Kategori: Ikke-kategoriseret

Få et kig ind i organisationen og se forslagene til ASSITEJ Artistic Gathering 2022 og 2023 i Helsingborg og Beograd. 

ASSITEJs verdenskongres og internationale festival i Japan er som bekendt blevet udsat til March 2021.

Det betyder også at ASSITEJ Internationals generalforsamling er blevet udsat.

En del af generalforsamlingens dagsorden bliver imidlertid afholdt online fra d. 18. – 26 Maj 2020.

Alle danske medlemmer er velkomne til online zoom-møde mandag d. 18. kl. 15:00 – 17:00 sammen med de andre europæiske, afrikanske og amerikanske medlemmer.

Omdrejningspunkterne på mødet vil være udsættelsen af verdenskongressen samt ikke mindst hvem der skal være værter for de årlige ASSITEJ Artistic Gatherings in 2022 og 2023.

For scenekunstnere mellem 18 og 35

6. – 13. juni 2021 i Stuttgart

Som del af det kulturelle venskabsår mellem Danmark og Tyskland udbyder ASSITEJ Danmark, Teatercentrum og Junges Ensemble Stuttgart et Next Generation Recidency for unge scenekunstnere mellem 18 og 35 år under festival Schöne Aussicht 2020 i Stuttgart.

Programmet giver mulighed for at deltage i denne meget anbefalelsesværdige festival samt for en intens udveksling med yngre scenekunstnere fra Danmark, Tyskland og andre europæiske lande.

For danske deltagere vil alle udgifter blive dækket: Rejse, ophold, måltider og entreer.

Programmet er støttet af Statens Kunstfond og Det Internationale Kulturpanel.

Festivalen og dermed også dette Next Generation program er på grund af COVID-19 blevet udsat fra juni 2020 til Juni 2021. Vi holder ansøgningsskemaet åben og vil tage alle ansøgere i betragtning for programmet i 2021.

Overalt i verden arbejdes det på at bringe scenekunst hjem i stuerne til børn og unge på grund af Covid-19. Fra ASSITEJ USA er her nogle af de bedre eksempler på den svære (måske umulige?) opgave dette er.

Scenekunstbranchen i Danmark, Europa og store dele af verden lider under de tiltag mange lande (med gode grunde) tager for at begrænse spredningen af coronavirus.

ASSITEJ Danmark har som medlem af ASSITEJ International underskrevet en erklæring rettet mod EU og de europæiske medlemsstater, der addresserer de alvorlige økonomiske problemer dette skaber for teatre og individuelle kunstnere.

Læs erklæringen her.

Since we launched our World Day of Theatre for Children and Young People campaign, which leads up to the 20th March, with the slogan #Takeachildtothetheatre, much has changed. For many children in many parts of the world it is not practical, possible or advised to take children to the theatre, and many children will be spending days indoors, shuttered away in their own homes, without opportunities for connection or for stimulation beyond what the television can provide. But spare a thought for those children who do not have comfortable homes to which they can be sequestered, who do not have parents with resources to provide them with televisions, books, lego sets, gardens or pets to keep them occupied. Children whose daily reality is a single room shared with many others, with very few personal belongings to call their own. Children without access to running water to wash their hands as often as is recommended, and certainly no access to expensive hand-sanitisers. Children, who are not going to be able to learn from home through online means, as they have no access to the internet. Children whose only secure meal comes from the school which will now be closed for a period of time. And of course, while their health is less likely to be adversely affected by the pandemic than those of their parents and grandparents, who will be looking after them if their parents and grandparents fall ill or die as a result of complications from Covid-19? And less dramatically, but as importantly, families whose lives depend on the earnings of someone on daily wages, who, if laid-off or told to stay home, will have no resources to fall back on under lengthy quarantine-like conditions. The solutions the so-called developed world is finding to face Covid-19 are not always replicable in many countries and contexts. The challenges can be even more intense. In this time, we need to call on the qualities that theatre (and other art forms) can cultivate in us, – those of compassion and empathy. More than ever, we need to think about our neighbours, our communities and those with access to the least. We need to match our energies and efforts to what is responsible, what is caring, what is appropriate to our conditions and situations, wherever we may be. And we need to call on finding every ounce of creativity! Instead of taking a child to the theatre, we can read a play aloud, act out scenes at home, create opportunities for imaginative play with whatever is at hand, and where we can use or add to the vast and growing online resources of theatre and arts experiences, to do so. These may include mother tongue storytelling and book reading, videos of productions, animated movies, creative arts workshops with everyday resources etc, and ASSITEJ will be creating an online resource of these as we go, so we call on all our members to contribute to this. Let’s remember that the quest to #Takeachildtothetheatre is not a once-off request, dependent on a single day. This is part of an ongoing, global campaign to give more children everywhere access to meaningful artistic experiences. Let our 20th March 2020 be about getting this message out to all who need to hear it. And let Covid-19 be a comma in a sentence in the story of humanity’s fundamental need for and engagement with the arts that will continue to unfold ongoingly. President Yvette Hardie & the Executive Committee of ASSITEJ Read more

Yvette Hardie, ASSITEJ’s Internationale præsident, har i anledning af verdensdagen for teater for børn og unge d. 20. marts leveret en inspirerende, varm og visionær World Day Message:

What does it mean for a child to enter into a creative encounter, to be invited in to a new arts experience? Why is this so important for every child?

I had the privilege recently of hearing Yo-Yo Ma, the great cellist, speak and play and he referred to what he calls Cultural hospitality. He sees this as the capacity (and indeed the obligation) of the arts to welcome what is new, innovative and out the box, what is marginalised, unheard, and ignored… In his view, it is our task as artists to be hospitable to these voices, forms and techniques, and in the process to allow ourselves to be changed.

It reminded me of what it means to be a host and what it means to be a guest. And one of the most important elements on both sides is the quality of listening, of willingness to step outside of what is known and comfortable, and to embrace and celebrate difference.

The great host is the one who makes everyone feel at home, regardless of where they come from or what their experiences might be.  It is the one who puts their ego aside out of genuine interest in this person who has come to visit. It is the one who wants to give everyone the best possible experience. The great guest is the one who comes with boundless curiosity to the encounter, wanting to learn about the other, not afraid to try something new.

In this space of mutual receptivity, we find connection, we find surprise and we find deep learning. We leave these encounters changed. We have touched what makes us human, in ourselves and in others…

This is the precious moment the arts give us. As theatre artists we need to find ways to invite children and young people into these encounters with a generous spirit, desiring to listen to the audience as much as we want them to listen to us.

And when this happens, then we feel the connection start to grow… we find common ground, we see the big picture, we have flashes of insight and we feel that flush of shared feeling we call empathy. We have a sense that we matter, that others matter, that what we are exploring together, matters.

In this age where more and more people are being shunned, turned away at borders and airports, rejected because they come from a different class, ethnicity, language group or religion, it is the artist who has the capacity to provide a sense of belonging, of connection.

And every child needs that.

ASSITEJ Danmark spørger igennem hele 2020 en række teatre og kunstnere, hvordan de bruger ASSITEJ i deres virke. Herunder kan du læse, hvad Bodil Alling, Kunstnerisk leder af Teatret Gruppe 38, skrev til ASSITEJ International om organisationens betydning for teatret.

Bodil Alling:

“The first time Teatret Gruppe 38 attended an ASSITEJ Congress was in 1999 in the city of Tromsø. We were invited to present our performance “Hansel and Gretel” and were very excited about participating at the festival.

However, we did not have the slightest idea how performing at the ASSITEJ Congress would open up the world for us and our performances. We suddenly received invitations to perform in many various cities and countries around the earth. This experience was new and overwhelming.

We are still travelling around in the world and it seems as if meetings across the borders are more important than ever.”

www.gruppe38.dk

ASSITEJ Danmark spørger igennem hele 2020 en række teatre og kunstnere, hvordan de bruger ASSITEJ i deres virke. Herunder kan du læse svaret fra Lisbeth El Jørgensen, producent i Teater Refleksion.

Lisbeth El Jørgensen:

Listbeth El Jørgensen, Producent for Teater Refleksion.

www.refleksion.dk