— 1 — FOR TEAM RESPONSIBLE REALIZATION OF THE PROJECT Glej Theatre Théâtre du Pélican Gregorčičeva ulica 3, 12, rue Agrippa d‘Aubigné, 1000 Ljubljana, 63000 Clermont-Ferrand, Slovenia France www.glej.si www.theatredupelican.fr Project leader, coordinator: Inga Artistic director: Jean-Claude Gal Remeta Project leader, coordinator: Artistic director: Marko Bratuš Sébastien Castella / Cécile Heil Executive producer: Barbara Poček Cultural mediator: Stéphane Drozd Project leader assistant: Anja Pirnat Communication: Marie Lavest — 2 — Public and media relations, Accountant: Georges Alves — 1 — marketing: Rok Avbar / Jure Novak Mentor: Thierry Robert Mentors: Ajda Valcl, Sebastijan Starič, Marko Bratuš, Jure Novak Das Letzte Kleinod Likeminds Schienenweg 2, 27619 Schiffdorf-Geestenseth, De Wittenstraat 27, Germany CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 1052AK Amsterdam, www.das-letzte-kleinod.de 792(497.4Ljubljana)(082) The Netherlands G2G : generation to generation : Glej Theatre (Slovenia), Likeminds (The Netherlands), www.likeminds.nl Project leader, coordinator: Théâtre du Pélican (France), Das Letzte Kleinod (Germany) / [urednika Inga Remeta, Marko Jens-Erwin Siemssen Bratuš]. - Ljubljana : Gledališče Glej, 2017 General director: Jarrod Francisco Artistic director of youth theatre: 1. Remeta, Inga 289938944 Artistic director: Caspar Nieuwenhuis Juliane Lenssen <----------------------------------- Executive producer: Sabine de Groot Executive producer: Claudia Stollenwerk CIP - Kataložni zapis o publikaciji Mentor(s)/coordinator(s): Joyce Mentor(s)/coordinator(s): Narodna in univerzitetna knjižnica, Ljubljana Timmerman, Milone Reigman Juliane Lenssen, Zindi Hausmann 792(497.4Ljubljana)(082)(0.034.2) Public and media relations, Project leader assistant: Julia Kawka G2G [Elektronski vir] : generation to generation : Glej Theatre (Slovenia), Likeminds marketing: Casper Koster Public and media relations, marketing: (The Netherlands), Théâtre du Pélican (France), Das Letzte Kleinod (Germany) / [urednika Inga Remeta, Marko Bratuš]. - El. knjiga. - Ljubljana : Gledališče Glej, 2017 Juliane Lenssen Način dostopa (URL): http://g2gproject.eu/sl Technicians: Frank Dohrmann, Marjan ISBN 978-961-92562-5-1 (pdf) Barjamovic 1. Remeta, Inga 289940224 changes or shifts – getting socially unconnected groups of youngsters together, raising awareness as regards various problems, filling inter-generational gaps which are becoming increasingly typical in contemporary societies (where the focus revolves around the work process). An interesting question that we like to pose is: who is supposed to be the subject of theatre work with young people? Do we search for those who are pointed out as gifted actors and give them training opportunities in a structure resembling professional acting schools and productions? Or do we rather look for the advances that any willing young person might personally achieve from theatre education or the theatre process? The above questions have no single answer, but it is interesting to see that contemporary theatre understands better than ever that it is, in its substance, an important, and sometimes the only space in society where everybody has a voice. The previously unheard voices – the voices of any socially oppressed individual or groups – are not only fresh, but offer a new insight into society. The voice of a young person who is to be heard through serious and authentic work is therefore an interesting, new voice that enriches the understanding of society. It takes a lot of hard work and wisdom to help — 2 — young people articulate their voice on stage. It takes — 3 — numerous strategies and decisions. Theatre needs a means of communication, it needs different techniques to express oneself through voice, body and mind, show its mastery and delivery. At the same time, the main force used in the process is creativity, and in most cases the creative process opposes hierarchy; at a certain point the group leader must become “the ignorant schoolmaster” and lead the individual or collective young “pupils”. Finally, theatre is a rare space in which humanity speaks in all its universality, through the words of a particular youngster or group. In this sense, international theatre work with young people is precious. Because – no matter which country or city and what sort of background they come from – they step onto the stage, they remain amongst the audience and they share their worlds and their voices; this is a shared moment in all of their lives. was based on a simple philosophy that we ideas into a theatre form. The work usually experiences goes far beyond exchanging M a r k o B r a t u š quickly adopted: the best way to work for took place in three phases: the first phase methods – sometimes just talking with them is to work with them. So Glej kicked consisted of gaining material through mentors from other countries and seeing off with our own program. discussions, improvisations and stories. what challenges they face in their work with The first challenge we faced was Kickoff: Parallel to the content sessions we had the youth can be inspirational. where to get the youngsters for our usual theatre drills for concentration, focus, project? The teenagers who wanted to voice, movement, etc. The second phase become actors were already enrolled in European consisted of distilling the theatre scenes Conclusion actor’s training studios – but they were style from the content that the participants not the people we were looking for as proposed during the first phase – in From Glej’s perspective the project was a they all wanted to be a part of the already this phase the mentors encouraged the great success as it enabled the theatre to established theatre scene. We wanted to teenagers to develop the scenes themselves fully develop its youth program, making it address teenagers who thought theatre and intervened only when help was needed. one of the very few professional theatres was not for them. We found the first group In the third phase (finalisation) the mentors that produce theatre work for teenagers As Glej theatre is one of the oldest of teenagers willing to participate through took over and helped define the structure with teenagers. This means that Glej’s experimental theatres in the Balkan region an organization that was organizing of the piece and the rehearsals. The set youth program can run for years thanks to (established in 1970) we have always had a summer vacations for underprivileged design and costumes were usually a part the initial boost of experience exchange. non-written duty to explore the medium of youth. Later we asked them to ask their of the process and were created by the The Glej team also learned a lot about theatre in both, its shape and form. Since friends if they wanted to participate and participants. mentorship and management levels. Even experimentation in theatre has underwent by the end, when our program was well on The results of working with this more importantly, the main impact can be a rather lengthy journey since the seventies its way, youngsters started asking on their method were pretty revolutionary as the seen in the youngsters who took part in the and today even the large institutions are own if they could join G2G. very first performance we produced within project. Not only did they become aware not shy of fiddling with unconventional The second challenge we encountered the G2G project was selected for the finals of what it takes to produce a theatre piece — 4 — theatre forms – Glej shifted its focus was the lack of properly trained mentors. of the Vizije youth theatre festival. People – making them theatregoers for life, they — 5 — from experimenting to underdeveloped There are actually quite a few school noticed works that were totally different also built up their performing and social areas. We believe that one of the main productions with teenage actors – but from what they were used to so far. The skills within an international setting. A mere underdeveloped areas within Slovene they usually just follow their mentor/ G2G project and work methods had a year later the same teenagers who were too theatre is theatre production for the teenage director’s lead and act in a rather big impact: in Ljubljana a similar concept shy to speak up during their first visit to the audience. Theatres were producing either conventional way. What we needed were for students of non theatrical studies Glej theatre were discussing their attitude (more or less) moralistic plays about drugs, open minded mentors who would be emerged; and our mentors were asked to towards theatre in front of a crowd of 200 pieces from the school curriculum or failed able to approach the teenagers and work hold workshops for mentors from all across people – and to top it off they were doing to address this age group as most of them together with them. This is where the idea Slovenia. this in English. The G2G project showed us visited performances for adults with their for the exchange project first came to life. that we were right in assuming this will be a schools anyway. However, it was obvious We designed G2G with partners who are life changing experience for the teenagers that teenagers rarely attend performances all addressing the same issue – but each Change in work inspired by involved: and this goes far beyond building outside of the school organized activities. one in their own unique way. This way we different perspectives their potential professional careers in We set off to discover what was the could learn from each other and continue performing arts – even though they have reasoning behind this? Most of the answers developing our individual methods. The principle behind the method was vastly improved as authors and theatre were that theatre was boring, was not for developed from what the partners creators, it is even more important that they them, was a waste of time, etc. from Amsterdam were doing. However, grew as people. This was why Glej looked around Methods of working with following the exchange of mentors and Last but not least we witnessed the the European Union for cases of good youth and results practices we also tried some things we have development of a new audience– our practices – and found the Amsterdam based never considered at the beginning of the performances were very well attended, company called Likeminds, who were doing Glej’s method was based on a devised project – such as an ambience performance, mostly by young people who have never exactly what we were looking for. Theatre theatre concept with a mentor who played in a garage and inspired by the work set foot in Glej theatre before and who for teenagers with teenagers. Their work oversaw the process and helped pack the of Das Letzte Kleinod. The exchange of returned for more. — 6 — — 7 — o ation Generation t gener Methods of working with the different work methods which they organizations. On the other hand, one of youth and results were able to observe or experience in the the benefits of our workshop was that various workshops. The input obtained we were able to try out our methodology J u l i a n e L e n s s e n , Das Letzte Kleinod focuses on through these international meetings in an international frame. The positive Z i n d i H a u s m a n n documentary theatre linked to special is immense and can’t be compared to results from the workshops and our locations and places. The youngsters o “national” experiences. Throughout the production made it clear that we want to became skilled in different interview G2G-meeting process one could observe continue working with the “real stories” techniques and learnt how to document Getting t the development of the various methods. methodology as a corporate methodology the interviews. They were encouraged The ongoing process will show that the which works for our theatre productions to ask people they did not know about know the inspiration obtained through meeting for adults in the same way as it does a special theme and conduct interviews f different groups and their “style” of for kids or youngsters. Besides getting of different lengths and intensity with theatre has a big impact on the work acquainted with new ways of working them. As this was an international project, stories o of each partner. The foundation of the with youngsters it was also interesting the interviews were conducted in several G2G-partnerships set the grounds for to see how different environments languages. The youngsters recorded others in further and deeper cooperation in the influence the performances. While the materials on audio, wrote down field of youth theatre with some new and presenting our piece Sudan in France their recollections of the interviews or innovative aspects. for the first time on stage, where we created their own stories from the texts order to get used new technology (Skype screen), we they gathered. They also focused on the invited the other groups to present their movements of the interviewed people, as to know Conclusions pieces in special locations in our village well as their voice and tone when talking. without a stage. It was also interesting They created different theatre scenes yourself The G2G project made it possible for our for our organization to realize that as we with the help of professional theatre organization to research and develop work in a rural area, our target group of — 8 — makers. The scenes that were presented our methodology in a broader context. participants and the way in which we — 9 — through the means of theatre, dance and Working with interview techniques is not work differs from the other groups. As the song were performed on special locations merely an artistic methodology, but can other G2G groups are based in cities they which were connected to the stories. The also be used to get to know each other have a pool of youngsters with whom rehearsals also took place in different in encounters, exchanges and starting they work with on a regular basis. Each The Das Letzte Kleinod theatre has been locations and in open public spaces, which dialogues between the youngsters. group has different sources of inspiration working with youngsters in the field of enabled the youngsters to meet the public Working with the youngsters from the and different aims. Nevertheless, it is documentary theatre for several years. even before the final performances. The Netherlands and the workshop we gave possible to approach similar themes During this period the theatre developed youngsters were able to obtain an insight in the G2G meeting in France showed with different backgrounds. It has been special interview techniques and ways into the different personalities they staged us that the methodology works in an an interesting challenge to bring these of collecting material from “real life in the different performances in several international context. The methodology is different youngsters and forms of theatre stories”. This seems to be a work process languages. relatively flexible and can react to relevant together. Our youngsters have broadened that is appreciated by the youngsters as topics of our time or the interests of the their views and apprehension for other they are working with material that is a youngsters and how they want to develop countries. Throughout the joint working part of their or other people’s lives. For Change in the work the scenes. Besides, the visual character of process and the performances they Das Letzte Kleinod it was important to inspired by the different the productions allows for performances staged for each other they discovered find international partners who would perspectives in different cultural contexts. We gained the diversities and importance of cultural also implement this method, for we positive feedback from the European exchange in a very direct and personal wished to share it and develop it further. The meeting and getting acquainted audience. way. The touring made them take a Our partner theatres in the G2G project with other work methods led to the Beside the productions our big step forward in their own personal provided a highly professional platform for integration of new methods. Not only the organization and youngsters were able to development and in their communication sharing this process which led to exciting professionals who took part in the project, gain new insights through the workshops in different languages and with people developments in the field of youth theatre. but also the youngsters, were inspired by that were held by different partner from different backgrounds. — 10 — — 11 — important in terms of its human and social viewpoints: everything that characterises – that which does not judge but underlines reach than its artistic method. And so much young people and their need to light up life the positive and escapes the radical J e a n - C l a u d e G a l the better. It is quite something to embark with moments of great intensity, the desire professionalism which excludes. Without young people on an adventure designed to to draw something of the world to them, judging others, it is indeed this side which encourage them to: a real utopian force which rises up to defy interests us, and brings us all together. — Communicate with their bodies – society. Beyond the through the different workshops which This is what is important in the gave rise to original, enthusiastic and meetings held between the partners of The horizon method involved approaches by young people the G2G project. Everyone organised their and the people leading them. involvement as they saw fit. It led to original Our methods of working, providing support — Communicate with each other, experiences and each time a new truth and offering guidance are underpinned proving that the individual, in a group, became evident: for whom and with whom by several common values. At the service always manages to find the energy to are we doing this? How can we involve the of young people, these values result in communicate, exchange ideas and learn. world around us more effectively and how individual journeys, the force of which we It is interesting to note that this project Young people have codes which allow can we prepare ourselves for the future cannot yet begin to measure. But we can of theatre creation with teenagers is not them to make connections in unexpected battles? measure the integrity that we see in a great solely dependent on complementary artistic ways. A connection which goes beyond We are approaching this battle - which many of these young people. And this way of guidance methods. In fact we have noticed artistic reasoning and practices to focus is actually a belief, a defined objective - showing an enlightening path is not an end that totally different methods, based on above all on the question of integrating through performance, similar to those that in itself but a powerful means of upholding completely different approaches as regards our differences. The method cannot we have proposed, each respecting the these edifying values for young people. artistic guidance, result in social and always be explained but the results are others, deepening or intensifying them, political ideas and outlooks that are seen there to be seen. but also allowing them to see their limits by the spectator as almost identical. This is — Communicate with other young and shortfalls. It was important to include reassuring as it shows that the relationship spectators, seeing a reflection which these encounters in our analysis, but we also and integration of meaning in our work with is intelligent because it has no primary needed to notice the needs they revealed, teenagers is the source of our exchanges artistic interest – no calculations, the desire to do better. and that the method has only a very slight reference, or cultural evaluation – it We have managed to explain our project influence on the spectator’s outlook. For is a mirror of the society that poses and involve new potential partners in almost — 12 — each of the teams, the vision of society questions, and this gives meaning to the all of our encounters. They came and saw presented by the young people greatly exchange. what we were doing. They understood that exceeds the framework of our guidance. It This realm of representation is symbolic. it is the acceptance of our differences, in appears that it is our paths of questioning It offers a view of the world, without terms of both method and involvement, that that are similar rather than our methods. hierarchy or conformism. This space cancels provides the real force in our approach, and out differences and bias. It does away with that artistic education is and should be like Let’s try to analyse the structure, i.e. how ‘academic know-how’ and focuses on the this: genuine equality of opportunities for each mentor views his responsibility in emotional generosity of the teenage-actors. all in order to find - through artistic creation terms of guidance and implication in the or involvement - the path to sharing and addressed themes. Effectively, we chose respecting each other. to have a common theme for each of our The encounters Our collective work has helped create encounters - (1) absence of a parent, (2) a new network for these young people and travels - (even utopian), displacement, - (3) We have noticed that these encounters has encouraged original ties, which are at the inclusions –, themes that were followed should be organised, but without the service of a Europe that is to be built with more or less closely and always considered curbing inventiveness. In other words, it them. Our cultural structures are discovering, and worked upon freely. Each partner is crucial to find the right mix between a launching or continuing citizen-based presented strong dramaturgic choices: the schedule of working meetings, workshops approaches. This is the heart of our work of youngsters’ involvement was voluntary and and performances, and free and improvised creating individuals within the Community. It committed because the preoccupations discussion times. is not our methods which offer the solution and responsibility of the teams were not On each occasion we have seen surges but the act of sowing the seeds to think anonymous. It appears that this responsibility of complicity, even moments of shared about and develop these essential paths, at for the guidance that we offered was more intimacy, and spirited ways of presenting the service of the lesser known side of art — 14 — — 15 — a specific site in which they present their work. combines history writing with making art. and taxi drivers. It’s a very versatile and As for our engagement in the Generation The project consists of a myriad of theatre flexible concept. At the same time it connects to Generation project, we saw this performances, short films, spoken word, music strangers, it builds a community, creates a C a s p a r N i e u w e n h u i s collaboration as an extension of our work in and urban myths. It also creates a community, library of new stories and gives the youngsters Amsterdam and The Netherlands. Not only is as the people who were interviewed by the a working method and artistic instruments the mix of cultures and generations intrinsic young artists, also form the first audience. with which they can develop their careers as The lazy to our work, the collective also seeks a new All interviews, recordings of performances, emerging artists. contemporary artistic language that would texts, films and music are uploaded to the mirror the globalized world, and this can be Decameron website, which functions as a approach, t clearly seen in our methods and performances. sample of contemporary life. Have you changed anything in your work In practice the project is relatively simple. methods as a result of the project inputs/ The youngsters have an assignment to go results that might have opened a new and which is a lo What methods did you use in your work out on the streets and interview people they different perspective of your work? with youth? don’t know. The interviews should be based We truly believe that this European of work... We always use the method we call: the lazy on the themes of Boccaccio’s Decameron, but collaboration enriched the cultural, artistic approach, which is a lot of work. In this method translated to the contemporary lifestyle. These and ethical references of our young talents. we start with the question: What do you want? interviews, or even better, these real-life The same goes for our mentors (most of whom What stories do you want to tell? In what form? anecdotes represent the basis for the piece of work as professional theatre makers), who Likeminds is a network of diverse, young, On what stage? In front of what audience? art. The art piece might be a theatre piece, a learned from other educational practices and urban, cultural artists that give a voice to The answers provided by the youngsters film, a song or a poem, but the rule is that they thus enriched their expertise. contemporary city culture. By combining give us the starting point for developing the have to make them themselves. Throughout Next to this new artistic language and dramaturgy, performances and community program. Within our customized program we the process they are coached by professional professional enrichment, the Generation enrichment we aim to mirror The Great City. provide a ‘motherboard’ of knowledge, i.e. all journalists and artists. In the end, the art piece to Generation project provided us with the Diverse, dynamic, inspiring and unique, of the basics necessary for creating a theatre should be presented off- and on-line. The opportunity to assemble new stories. This Likeminds comprises of two parts: it is a piece. This comprises of various workshops life presentations take place in the presence was also the core of the Decameron concept, platform for developing young talent and a for different positions (directing, writing, of the people they interviewed. After the which was one of the concrete projects this professional theatrical ensemble. During the acting, producing), different theatre disciplines presentation, the original story owner and the collaboration was working on. ten years of existence, Likeminds has nurtured (text based, music theatre, performance art) young artistic interpreter meet and debate the The Decameron aims to assemble existing — 16 — — 17 — dozens of young talents into professional and all kinds of genres (classical dramaturgy, result – the thin line between fact, faction and stories that are based on fixed topics, and theatre makers, musicians and visual artists. spoken word, contemporary and classical fiction. The day after all content is placed on present them all on the same platform The Likeminds artists’ ensemble creates iconography). The youngsters learn how to the Decameron website, www.decamerone.nu, (digitally and on stage). By doing so, we productions which result from their personal be self-conscious and self-supporting. They and the stories are preserved for the future. started to conceive a storyboard of daily life engagements with The City. They use The City pose the questions, we facilitate. They set the in Europe, with all of the possible diversions as their source of inspiration for structure as lines, we facilitate. They design their stepping- and similarities. If one person in the future well as content. Their focus is topical: social stone-skills-development, we facilitate. And What results have you achieved with your will ask for a cross-section of Europe during interaction, violence, diversity, sex and drugs. we coach, in a peer-to-peer educational model. methods? the first decades of the 21st century, he could Likeminds creators take these themes and We provide a pool of professional playwrights, Over the past three years we have been be pointed to this storyboard or library. We create works that combine various art forms, directors, actors, dramaturgists, performers, testing and improving the work method used believe this is the added value of the G2G genres, disciplines, and styles. This mix is designers and they teach, coach, mentor, in the Decameron project. The results are project. essential. adjust, galvanize and mirror our youngsters, multiple. Our youngsters changed hundreds For Likeminds, it was good to share the Likeminds creators see The City as a who learn by doing. of new and contemporary stories into art. Decameron project and our pedagogical source of narrative, they don’t draw merely The Decameron-project is an emblematic We set up several small festivals in which method of learning by doing with our partners from their own personal experience. They project for our method. In the G2G-project, we we presented all of the stories. We let them throughout Europe. In this way we could test look for inspiration in The City by talking to its used this project as the oil that lubricated the travel to other countries where they collect our method and work by trial and error, and inhabitants and engaging them in the creative engine. new stories. Sometimes the themes are very we could also implement other methods. process. Using the stories they tell a rich and Basically, it is a multimedia platform specific, sometimes they are more open. It For example, the way our German partners varied story of The City; and Likeminds work for present day stories. Within the project, appeared that basically any theme or context approach the sites in which they make and is renowned for being both for The City and of youngsters collect stories from total strangers, is possible, as is any artistic approach. Our perform the plays, gave us a new perspective The City. Likeminds also considers the city to be transform them into art and present them youngsters made Decamerones about broken on using the direct environment of an artist as a platform - the makers choose a public space or on stage and online. The Decameron project hearts, elder Surinam Jews, imprisoned people an artistic source to delve from. — 18 — — 19 — Youth theatre has an additional — get more involved in the of youths possesses no critical judgement, dimension. Not only does it “educate” emotions of others: they find it but everybody within the group is given the audience, it has an even greater easier to take care of others, the opportunity to present and justify his/ role in educating the performers – the — find it easier to change their views, her views. youth. Not only do the children and — are more innovative and So, one might wonder what is the M a t j a ž Š m a l c youth need to face publically speaking entrepreneurial, difference between a debate club and (which strengthens their rhetoric) for — are more dedicated to their theatre? During the performance creation wer the first time, they also strengthen their future and have more plans, process the youth are emotionally orientation in space, and start focusing — are much more prepared to involved. They can manipulate their The po on their movements. The theatre allows cooperate in any type of artistic emotions and acts. “They can advocate” them to voice their opinions through the or cultural activities, not only views that do not necessarily reflect their of youth safe shelter of the played character. Their in performance arts, but also in own and through this they can research confidence, their feeling for the co-actors writing, music, film, crafts, and test “the rightfulness” of their own theatre and the community grow stronger. — spend more time in school, read views and principles. They can set off into However, we have to take a broader more, perform household chores, the “unknown” – by playing roles they view of the pedagogic process within the play more, talk more, spend more can be anyone and do anything, without theatre: the theatre does not necessarily time with family members and take the dangerous consequences that could always represent the goal. Especially with care of their younger siblings. They appear in real life. We could say that this youth the journey is much more important: spend less time watching television is a controlled adventure, an adrenalin exposing the problems and finding or playing computer games, – or better said – emotional park. They solutions, confronting various (sometimes — do more for their family, more can express their fears and expectations, stressful) situations that they might usually of them perform odd jobs, they subdued or exaggerated. They are able Youth demands broad social affirmation avoid, as well as developing empathy and are more creative, whether to research their emotions and states into while growing up. They need their space consciousness about themselves as an on their own or in a group, which certain situations could push them for trying out social patterns, expressing independent personality are all a part of — have a better sense of humour, and the reactions of their co-actors and the their opinions, searching for personal the broader social scheme. Theatre thus — feel better at home. audience. and social boarders. The theatre is an becomes a means of educating the youth The advantages of youth theatre Creating or participating in a creative excellent space which enables them to and helps them form a well-rounded activities have already become a part of process is based on mutual trust. A special do just this. On stage they can be anyone personality. our “shared awareness” (which has also commitment is formed amongst them, they and everything. They are practically Research shows1 that youth who been statistically proven by the DICE 2010 follow an unwritten codex. Even though — 20 — — 21 — untouchable. During the performance participate in theatre or other dramatics research), unfortunately it has not (yet) they come from various backgrounds and their truth is the only truth. However, this activities become a part of the awareness of the are not connected in their “private lives”, unlimited freedom and unlimited power — are better evaluated by their decision makers and creators of school special, almost intimate relationships given by the stage can also be a trap: teachers in all fields, curricula. Of course, the youth will not are formed within the group. Because the power they have over the audience — are more confident when reading state as reasons for their participation of this, often unconditional trust, the is conditioned by their own sincerity, and show a better understanding that they want to be “active citizens” young performers can afford to be open vulnerability. The more honesty they show, of the tasks they are given, or have a “better sense of humour”. and honest, and go beyond the point of the greater insight into their intimacy they — feel more confident in Surrounded by their peers, with whom personal vulnerability. The experience reveal, the more unprotected they are and communication, they share the desire to tell their story, of being able to express their emotions the audience obtains greater power over — enjoy school activities more, the theatre provides them with a safe without fear from being judged can be them. Thus it is not enough to give the — are better at solving problems, social integration environment. Of course purifying. The fear of being rejected by youth the stage and audience, they also — cope with stress better, the individuals within the group differ their peers is great and their acceptance need good mentorship. — are much more tolerant towards one from another: they have different raises confidence and belief in their (stage) The main function of theatre is to minorities and foreigners, characters, different views, different work. As a result of their newly found educate. Theatre educates and improves — are more active as citizens, beliefs and interests. However, the group confidence they find it easier to overcome us; we become better people and better — show greater interest in is ruled by the unwritten rule of equality stage fright and their fear of failure. citizens. By mirroring society it exposes its voting on all levels, and trust, thus they can present and This means that the theatre is no problems and provides us with solutions. — show a greater interest in develop their views without worrying they longer merely fun, even though this The viewers leave the theatre purified cooperating when dealing with are going to be judged or rejected. This remains an important reason for the (catharsis). issues of a public nature, does of course not mean that the group youth’s participation. With their peers, 1 DICE Consortium (2010): The DICE has been cast. A DICE resource - Research findings and recommendations on educational theatre and drama (Ed. Cziboly, Á.) Budapest, Hungary who share their wishes and goals, the a rule lenient towards the creators, the fact youth can form their vision of the world, that they know each other can represent a present their problems as well as their problem for the youth: the more the story solutions. in the performance resembles their own The mentor plays an extremely and the more personal it is, the harder important role in this process. He leads they find it to keep a distance from the the group, establishes the work dynamics, character. Due to the personal connections keeps the equilibrium within the group with the young actors, the audience and takes care of the position of each and finds it hard not to focus on the personal every participant. He has to enable a safe characteristics found in the depicted and stimulative environment, in which the character. And it is even worse that even youth feel safe, wanted, important and if the audience does not have these respected. He plans the work process. He problems, they can become projections leads the youth towards the final goal. of the young actors. They might start Even if the goal is a theatre performance, worrying as to what will their parents think a good mentor should focus on guiding if he/she starts talking on stage about his/ the process and not on being a director. her experience with drugs or sexuality. He lets the youth take over the major part How can the young actor block out these of the creativity in the creation of the thoughts while on stage? performance. The more the performance is The situation is different when “theirs”, the more sincere is their creative dealing with an unknown audience. Such expression. Under such mentorship the an audience focuses on the result and The criticisms and comments become youth need to be protected from the youth not only get the opportunity to not on the process. This audience is not progressive as they follow the reciprocity theatre. They need to be given a safe participate in a performance, but also aware of the circumstances behind the principle. The time they spend exchanging and stimulative environment, full of obtain the possibility to create, take performance, it did not see the problems opinions, experiences, views and practices opportunities for creatively expressing on responsibility, expose themselves, the individuals faced in the process, it was is valuable. The youth feel safe, for they their ideas and – of course – having fun. fall and pick themselves up, protect not aware of the journey the creators took realise that they have become a part of a The youth will join the theatre in order to themselves and their co-actors. They are on their way to the final goal. They can only broader family of likeminded individuals. change the world. And it is our task to help — 22 — — 23 — given opportunities they are not given in see the final product – the performance - They experience personal growth and gain them do this. their everyday lives and they are having and this is the only thing they can evaluate. new experience and knowledge. fun while doing this (which should by no They can evaluate the artistic and aesthetic International exchanges are even means be ignored). side of the performance: the quality of all better for sharing. With distance the fear Theatre can be a means of education, theatre elements, the message and the diminishes – it is easier to reveal oneself learning and social integration. It does applicability of the story. At this moment it in front of an unknown audience, as there not necessarily need an audience, as the does not matter whether the young actor is practically no envy (which can appear (artistic) result is not the most important. joined the theatre group for fun, personal in the domestic environment). Mobility In the moment the process turns to growth, social integration..., in the given projects are practically always positively creating a performance, it is no longer moment the audience demands merely a oriented. This type of environment gives self-sufficient: it needs an audience. The good artistic result. the youth total concentration in their first response – evaluation – takes place The most rewarding and the most development and creativity, with no within the creative team. The “criticism” useful audience are thus youth who also prejudices or fear of being judged because is progressive, constructive, non-invasive. deal with theatre. They understand the of who they are. It enables the individual’s progress, as a processes behind the performance, they The power of the theatre is immense. result the individual gains confidence and are aware of the expectations and the It can change the individual as well as finds it easier to establish his character and traps and they appreciate every bonus the world. However, we should not focus build the performance. they can find. The best place to gain merely on the advantages that the young The second level is the audience. The such an audience is at theatre festivals. individual obtains from working in the first test is represented by the “home” The trust within an individual group is theatre. We must also be aware of the audience, which is no longer necessarily somehow transferred to the dialogue responsibility of the adult mentors. It is forgiving. Even though this audience is as between the various groups of creators. because of the theatre’s power that the Théâtre du Pélican Dupuis, Zoé Puyremond, Salama Rakotoarimalala, Valentin Roddier and Yoan and Ulysses Julien Sonntag Thitonus is a shepherd. He is handsome, so handsome that the Premiere: 20 May 2016 morning girl falls in love with him. The morning girl, it’s the Dawn. She is Artistic directors: Jean-Claude Gal and immortal. She always makes the sun rise. Thierry Robert She embraces Thitonus and brings him Performers: Lina Aliani, Zoé Coupat, high in the sky. Thitonus makes a wish: Antoine Flores, Cécile Gaudard, Djamil he wishes for an eternal life. His wish is Mohamed, Margot Nugues-Schonfeld, fulfilled. Their love last for centuries and Salama Rakotoarimalala, Valentin Roddier, centuries but Thitonus, who forgot to Julien Sonntag and Alice Thouilleux ask to stay young, gets inexorably older Based on extracts of When the child of by the side of an eternally young Dawn. morning, rosy-fingered dawn appears by Sabine Tamisier and Homer’s Odyssey Yoan is a young boy, sensitive and Keep out lonely. He lives with his mother. He never knew his father. In college, boys of his age maltreat him. To escape this life, he imagines Premiere: 07 May 2017 that he is Telemachus and his father is — 24 — Ulysses, to mirror his real father lost in sea. Text: Henry Bornstein — 25 — Yoan makes us relive the antique characters Artistic directors: Jean-Claude Gal and G2G surrounding the return of “his” Ulysses, as Thierry Robert the incarnations of his future hopes. Performers: Zoé Coupat, Pierre Drain, On stage, a group of young people Pei Duprey, Laura Malroux, Margot mixes the antique words of the Odyssey Nugues, Félix Poudenx, Naëlle Vallet to those of daily. Echoing the Time which and Alix Watel seems suspended and which always ask the Video: Anne-Sophie Emard and Pierre same question: how to grow in the absence Levchin of the father? Part of the adolescent identity Teenagers’ band on an urban IT remains confined in this questioning. ground. Their game: find a flaw … to crack a program. In front of a large screen, scroll Thitonus and the links to be pirated. Alternately, the teenagers will succeed in cracking morning girl each of them: from a military secret productions: to the world of Disney, from a state Premiere: 05 november 2016 secret to a war. Competition, conflict, shared euphoric comments and Text: Ronan Mancec exciting drives, at the limit of a certain Artistic directors: Jean-Claude Gal and jubilation, reach the heart of the group. Thierry Robert Exciting games of a virtual power Performers: Violette Chalier, Vincent facing a world on screen. Likeminds Das Letzte Kleinod Sudan Stations & Stories Minds Un-Plugged Premiere: 06 May 2016 Premiere: 15 October 2016 Afghanistan Artistic Director: Jens-Erwin Siemssen Premiere: 15 April 2016 Concept/direction: Juliane Lenssen & Theatre-Pedagogue: Juliane Lenssen Premiere: 08 April 2016 Coach: Zindi Hausmann Concept/performance: Gary Daniëlle van Vree Technicians: Frank Dohrmann, Marjan Shepherd, Suze van Miltenburg, Performance: youngsters of Likeminds Artistic Director: Jens-Erwin Siemssen Barjamovic Sheralynn Adriaansz, Yahmani Factory and Das Letzte Kleinod Theatre-Pedagogue: Juliane Lenssen Performers: Abdu Samad, Wiebke Albohm, Blackman, Susannah Elmecky, Sarah In collaboration with our German Coach: Zindi Hausmann Leonie Mensel, Arved Siemssen van Nes, Chaja van Kollem and Rosa partner Das Letzte Kleinod we Technicians: Frank Dohrmann, Marjan The theatre Das Lunge Kleinod tells the van Kollem produced a site-specific performance Barjamovic story revolving around young Sudanese A space filled with young eager about ‘being on the road’. Our Performers: Najib Asswadi, Marie Engert, men who were taking the dangerous path makers, with unfinished ideas and youngsters worked side-by-side Paul Kemner, Leonie Mensel, Süster Paulsen through the desert and over the ocean to undirected attempts that are urgent with the German youngsters in 44 hours, five people on two square come to Europe. They left their parents to the bone! gathering stories of travelers in meters, cooled down to five degrees. Their and families behind and dared to leave In collaboration with theatre Amsterdam trams and buses. These escape is a torture, motivated by the desire for the unknown. Smugglers brought maker and dj Gary Shepherd (dj Alec stories were transposed in a site- for a better life. Das Letzte Kleinod tells the them with trucks through the desert. On Smart) our youngsters presented specific performance that played on a story revolving around two Afghan boys the Libyan coast, they went aboard on a a multicoloured interdisciplinary deserted tram station in Amsterdam. who were hiding in a refrigerated container crowded cutter. Stranded in Sicily they performance in which everything to go from Greece to Italy. — 26 — fought their way through to Germany. — 27 — was slashed, in which everyone was Leaving their home with nothing and After waiting in a central receiving point, dancing and everybody searched and Point of view arriving with nothing except last memories they were sent to a refugee camp located found. kept on their cell-phones. in a small village. Premiere: 13 May 2017 This piece was acted by a young man “Everyone is coming alone. from Afghanistan who experienced this We couldn´t go with the whole family. The Road of Broken Director: Shanti Straub flight himself and four German youngsters The way was too hard. Dreams Performers: Gina Beuk, Bahar Yilmaz, who reenact and experience this story My father: “You must leave. Run away Ziggy Knel while playing it. The public was invited from here. These people, they like to kill Three Young performers to a narrow space where they found Premiere: 24 June 2016 you. polish profoundly but with care themselves in the middle of action so that Please, you go away from me. Because I our spectacles through which we borders between stage and auditorium Concept/direction: Shanti Straub love you. Please, save your life.”” look at life. Contours become clear disappeared. Performance: Ziggy Knel, Gina Beuk, The story was told from one of these lines, colors brighten up, our world Brahim Moujalis, Bahar Yilmaz Sudanese refugees who experienced this expands: trees on the horizon appear Within the context of the G2G- escape himself and German youngsters to be quite close, we can see families project and the EuropeByPeople- who reenact and experience this story living inside the grey apartment project eight youngsters went abroad while acting it. buildings. Things become so bright to interview eight people about their that we recognize ourselves in each broken hearts. The stories of flesh other. By the time we reach the end and blood were transposed into short of the show we will put the pieces documentaries and a site-specific together and celebrate that we are theatre performance. one. Das Letzte Kleinod Glej movement and singing. The interviews Something is were put into dialogues or monologues by missing the youngsters who were supported by Train a professional director. The young actors This is it, presented the performance at the train like it or not! Premiere: 12 May 2016 Premiere: 10 September 2016 station in Geestenseth. The spectators travelled with them from scene to scene Idea and concept: Ajda Valcl, Almedin Premiere: 07 December 2015 Artistic Director: Juliane Lenssen as in a station theatre. The theme of Kajtazović, Anna Andolšek, Edita Đogić, Production: Jens-Erwin Siemssen “mobility” was thus also an important part Tina Malenšek, Lana Lah, Žan Gorenc, Directors: Sebastjan Starič, Marko Bratuš Coaches: Zindi Hausmann, Julia Kawka in the way of presenting the performance. Karin Oražem, Grega Matjan Performers: Alex Centa, Almedin Technicians: Frank Dohrmann, Marjan The actors and public themselves were Directed by: Ajda Valcl Kajtazović, Anna Blomstand Andolšek, Barjamovic mobile. Performers: Almedin Kajtazović, Anna Edita Đogić, Laura Malnar Antončič, Lucija Performers: Omid Daoud, Leonie Mensel, Andolšek, Edita Đogić, Tina Malenšek, Ostan Vejrup, Tina Malenšek Süster Paulsen, Fin Rasch Arne Rodi, Jule The international ensemble Das Letzte Lana Lah, Žan Gorenc, Karin Oražem, Choreography: Sebastjan Starič Viebrock Kleinod develops performances based Grega Matjan Dramaturgy: Marko Bratuš The young theater-makers of Das on oral history and realizes projects with Technical support: Grega Mohorčič, Costume design: Zala Finžgar Letzte Kleinod (Schiffdorf, Germany) young people of different ages, focusing Martin Lovšin Light design and technical supervisor: worked on the theme of mobility. As the on documentary theatre related to places, Mentors: Ajda Valcl, Marko Bratuš, Simona Martin Lovšin, Grega Mohorčič theater is based in a former train station persons and stories. In the project “TRAIN” Hamer Production: Glej Theatre and owns several train wagons, the theatre the youngsters were enabled to get to Executive producer: Barbara Poček 2015: “You young ones just keep and youngsters chose to focus on “Train” know this special method of theatre in Production: Glej Theatre staring at the internet and you don’t do as a principle and theme of the theatre their very own way and developed the The performance Something is — 28 — anything!” missing addresses the theme of absent — 29 — performance about mobility. performance by creating own texts, scenes 1995: “You young ones just keep In this project the young people and the realization of this. It allowed a parents. In our experience a parent can staring at the television and you don’t do collected stories from people who are very intense process which was realized in be absent physically, emotionally or anything! Get out and play with a ball!” travelling by train and from these texts and meetings from May until November 2016. both, always or merely sometimes. The 1975: “You young ones just keep interviews they developed scenes and a The presentations during the G2G youth- performance about our absent parents is blasting music and you don’t do presentation. The young people travelled theatre-festival were the summit of this created as a series of short independent anything! Get out and stack some wood!” in small groups by train through Northern process. scenes. These miniature performances 1945: “You young ones just want to Germany. They interviewed other travelers, were created, developed for stage and read books with the light on and you looking for stories of people who are on carried out from the initial idea to the don’t want to work! Go to bed!” the move. Where are they from, where are final result by the performers. In the ... and even before: “You young they going? What memories, experiences process, we have researched our relations ones want to cook deer on the open and expectations they have in their with our absent parents or parent and fire! Go into the woods and pick some luggage? Which energy moves them? The tried to express our feelings and thoughts blueberries!” teenagers met different people, different that accompany this absence. We wanted Young generations of homo languages and very different stories. Also, to know how we could stage our family sapiens have always easier adapted the young theatre makers collected their stories and make them interesting for to the social/tech shifts in society as own experiences about travelling by train. the theatre. We came up with concepts, their older counterparts who generaly There were some moving stories and points, situations, monologues, have a resentful attitude towards the meetings that they had on different train- dialogues, and asked ourselves how could latter. This is it, like it or not! is a theatre travels which were put into scenes. we pass on our intimate experiences to performance that puts technology in The interviews formed the basic the viewer so that he could understand it. everyday lives of young generation into material for the presentations with text, humurous context. Glej Co-production: eminds, The Future The G2G production group is a Glej, Lik fresh collective consisting of: Slovenian, German, Dutch, French Where no Premiere: 17 March 2017 Théâtre du Pélican, actors, performers, thinkers and woman has gone Idea and concept, creators. We work together even Das Letzte Kleinod before performers: Tina Malenšek, though our lives, languages, jokes, Almedin Kajtazović, Karin music, politicians, enemies and friends might differ from one Premiere: 04 November 2017, Oražem, Nina Žerdin another. Geestenseth; Das Letzte Mentor: Jure Novak Get those We are devising a theatre Kleinod Light design and technical support: Martin Lovšin, Grega MOTHERF^%*$#RS production where we explore the different aspect surrounding Idea and concept: Marko Mohorčič upstairs! inclusivity. Through music, Bratuš, Laura Antončič, Photographer: Borut Bučinel movement, images, poetry, Manca Dečman, Edita Đogić, Executive producer: Inga Premiere: 12 May 2017 persiflage and honesty we are Kaja Savodnik, Nina Žerdin Remeta creating a new world. We want Directed by: Marko Bratuš Production: Glej Theatre Co-production G2G: Laura you to join us, to think with Performers: Laura Antončič, If there’s someone who Antoncic, Kaja Savodnik, Nancy us, to join us in getting those Manca Dečman, Edita Đogić, invests most of his or her Masaba, Susannah Elmecky, MOTHERF*&%$RS all of them! Kaja Savodnik, Nina Žerdin time, will, work and energy Vincent Dupuis, Penelope Guittard, Technical support: Grega into the future, it has to be Jule Viebrock, Fridtjof Siemssen Mohorčič, Martin Lovšin the teenager. Children live Director: Milone Reigman — 30 — in the present, the here and — 31 — Photographer: Sunčan Stone Directors assistant: Sinem Kavus Executive producer: Inga now, in games and growing Producer: Sabine De Groot Remeta up. Adults live from paycheck Producing partners: Likeminds, Production: Glej Theatre to paycheck, vacation to Das Letzte Kleinod, Glei Theater, The fall production of vacation. The elderly tend Théâtre du Pélican the Generation to generation to escape into the past. The Why are we fighting each project Where no woman teenager invests all his work other for acceptance, to be has gone before is a devised into the future. He goes to included, to belong? theatre performance school for the future. He Why are we fighting each done by the five young builds friendships for the other for a piece of the cookie? participants that takes the future. He gathers experience We should not fight each other; spectator on a witty ride into – for the future? Whose? we should be fighting those imagination. The concept What will it be? MotherF%^*^rs upstairs! of the performance is based Who? Your parents, your on the idea of “the potential friends, your family, your performance” and uses the government, your enemies, your absence of the real theatrical country, your own demons, your means to its advantage. religion, your world!! Generation to generation, handbook for international exchange of performing arts education Editors: Inga Remeta, Marko Bratuš T a n j a M i l e t i ć O r u č e v i ć , P h D Authors of the texts: Supporters S Tanja Miletić Oručević, PhD - Manager and artistic director of Mostar Youth Theatre and Studio for A FEW WORD Performing Arts, Marko Bratuš - artistic director of G2G project, ON THE VOICE IN Caspar Nieuwenhuis - artistic This project has been funded with support from the European director of Likeminds, Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which Jean-Claude Gal - artistic director of may be made of the information contained therein. OF YOUTH Théâtre du Pélican, Juliane Lenssen - Director of children THEATRE and youth theatre of Das Letzte Kleinod, Zindi Hausmann - Coach and theatre- pedagogue at Das Letzte Kleinod, Matjaž Šmalc - head of the theater department at Public fund of Republic of Slovenia for cultural The fact that people have been willingly participating activities in theatre over a period of several thousand years indicates Photographers: that the theatre must have vital and important powers. Régis Nardoux, page 1, 2 and 6, Miran Bratuš, page 10, We have seen that theatre can withstand (what some see — 33 — Zindi Hausmann, page 10, as) competition from cinema and all 21st century visual Casper Koster, page 11, technologies and that it is capable, when necessary, of Sunčan Stone, page 11, expanding its language to adopt them. Moreover, numerous Caspar Nieuwenhuis, page 11, Julia Kawka, page 13, 14, 15 and 23. voices claim that theatre, as a social ritual or permanent Cover page: live performance, has become an unavoidable space for Photo by Regis Nardoux, design by contemporary mankind; perhaps a universal reminder of Double Salto / Gérald Jay - www. what it means to be human is needed more than ever in this doublesalto.com digital and globalized world full of antagonisms. Design: Grupa Ee /Damjan Ilić/ All of these general ideas might and should be verified with those people who have the greatest legitimacy to accept or reject them: the youth. The audience of tomorrow, Issued by: Gledališče Glej the performers of tomorrow, those who will have to pose all Print: Stane Peklaj s.p. Edition: 500 of our questions all over again. ISSN: 978-961-92562-5-1 Theatre education and theatre/drama activities with young people have a number of faces and methods and Year of publication: 2017 a variety of aims. There is wide range of activities, from Place of publication: Ljubljana, preparing practically professional performances with young Slovenija Place of online edition: actors, who are trained during the process, (where the http://g2gproject.eu product is the main objective) to projects that focus on social — 34 —