children’s theatre, aswell as organising theatrical seasons andtraining laboratories. These are carried out inthree regions which are considered highlyinfluential for Italian theatre: Lombardy,Tuscany, and Emilia Romagna.

Elsinor is represented by Teatro Sala Fontanain Milan, Teatro Cantiere Florida in Florence,and Teatro Giovanni Testori in Forlì.

Elsinor’s driven commitment is focused onthe exploration of contemporary theatricalprose, and the exchange and synergiesinspired by traditional and new approaches.

ELSINOR TEATRO STABILE D’INNOVAZIONE(MILAN, FORLÌ, FLORENCE/ITALY)

By diverse forms of collaboration between artists,local governmental institutions, universities andschools, Elsinor offers theatrical training,workshops and special events all over the nationalterritory. An important example of this is thefestival of youth theatre “Platform Milano”, createdand hosted in Teatro Sala Fontana since 2011.

In collaboration with Teatro del Buratto, Elsinororganizes “Segnali”, one of the most importantchildren’s theatre festivals in Italy.

“

101| THEATRES Elsinor Teatro Stabile D’Innovazione MILAN, FORLÌ, FLORENCE, ITALY

The young Clitandro, rejected by Armanda,daughter of Crisalo and Filaminta, wants tomarry her sister Enrichetta but Crisalo, who'sin favour of the marriage, is under the thumbof his wife Filaminta, a lover of culture andscience, who wishes her daughter to marry a "scholar" and mediocre poet, Trissottani.This man is adored not only by Filaminta but also by the other two 'learned ladies' of the family: Armanda and aunt Belisa. The contrast between father and mother’sopinions resolves when Aristo, uncle of thegirls, falsely announces that Enrichetta’sfamily is financially ruined.

Trissottani, only interested in marrying a richheiress withdraws his advances, leaving theway open for Clitandro to pursue Enrichetta.

A satire on academic pretension, showinghow “culture is power, and ignorance as well;the learned person is power, and the servanttoo; tradition is power and innovation ispower; the male is power and the femaletoo: because power has no place nor face, it changes aspect and position depending on the one who owns it.” (Cesare Garboli)

Cast Maria Ariis, Stefano Braschi, MarcoCacciola, Federica Fabiani, Miro Landoni,Angelica Leo, Roberto Trifirò, CarlottaViscovo

Director Monica Conti

Set/Costumes Domenico Franchi


THE LEARNEDLADIES BY MOLIÈRE

102Em

ergency Exit Arts in Rothbury Hall

103| THEATRES Emergency Exit Arts LO

NDON, G

REAT BRITAIN

Emergency Exit Arts creates exciting,theatrical interventions in unexpected placessetting the audience and performer freefrom the constraints of formal or paid forarts. Our way of working leaves space forinvention, improvisation and interaction. It isa space where surprise is sought andanything is possible - moments that areshared in the instant and are completelyunrepeatable.

Since 1980 we have made culturally diversework that has engaged thousands of peopleacross the UK in spectacular, celebratoryevents. Our recent productions includeTeavolution, a two person street show

celebrating 100 years of feministcampaigning and Colossus Awakes, a threepart fable inspired by scientific innovationfeaturing pyrotechnics and large scalemechanical puppetry.

Over the past three years EEA has beenworking with six London venues to deliverCirculate, a three year programme of newcircus, dance and live art performances andinstallations in outdoor public spaces. Ourown ‘musical on the move’, Spin Cycle, tookthe essence of competitive games showsinto a performance on the streets and intown centres.

The story tracked a team of competitors onan extreme shopping spree that ended witha challenge to confront our consumeristworld.

As part of the Circulate outdoor artsprogramme across London we nurture newtalent and support emerging artists toproduce their own productions. As part ofthis remit we provide a team of creativepractitioners from our Street Arts Academywho facilitate opportunities to young peopleto create their own responses to the annualproductions.

EMERGENCY EXIT ARTS(LONDON/GREAT BRITAIN)

104Colossus Awakes; Gravity Fields Festival

105| THEATRES Emergency Exit Arts LO

NDON, G

REAT BRITAIN

In 2015 Imagining the Future… has givenEEA and associate artist Alex Evans theopportunity to work in collaboration with digital artists Hellicar & Lewis(www.hellicarandlewis.com). Youngparticipants, age 13 – 17, have been creatingcontent for an interactive experience for thegeneral public. The theme is “the future” andthe participants have been imagining whatthe year 3000 and beyond will look and feellike. Combining visual arts, performance and computer-generated sensory input(Augmented Reality), participants have beeninventing characters that they believe couldinhabit the future.

These characters and scenic backdrops willbe downloaded onto large screens in towncentres, shop windows and venue foyers andwill appear as a surreal digital reflection ofanyone who interacts with the screen.Unveiling the installation in each area will be our Street Arts Academy performanceensembles who will be animating the publicspaces at each installation, creatingparticipatory moments that will entice thepublic to interact and play with the digitalworlds they have created.

Creation by Hellicar & Lewis inassociation with Alex Evans (EEA)

Producer Ross Bolwell-Williams

Associated Artists Arji Manuelpillai, Lisa Hayes, Louise du Foremont, Maddi Kludje, Poppy Kay

Design & Cast Students from The Albany,Tara Arts, Waterman’s Arts Centre, The Artsdepot, Millfield Arts Centre and Harrow Arts Centre


REMEMBERING THE FUTURE

107| THEATRES Kolibri Theatre BUDAPEST, H

UNGARYKolibri started as an alternative puppet

theatre in 1992 following the separationfrom the State Puppet Theatre. Subsidized by the City Council of Budapest, it operateswith a permanent company, in which thepuppetry and prose sections have becomeequally important. This is the first children’stheatre in Budapest where each age groupcan find a performance suitable for theirinterests and development.

Three venues await the audience each with a particular profile and independent artisticprogram, thus complementing each other.

The rich repertory is characterized by avariety of genres and responsiveness to whatis new.

Ever since he founded Kolibri in 1992,János Novák has been the executive andartistic director of the company.

János Novák is a cellist, composer anddirector. He produced his most well-knownfairy play, Auntie Pepper in 1981. Since then,he’s directed the play in several Hungariantheatres. In December 2014, Kolibri Theatrefor Children and Youth will have beenperforming it for 20 years.

Owing to János Novák’s inventive initiations,Kolibri is a pioneer in establishing newgenres in Hungarian children’s and youththeatre by introducing live music on stage,theatre for babies and toddlers, classroomtheatre, youth plays, operas, and newadaptations of novels for screenplay andstage.

KOLIBRI THEATRE(BUDAPEST/HUNGARY)

109| THEATRES Kolibri Theatre BUDAPEST, H

UNGARYThe adolescent siblings (a girl and a boy)

stay with their mother after the divorce ofthe parents, so the protected “four-quadrant” family becomes a “three-quarters”single-parent family. Why and how did thesplit happen? Who is “in charge”? Thechildren and the mother are trying toprocess the trauma- caused by the divorce –separately. All three of them blamethemselves. What does the father thinkabout what happened? He is already absent.Prize-winning play of Kolibri Theatre’s dramacompetition shows the personality shapingeffects of daily events through truncatedscenes.

How does an orphaned boy acquire a familyfor himself? If he is a good boy and lucky, hewill be adopted. If he is not lucky and noteven a good boy, he adopts father, motherand sister. Can we be so miserable that werequire the pretence of love? Hope dies last– right after the father.

The production – two one-act play whichwere presented on the 21st of March, 2015– “Three-quarters” by Sára Oláh-Horváthand “Father Mother Boy Girl” by HolgerSchober.

Both plays are suitable for audiencesfrom the age of 14.

Cast Melinda Megyes, Gábor Krausz, Zsófia Boróka Molnár, Tamás Mészáros

Director József Tóth

Music lead Szilveszter Bornai

Dramaturge Péter Horváth

Literary consultant Ákos Németh

Costume Melinda Megyes

Leading technician István Farkas


THREE-QUARTERSBY SÁRA OLÁH-HORVÁTH

FATHER MOTHERBOY GIRLBY HOLGER SCHOBER TRANSLATION KRISTÓF KOVÁCS

111| THEATRES Theatre Massalia MARSEILLE, FRA

NCEMassalia is situated inside a huge (35 000 m)

former tobacco factory in La Friche Belle deMai, a former industrial wasteland. The officeof Massalia is located on the site among 70different structures and the theater sharesfive stages with other producers.

The Theatre was created in 1987 and firstprogrammed puppet theatre. It is nowdedicated to young audiences. The mainactivity is programming 20 to 25 shows peryear from all artistic disciplines includingdrama, puppets, dance and circus. Youngartists and digital arts are the special focusof each season.

As well as shows, the theatre also deliverseducational and artistic activities in schoolsand the wider community.

Massalia supports other artistic teams intheir work with three to four productionsdeveloped each year with other producers.

Lectures, conferences and workshops areprovided for the adults, so they can getfamiliar with the aesthetics for youngaudiences.

Massalia works regularly with others culturalstructures in Marseille and around.

THEATRE MASSALIA(MARSEILLE/FRANCE)

The theatre also develops an education programfor adults, in order to help them in their roles asteachers, social workers, parents etc. to go withchildren to the theatre, to communicate or towork on artistic topics.

“

113| THEATRES Theatre Massalia MARSEILLE, FRA

NCEAlexandre Denis, a circus artist, and Timothé

Van der Sten, a technician, invented anexciting new tool for circus two years ago:the wood shoring. This play introduces twocharacters and uses this new wood shoringtool.

Circus is made using the constant repetitionof simple and successful movements. Here itlooks like rituals, nonsense rituals. There is nomore space and time, no goal, no reality. It may be a dream or a nightmare, or both...

The two characters don't have any name,past or future. No one knows why they arehere. Questions are useless.

Only presence and actions count, for the audience’s enjoyment.

The play is amazing. Sometimes it is slow,because balancing on wood shoring involvesa lot of attention to space and rhythm. It isalso absurd and of course funny.

It was presented at the end of February in La Friche at theatre Massalia. The youngaudience liked it a lot and the adults did too: they had fun but they could also seemetaphors of some real life situations.

The artistic team also held workshops with two classes of primary schools.

The children were happy to discover somecircus techniques and to talk about theshow. The performance has two versions, a longer and a shorter performance. Wepresented the longer show, but the shortversion has also been very successful andtoured both in the south of France and thewhole country.


LE BRAQUEMARDDU PENDU BY LA MONDIALE GÉNÉRALE

WITH ALEXANDRE DENIS AND TIMOTHÉ VAN DER STEN

115| THEATRES Teatro O Bando PALM

ELA, PORTUGALActive since 1974, Teatro O Bando is a major

professional traveling theatre companybased in Portugal. O Bando is a group thathas elected a transfigurative theatricalrepresentation as its aesthetic line, applyingit to its art and the way that it relates tosociety and the community.

The dramaturgic work is also very important:based mainly in works by Portugueseauthors (most of the time these are non-dramatic works), a written text is subject tothe various theatrical forms and languages(scenography, music, actors work, lightdesign) providing it with new meanings andperspectives.

Having created more than 100performances, O Bando has presentedaround 4,500 shows to over 1.5 millionspectators.

The company goes on seeking for thesingularity of their creations, aiming toachieve more daring and unexpected artworks. This is the result of a collectivemethodology, where an expanded artisticdirection demands the difference, theinterference, the collapse, and the collision of points of view.

Rural or urban, adult or child, learned orpopular, national or universal, dramatic,narrative or poetic – these are the bordersthat Teatro O Bando routinely transcends.

Throughout their journey, the group hasbeen involved in multiple national andinternational projects, and the touringinvestment continues to present severalshows throughout the country.

After several homes, O Bando is now settledat a Farm in Vale dos Barris, Palmela, whereunexpected potential stages can be found.

There, O Bando is waiting for you, alwayswith soup, bread and cheese, Muscatel,and a cosy chat next to the fireplace.

TEATRO O BANDO(PALMELA/PORTUGAL)

117| THEATRES Teatro O Bando PALM

ELA, PORTUGAL


EM NOME DA TERRA (IN THE NAME OF THE LAND)FROM THE HOMONYMOUS NOVEL BY VERGÍLIO FERREIRA

The show is directed by Miguel Jesus, amember of O Bando’s board and part of theteam for about 10 years. For the latter yearshe has been directing or co-directing (withJoão Brites) several of O Bando’s shows.

Travelling along Vergilio Ferreira’shomonymous novel, the actors debate thebalancing difficulties before time’sinexorability, galloping over bodies coveredwith an evil emotional nudity: old age. Ashow with a strong visual impact, happeningoutside, where the memories scattered intofalling objects and images, sliding on aninclined plane towards the void and outsideourselves.

Em Nome da Terra is a story of love anddisintegration. “We are naked from thebeginning, with no prior shame. A primitivenudity that we won’t know. Then we willdive on the river’s water. And we will gaze atthe clear sky and with no stars. I will lowermyself and with cupped fingers. I’ll carrywater in my hands. And I will say for allfuture history: I baptise you in the name ofthe Land, the stars, and perfection. And youwill say: It’s time!”

Dramaturgy/Direction Miguel Jesus

With Rui M. Silva, Ana Lúcia Plaminha, Rita Brito, João Neca

Scenography Rui Francisco

Support to Sceneography Fátima Santos

Music Jorge Salgueiro

Costumes Clara Bento

Light design João Cachulo, GuilhermeNoronha

119| THEATRES tjg. Theater Junge Generation DRESD

EN, G

ERMANY

The theatre operates on three levels, i.e. tjg.acting, tjg. puppet theatre and tjg. theatreacademy. It presents over 600 performancesevery year, making it one of the largesttheatres for young audience in Germany.Since its founding in 1949 tjg. presentsperformances for children, youth andfamilies on several stages, indoor andoutdoor, to about 93,000 visitors eachseason. Since 2008, the theatre has beensuccessfully led by its artistic directorFelicitas Loewe, and is now facing a majorchallenge in 2016, when it will move to anew site.

Along with other cultural institutions, tjg.will be transforming “Kraftwerk Mitte”, ahistoric power plant, into a place to be.

The city’s puppet theatre amalgamated withthe tjg. in 1997, and celebrated its 60thbirthday in 2012. The tjg. theatre academywas founded in 2008 and functions as aresearch laboratory for theatre educators, as an experimental workshop for childrenand young people and as a further educationcentre for teachers and kindergartenteachers.

The festival "Theatre from the Beginning",artistic involvement with the “Theatre forthe Youngest Audience”, extensive work of

the tjg. theatre academy, furtherdevelopment of theatre with children and young people, the PLATFORM shift+partnership and the cooperation with theState Youth Theatre in Hanoi (Vietnam)represent several projects that reflect theethos of the tjg. The broad assortmentoffered by its various branches enables tjg. to integrate current trends, such as danceand performance, into its productions in acontemporary way. The cooperation betweendifferent cultural institutions and artists, thatare active outside of children's and youththeatre, also play an important role.

tjg. THEATER JUNGE GENERATION(DRESDEN/GERMANY)

120 REFERENCE PRODUCTION

CASPAR DAVID FRIEDRICH.CONTEMPLATING THE MOONClose your bodily eye so that you see your image with the mind's eyefirst. Then urge to light what you see in the dark, that it may reactupon others from the outside inwards. Caspar David Friedrich“

The Atelier. The view from the window. The picture is created: fog, trees, rocks.Characters turn their backs on us and look to the nocturnal distance. The painter CasparDavid Friedrich, who lived in Dresden from1798 to 1840, constructed his imagelandscapes from individual elements of nature.

Director Jo Fabian disassembled and newlycomposed Friedrich’s painting in his newstaging. With his team of eight artists heexamined the romantic worldview andinvites the spectator via an individualapproach and perception of a theatricalimage to explore the own inner landscape.

Director, Set, Video, Choreography, Music and Sounds Jo Fabian

Costumes Pascale Arndtz

Cast Nadine Boske, Erik Brünner, NahuelHäfliger, Sara Klapp, Iris Pickhard, UlrikeSperberg, Susan Weilandt, Gregor Wolf

121| THEATRES tjg. Theater Junge Generation DRESD

EN, G

ERMANY


FIRSTCONTACTThe first time meeting the most importantperson in your life, without knowing it. Thefirst time coming into a new class and notknowing anyone. The first time meeting yourown mother and asking yourself “Who is thiswoman?” The first time looking into a pair of eyes and knowing that you are in love.

Initial contacts can be properly understoodonly in retrospect, when we know the livedstories that have emerged from them. Were we really in love or was it just a briefinfatuation? But first encounters throw us back on ourselves, let us understandourselves better and get to know ourselvesin a new way.

This biographical production with youngpeople from tjg. theatre academy,accompanied by two professional actors,gathers stories about first encounters andfirst contact, in real or in the digital world. It also deals with the failure of suchmoments, with misunderstandings andunforeseen consequences of digitalcommunication. Finally, it seeks contact with the audience, because also in thetheatre space players and audience meeteach other for the first time in thisconstellation.

Directed by Tabea Hörnlein

Sets/Costumes Ulrike Kunze

Music Matthias Pick

Dramaturgy Ulrike Carl

Cast Iris Pickhard, Hanif Idris (actors), Nico Dietrich, Marie Göhler, Lena Höhlich,Theresa König, Jacky-Mathilda Madlung, Julia Metzner, Kristin Richter, VincentSchober (students)

123| THEATRES VAT Teater TALLINN, ESTONIA

Formed in Tallinn in 1987, VAT Teater is theoldest independent theatre in Estonia. It hasdeveloped its own minimalistic aesthetics.Their work can be described as theatreminimalism due to their adoption of theprinciples of epic and physical theatre. VATfollows the simple principle: to do all that isnecessary as concisely as possible.

VAT stages performances at the NationalLibrary Theatre Hall, as well as in otherperformance venues and culturalinstitutions. Each year VAT showsapproximately 200 performances for morethan 20,000 spectators.

The performances have taken thecompany across the whole of Europe, to Japan, Zimbabwe, USA, and across the polar circle and to the other side of the equator.

VAT is a member of Theatre Association,Association of Performing Arts Institutions,ASSITEJ, Union of Non-profit Associationsand Foundations and Association of FreeEducation in Estonia.

The theatre is led by Executive Director TiinaRebane and Artistic Director Aare Toikka.

VAT TEATER(TALLINN/ESTONIA)

VAT is a unique mixture of artistic freedomand social sensitivity. Fifteen people workthere, with additional designers, performers,musicians, directors and writers.“

124 REFERENCE PRODUCTION

ESTONIANHIKIKOMORI

You exist. You cannot help it. You exist. No one asked you, why? All youcan do is somehow justify your existence.Others expect that, every day. But how to do it...

...if you don't want to leave your room anymore because there's no place for you outthere. If you are like wallpaper that no oneeven notices.

...if you live in a country of beautiful peoplewhere it's shameful to be ugly, but you arejust plain looking, one could even say a littlebit ugly, but not ugly enough to seeminteresting.

...if you must get your act together but lackthe willingness to fight, to break through, towork crazy hours and to burn out by havingto surpass yourself on a daily basis.

...if an ancient Estonian fear lives inside you:the fear of making a fool of yourself in frontof others. That fear makes you give up onthings and rather not try them than to feelthe shame brought on by failure.

...if you feel disappointment over not beingin control of your destiny; maybe someoneelse is in control but it is definitely not you.

...if you don't have any plans, not even thetiniest one. Everyone has a plan but youdon't.

And yet you considered yourself to besomehow special. They always said you willprobably end up as a scientist, a writer or astatesman because you were so sharp and so clever. All the roads were indeed open for you.

Target group: 14+Director Margo Teder Set/Costumes Liina Unt. Lightning designer Triin Hook Video Artist Rivo Laasi.Cast Kristiina-Hortensia Port, Martin Kõiv and Meelis Põdersoo

Premiere March 24, 2015

BY TIINA LAANEM

125| THEATRES VAT Teater TALLINN, ESTONIA


ADAM AND EVE

A ballet from the beginning of humanity.“

The story is one the most renowned creationmyths: God creates the man and bestowshim the ideal home. Soon God realizes thatthe man is unhappy in his loneliness andcreates him the woman. Their blissful lifecould last forever, but they overstep the onlyboundary and taste the fruit of the tree ofknowledge. This is the birth of the first sin,and God is forced to exile the man and thewoman from paradise.

This simple and well-known story raisesmany burning questions. What does the ideallife mean? Would it be a world without sins?How about responsibility and judgment?VAT sets off to investigate this story as aballet. Along with other questions we wantto ask what can a drama actor offer to balletand vice versa?

Director Tanel Saar Choreographer Marge EhrenbuschComposer Madis MuulSet/Costumes Pille Kose. Dramaturge Siret PajuLightning designer Sander PõlluCast Kristiina-Hortensia Port, Liisa Pulk,Tanel Saar, Ago Soots, Meelis Põdersoo,Martin Kõiv

Premiere May 19, 2015

126Teatret Vårt in Plassen in Molde

127| THEATRES Teatret Vårt MOLD

E, ÅLESU

ND, N

ORW

AY

Since 1972, Teatret Vårt has been one ofNorway’s most well respected and influentialregional theatres. As a state funded theatre,we aim to produce both modern adaptationsof classical drama and newly writtenNorwegian and European plays, in anattempt to present social responsibility inthe modern Norwegian society.

In 2009, as a result of our work with childrenand young people, we were funded to openour children’s theatre, BarneTeatret Vårt,that is now producing work exclusively forchildren between 2 and 15. The children’stheatre is located in the listed jugend-stylebuilding Arbeideren, in Ålesund.

It is our clear vision that the children’stheatre should always investigate variousways of engaging children and young peoplein all aspects of theatre making.

TEATRET VÅRT (MOLDE, ÅLESUND/NORWAY)

We are the regional anchor point, telling stories that reflectregional identity as well as providing a window towardsEurope that showcases theatre as an art form.“

128Heksejagt (The Crucible)

129| THEATRES Teatret Vårt MOLD

E, ÅLESU

ND, N

ORW

AY

CO-PRODUCING

MEETING ONALL LEVELSTEATRET VÅRT ENGAGE YOUNG PEOPLE IN THEATRE PRODUCTION IN TWO DIFFERENT WAYS:

Heksejagt (The Crucible) was initiated asan experiment, where professional maleactors from Teatret Vårt participated in aproduction with high school drama students.The young untamed energy of the “witches”in the play was met with the rigid patriarchsrepresenting the law and the church. Therehearsal period also included meetings withthe professional marketing department inTeatret Vårt and the students. Theprofessional theatre makers were listeningand learning from the young students.

A fresh look on things (workshop)Whilst preparing the performanceÅrhundrenes Legende (La legende dessiècles), the director and stage set designerdeveloped a “tool box” consisting oftechnical equipment and low cost materials.Their vision is that the professional actorsare producing large landscapes on stageduring the performance. We arrangeworkshops for young people that encouragesthem to use the same “tool box” to createtheir landscapes for the same text.

In 2012 we opened a new theatre in Molde.We now reside in an architectonical regionallandmark, where we coexist with 4 of themost important cultural institutions in theregion: the communal library; the RegionalCentre for Artists, Bjørnson Festival; theNorwegian Festival for InternationalLiterature; and Molde International JazzFestival.

131| U

niversity of Agder KRISTIANSA

ND, N

ORW

AY

The University of Agder (UiA) is situated on the southern tip of Norway and haslocations on two campuses, Kristiansand andGrimstad. It has approximately 11,000students and 1,000 academic andadministrative staff members. It is one of thenewest universities in Norway, but its historygoes back to 1839.

Students and academic staff from TheTheatre Section, as well as from TheMultimedia Section, are involved in thePLATFORM shift + project.

The Department of Visual and Dramatic Artsoffers bachelors and masters programmes inDrama and Arts education as well as a PhD

programme in “Art in Context”. The theatre activities have a specialemphasize on theatre for young audiences.

Most courses are taught through hands-ondrama and theatre work, emphasizingcreative performance through variousdramatic modes of expression. Most of thework is done in the drama and theatre hallslocated on campus. Student ensembles tourextensively in a range of settings throughouttheir studies.

The faculty's academic staff arecharacterized by a twofold competence,encompassing both artistic and scientificskills. Artistic performance is the key focus

area for many staff members, while other faculty members have a strong expertise in didactics and education.

The Faculty of Fine Arts has a specialresponsibility for developing a goodenvironment for education and research inthe fine arts at the University of Agder. TheDepartment of Scenic and Visual Artdeliberately seeks to relate many of itsactivities to the community and aims toinvolve and include other culturalinstitutions in the Agder region, in Norway,as well as internationally in its research andartistic activities.

UNIVERSITY OF AGDER (KRISTIANSAND/NORWAY)

MY DIGITAL ADDICTIONSince 2013 an ever increasing number of people have been makingVines - 6.4 second looped videos, which are uploaded onto personaland professional accounts. Users can follow, reVine, like or commenton the content (currently totaling 40+ million registered users).

Videos shared have a ‘loop count’ so you can see how many timesthat particular Vine has been seen. My Vine account is an onlinespace to share my drawing process from my studio. It is unclutteredof daily life and advertising, focused on the interplay between soundand image and shares the clear aesthetic of my detailed geometricdrawings of cities.

I have a modest following but I am confident that people follow mebecause they are genuinely interested in the art I am making, ratherthan what I ate for lunch. I am not overly interested in my loopcount, rather I wish to curate an online space that spreads theexperience of making my art and explores the potential interplaybetween drawing, film and performance.

The Vine community is founded on creativity and positivity. There aresome very skilled Viners across the world who are constantly pushingthe limits of the format. What emerges is a creative and excitingplatform where people get to curate moving images they like intoonline libraries of sources and inspiration and where the potential tocollaborate with creatives across the globe feels limitless andexciting. You can check out my work here:https://vine.co/Alex.Evans.Drawing

Alex Evans (Street Arts Academy Lead Artist, Emergency ExitArts, London / UK)

133| M

y Digital Addiction

136

With three meetings having already takenplace since November 2014, PLATFORMshift+ has taken off and the project isunderway.

1. Inaugural Meeting in Winchester (UK), 20 – 23 November 2014The leading institution in PLATFORM shift+,Pilot Theatre (York, GB), invited the networkto Winchester, a beautiful town in the southof England, for the inaugural meeting.Representatives from each of the partneringinstitutions were given the opportunity tosee the touring production of Antigone,directed by Pilot Theatre’s artistic directorMarcus Romer.

For three days,artistic andadministrativedirectors from the 11 partnerinstitutions got to know each other.Artistic director of PLATFORM shift+Dirk Neldner (GER) presented the details ofthe project and the participants were given adeeper insight into the artistic concept andfinancial conditions of the large-scale EU co-operation.

ACTIVITIESOF

137| PLATFORM Shift + Activities

2. Artistic Kick-off Meeting in Budweis(CZ), 15 – 18 January 2015The development of the National Productionis the focus of the first period of the project.Hosted by the South Bohemian Theatre,artists of different professions and disciplinesmet in Budweis for 3 days to inspire eachother with different inputs about thisprocess and to generate a stimulating initialexchange.

The meeting aimed to answer two keyquestions:

• How can a young audience be meaningfully involved in the research and production of theatre productions? How can theatre stay attractive for a generation of spectators that have grown up with the influence of the internet?

• How can digital and social medias be integrated in theatre productions as an artistic and aesthetic solution?

Each partner was invited to report about thedevelopment of their national productionand their experiences with engagementwork. Examples of best practice were given:Tabea Hornlein, head of theTheaterakademie at tjg Dresden (DE), gavean insight into their production Erstkontakt(First Contact). With youthful energy,students invited by Veronika Riedlbauchová,professor in Prague and educator of theSouth Bohemian Theatre, presented theiridea of a perfect theatre performance.Director György Vidovszky from Kolibritheatre (HU) introduced us to Cyber Cyrano,an award-winning production made as partof PLATFORM 11+. Video Artist PhilippeDomengie (collectif d’ártistes of Marseille,FR) shared his working approach with theEuropean colleagues.

As well as discussing the opportunities andchallenges of the upcoming process, theparticipants began playfully experimentingwith digital technologies, especially socialmedia. During the meeting the participantsstarted to communicate through Facebookand Twitter.

This was stimulated by a practical exercise,instructed by Mandy Smith from PilotTheatre under the title of “Social media as asource to inspire narrative“.

The participants of the meeting also got toknow more about the partnering institution,South Bohemian Theatre. Director LukášPrudek gave us a tour through the theatre,which has been operational since 1919 andconsists of 3 companies (theatre, dance,opera), and has recently undergone amodern building extension. On the trip tothe baroque town and garden CeskýKrumlov, the partners visited the revolvingstage, a very special part of the Bohemiantheatre and the unique baroque theatre.

The partners saw the production The sinfulvillage of Dalskabáty or The forgotten Devil,directed by Petr Hašek, artistic leader ofSmall Theatre - the department for youngaudiences, which provided an insight intotheir work.

˚

ˇ

138

3. Advisory Board Meeting in Ålesund / Molde (NO), 10 - 13 April 2015The heads of the 11 partner institutions met to exchange their starting points forthe National Productions. During thepresentations it appeared that theconceptual ideas are very varied and alreadyquite thought out. The conditions andrequirements for the first Annual Encounter,including the presentation of the concepts of the National Productions, and theCreative Forum were also discussed.

Thomas Bjørnager, artistic director of thehosting Teatret Vårt, invited the participantsto its two facilities: Barneteatret Vårt, thedepartment for young audience, located in an historic building in Ålesund and toPlassen, the newly built, highly modernvenue in Molde, where Teatret Vårt has been based for 3 years.

At Barneteatret Vårt the partners watchedMannen in pappesken, a production by Andy Manley (GB) for children aged 5+ and family audiences.

The partners were given an idea of the longdistances and the isolated little towns thatTeatret Vårt has to reach as a regionaltheatre as they were sailing on a ferrythrough the fjords from Ålesund to Molde.

139| PLATFORM Shift + Activities

140

NOV 2014 APR 2015 SEP 2015 FEB 2016 JUL 2016

ARTISTIC KICK-OFF-MEETING

BUDW

EIS, CZ

INAUGURAL MEETING

WINCHESTER, UK

ADVISORY BOARD MEETING

MOLDE, N

O

6TH ANNUAL ENCOUNTER

PAMELA, PT

CREATIVE FORUM

1LISBON, P

T

NATIONAL PRODUCTION

EACH THEATRE

NO BOUNDARIES - SHIFT HAPPENS

MANCHESTER, UK

DIRECTORS’ WORKSHOP

MILAN, IT

YOUTH ENCOUNTER

FORLI, IT

CREATIVE FORUM

2BUDAPEST, H

U7TH ANNUAL ENCOUNTER

BUDAPEST, H

U CO-PRODUCTION

EACH THEATRE

141| Project Timeline

DEC 2016 MAY 2017 OCT 2017

MID TERM EVALUATION

KRISTIANSAND, N

O

CREATIVE FORUM

3TALLINN, EE

YOUTH ENCOUNTER

TALLINN, EE

8TH ANNUAL ENCOUNTER

DRESDEN, DE

FINAL PRODUCTION

TOURING IN EUROPE

ADVISORY BOARD MEETING

BERLIN, D

E

NEW PARTNERSHIPS

LONDON, U

K

ACTORS’ W

ORKSHOP

FORLI, IT

CREATIVE FORUM

4*11

11 CITIES IN EUROPE

YOUTH ENCOUNTER

MARSEILLE, FR

EVALUATION MEETING

MARSEILLE, FR

MAR 2018 AUG 2018

I’m a huge fan of the singer Evelinn Trouble. I check out her websiteto see, if she is performing nearby or if she releases a new record. Twoyears ago I met her in Zurich. A friend of mine introduced me to herand I immediately exclaimed: “You are Evelinn Trouble! Thank you foryour music!” She took a step back, and said: “Uhha – yes”. Sometimesit’s better when a fan and an artist just meet at a concert. Since thenI have only seen her through evelinntrouble.com and that’s fine.

Hanif Idris (Actor, tjg. Theater Junge Generation, Dresden, GER)

Addiction? I just like checking it from time to time: almost everyevening, during the weekend to look at the ideas I have collected allthrough the week. I use it like a board where I can pin images as areminder of the artistic works I like, DIY projects I plan to do, andinspiration to have in mind when I carry out my plans… It also helpsme discover smart ideas and design stuff…

Well, maybe I’m a bit addicted! At least, it takes up less space thanmy non-digital collections!

Nathalie Dalmasso (PR Théâtre Massalia, Marseille, FR)

142


MY DIGITAL ADDICTION“Do you listen to good music?” – It sounds like an absolutely normalquestion. To answer it nowadays I could say: “Yes, check my list onSpotify

The time of record collections is over and now I should examine allmy external hard drives and delete everything besides the babypictures of my children.

We once started building skyscrapers because air didn’t cost a cent.Now we can upload all our music into the same free air.

Yes, dear collectors, better stick to your butterflies and stamps –music has travelled into the clouds.

Margo Teder (Actor/Director VAT Teater, Tallinn, EE)

When I was a child I loved to drag my mother to all the shops of the city searching for a new T-shirt or the umpteenth pair of shoes. When I grew up my mother decided that I was old enough to go shopping alone.

One day while I was loosing time on Facebook, I saw anadvertisement about an online shoe shop. I clicked on it and a longpage full of pictures of boots and sandals appeared. “Free delivery andreturns! It’s gorgeous!” – I thought - At the end of the first month mybank account was empty and my fridge too but my apartment wasfull of shoes!

Martina Parenti (PR, Teatro Elsinor, Milano,Firence, Forli, IT)

143| M

y Digital Addiction

“

My I Pad is my connection to the whole digital world. And it containseverything digital I need, from my addictions to my passions.

My biggest addiction is, surprisingly, Facebook. I don’t have Twitter.Thank God!

I tried to quit once. I was doing pretty well for about three months. I really hadn’t touched it. And no withdrawal symptoms at all :) But then I logged back in because of my job. It was necessary to stayconnected. Now I accept Facebook as my daily routine. And as mypassion!

There are a bunch of great music Apps! Synthesizers! Loop stations!Techno machines! I Love it! I have spent a lot of time with theseapps.”

Bartolomej Vesely� (Actor, South Bohemian Theatre (Ceské Budejovice/ CZ)

3 years ago I started to work with screen recording and web camrecordings on Jing. That changed a lot.

When I am asked to comment on a text I often answer with a smallfilm or a screen recording, particularly if it is in a foreign language. Ittakes much less time to give a spoken reaction to a text than to writecomments. And the students are satisfied - they find it morepersonal: “It feels like I am in the room”, and they can listen to itseveral times if they want or need to.

Gunnar Horn (Professor at University of Agder, Kristiansand, NO)


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145| Addresses

Pilot Theatre CompanyYork, United KingdomArtistic Director: Marcus Romerc/o York Theatre Royal, St. Leonhard’s Place,York Y01 7HDwww.pilot-theatre.com

Jihoceské divadloCeské Budejovice, Czech RepublicDirector: Lukáš PrudekDoktora Stejskala 424/19, CZ-370 01 Ceské Budejovicewww.jihoceskedivadlo.cz

Elsinor Teatro Stabile d’ InnovazioneMilan, Florence, Forlí, ItalyArtistic Directors: Giuditta Mingucci,Gianluca Balestra, Rossella LeporeVia Boltraffio 21, IT-2059 Milanowww.elsinor.net

Emergency Exit ArtsLondon, United KingdomArtistic Director: Deb MullinsRothbury Hall, Azof Street, GB-London SE10 OEEwww.eea.org.uk

Kolibri Gyermek – és ifjúsági színházBudapest, HungaryArtistic Director: János NovákJókai tér 10, HU-1061 Budapestwww.kolibriszinhaz.hu

ACGD Théâtre MassaliaMarseille, FranceArtistic Director: Emilie Robert, Friche Belle de Mai, 41 rue Jobin, FR – 13331Marseille cedex 03www.theatremassalia.com

Teatro O BandoPalmela, PortugalArtistic Director: João BritesVale dos Barris, PT-2950-055 Palmelawww.obando.pt

tjg. Theater Junge GenerationDresden, GermanyArtistic Director: Felicitas LoeweMeißner Landstrasse 4, D-01157 Dresden www.tjg-dresden.de

VAT TeaterTallinn, EstoniaArtistic Director: Aare ToikkaUus 5, EE-10101 Tallinnwww.vatteater.ee

AS Regionteatret I Møre og RomsdalTeatret VårtMolde, NorwayArtistic Director:Thomas BjørnagerGørvellplassen 1, NO-6413 Moldeww.teatretvart.no

Universitetet i AgderKristiansand, NorwayDean of the Faculty of Fine Arts: Per Kvist,Gimlemoen 25, NO-4604 Kristiansandwww.uia.no

ADDRESSES

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146

Publisher Dirk Neldner

Editor Odette Bereska

Layout & Design www.spacecreative.co.uk

Printed by Druckhaus Köthen (Germany) | www.koethen.de

English Corrections Sam Johnson, Lucy Hammond

Picture Index Pille Kose, Siim Vahur, Margo Teder (EE), Allan Harris,Stuart Ord, John Johnston, Giles Smith, Robert Day, John Saunders,Lucy Hammond (UK), Patrick Boyer (FR), Øystein Flemmen (NO),Filippo Venturi (IT), Dorit Günter, Norbert Seidel, theaterakademie (DE)

© PLATFORM shift+PLATFORM shift+ Digital challenges in theatre for young audiences isa European Theatre Network supported by the European Commission.The views expressed in this publication are only the views of theauthors. The Commission cannot be held responsible for any use,which may be made of the information contained therein.Contact: Odette Bereska | [email protected] Organisation: Pilot Theatre Company | York, United KingdomArtistic Director: Marcus Romer | c/o York Theatre Royal, St. Leonhard’sPlace, York Y01 7HD | www.pilot-theatre.com

Office: Kalkseestrasse 7 A – D-12587

www.platformshift.eu

DIGITAL CHALLENGES IN THEATRE FOR YOUNG AUDIENCES YEARBOOK SEASON 2014/2015

PLATFORM shift+ is a larger scale cooperation project announced by the EuropeanCommission under their European Culture Funding Stream Creative Europe.

Particpating Theatres Pilot Theatre Company (York/Great Britain) South Bohemian Theatre (Ceské Budejovice/Czech Republic) Elsinor Teatro Stabile d’Innovazione (Milan, Forlì, Florence/Italy)Emergency Exit Arts (London/Great Britain) Kolibri Theatre (Budapest/Hungary) Theatre Massalia (Marseille/France) Teatro O Bando (Palmela/Portugal) tjg. Theater Junge Generation (Dresden/Germany) VAT Teater (Tallinn/Estonia) Teatret Vårt (Molde/Norway) University of Agder (Kristiansand/Norway)

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DIGITAL CHALLENGES IN THEATRE FOR YOUNG AUDIENCES YEARBOOK 2014/2015

www.platformshift.eu

platformshift - yearbook 2015

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