CONTENTS
Gilly Adams (Wales) - THAT'S NOT IT!
Maria Pia Battaglia (Italy) - STORIES FROM
SILENCE
Elizabeth Montagu (Britain) - A SPY'S COVER
Verena Tay (Singapore) - THREE VIEWS
Netta Plotzki (Israel) - THE WONDERLAND OF
BUTOH
Elizabeth M. Mongoma (Zimbabwe/Denmark) -
MEMORIES FIND THEIR WAY
Gemma Moses (Wales) - DAZED AND CONFUSED
Joanna Sherman (USA) - TIGERS ON A
TIGHTROPE
Graciela Ferrari (Argentina) - THE ARCH OF
TIME
Leo Sykes (Britain/Brazil) - TRYING TO BE
BORN
Julia Varley (Britain/Denmark)
- QUESTIONS OF TIME
Magdalena Pietruska
(Poland/Sweden) - MY WORK ON MYSELF AS A PEDAGOGUE
Roberta Carreri (Italy/Denmark) - LEARNING FROM
TEACHING
Geddy Aniksdal (Norway) - SWEET PAIN
Cristina Castrillo (Argentina/Switzerland) -
STRAY DOGS
Ely Schulz (Chile) - WHO IS TO BLAME?
Ni Wayan Sudi (Bali) - KEEPING AN ANCIENT
TRADITION ALIVE
Karolina Spaic (Yugoslavia/The Netherlands) -
QUESTIONING THE INVISIBLE
Lilicherie McGregor (New Zealand) - TE KORE
Ana Correa (Peru) - YUYACHKANI, A GROUP
EXPERIENCE
Anne-Sophie Erichsen (Denmark/Norway) - WITHIN
THE WALLS OF OUR THEATRE
Dulcinea Langfelder (USA/Canada) - THE LITTLE
SISTER
Nara Mansur (Cuba) - WITHOUT
GENERATION?
Christel Weiler (Germany) - GENERATIONS OF
SMILES AND LAUGHTER
Roxana Avila (Costa Rica) - TO KNOW AND KNOW
NOTHING AT ALL
Maria Ficara (Italy) - FILLING AN EMPTY
THEATRE
Adelaide de Oliveira (Brazil)
- PANACÉIA
The Open Page - MOTHERS AND DAUGHTERS
A. Golaj (Poland), A. Aniksdal
(Norway), M. Erichsen (Norway) - FIRST STEPS
Line and Guro Anna Wyller (Norway) - RIGHT
NOW!
Carran and Mary Waterfield (Britain) - LOOKING
FOR THE TALLYMAN
Mik Ok Park and Kim Dae Rye (South Korea) - A
FAMILY HERITAGE
Sue Gill and Hannah Fox (Britain) -
GENERATIONS
Sandra Pasini (Italy/Denmark) - THE SECRET WE
HAVE IN COMMON
The Open Page - OPEN LETTERS
The Open Page - OPEN NEWS
EDITORIAL
We were looking for a word that encompassed different strategies
for the passing on of theatre knowledge. We wanted a word that
contained the complexities of the independent auto-didactic reality
as well as those of the master/pupil relationship; the practice of
workshops and training as well as traditional western schooling;
the transmission of a craft through apprenticeship as well as the
absence of such reference points. We came upon the word
generation. Compulsory schooling, the need to earn
a living, the demand to produce quick results and the artistic
process of live performance being taken over by mass events and
television - all of these factors are influencing both the way in
which theatre is generated and the different generations of theatre
practitioners. Generation is also the creation of scenic material
and performances.
Generation can be looked upon as belonging to different ages or
theatre traditions. It could also be seen as the difference between
the ones born into a professional family, those who chose a family
to be adopted by, and the "orphans". The great Indian dancer
Sanjukta Panigrahi complained that she could no longer find young
people who showed her same commitment. In the USA theatre
professors in universities cannot develop challenging training
programmes because they are not allowed to extend their teaching
hours. In Europe, students challenge authoritarianism and theatre
schools ask themselves what kind of job they must prepare their
pupils for. In Japan some of the most famous families of classical
forms are no longer able to attract young apprentices. In Latin
America collective creation, which originated from a search for
autonomous identity, is now confronted by a completely different
political reality. All over the world young people are desperate to
learn and to put their learning into practice. Women especially
look for references corresponding to their own needs which theatre
history does not offer.
There is lightness in this issue of The Open Page. Having a life
in front of you, or the recognition of the right to still be
learning even later in life, are reasons for optimism. Connection
to the social and historical context seems to be less present in
the articles, because the individual quest, the personal process of
growing - be it teaching or learning or both - is central.
Generation is seen as a lifetime of growing. For
the younger generation it is not so important to discuss gender in
relation to the theme; other women have conquered the right for
them to ignore that. But still it must be noted that the archetypal
image of a master remains masculine and, although many women are
recognised teachers in theatre, still the prevailing master talked
about in the articles is male. Maybe women do not want to be called
masters and are in search of alternatives.
Many articles place generation within a
context: a network, a group, a whole life, a master or even
photography. The main focus is on the pedagogical process and a
section entitled Mothers and Daughters includes some very young
authors. The younger generation appears exclusive and sure, as
every generation has before. We discover generations within a
generation and that things other than age form generations. The
question for all is how to find your own way while learning from
each other.
Julia Varley
Holstebro, March 2000
no. 5 - March 2000

Editorial Board:
Geddy Aniksdal, Maggie Gale, Julia Varley
Contributing Editors:
Gilly Adams, Jette Bastian, Maria Ficara
Production Coordinator:
Rina Skeel
Cover:
Marco Donati
With special thanks to:
Grenland Friteater
Chris Fry
Lis Hughes Jones
Lars Vik Produksjoner AS
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