Stories Help Wash Away Red Sludge Memories

Título do Bol etim Info rm ativo
Data do Boletim
Informativo
Stories Help Wash Away Red Sludge Memories -
Vol XI No. I
Playback Pécs responds in Descever
June 2011
Articles from
Devescer
1
Nick Rowe
22
INSIDE THIS ISSUE
21st Anniversary
bu
4—18
Special
Community Playback
celebrates 25 years
16
Milestone Meeting—
Brazil
19
International Conference 20
2011
2010 Leadership Group 25-28
Reports from Regional
Gatherings
38-43
TRANSLATORS THIS ISSUE
Chinese—Michele Chung
Japanese—Hiroko Yanagawa
Portuguese—Sheila Donio &
Clarice Steil_Siewert
From Dutch—Paulien Haakma
From German—Jurgen Shoo
STOP PRESS
POST CONFERENCE
FESTIVAL: ITALY
46
András Zánkay together with members of the Playback Theatre Pécs write, on the 21st of
November, 2010 - seven weeks after the sludge disaster, our company had a performance in
Devecser entitled "The Flood". In this report we summarize our experiences acquired in the
course of the preparatory work and during our performance. We spent three days on the location. As a part of our report we also describe our personal experiences. We would like to
describe our work for those who are interested and for our playback theatre colleagues, who
prepare for similar "emergency" performances.
ABOUT THE DISASTER
On October 4th 2010, the pond dam of
an alumina plant to the west of Hungary
suddenly broke and flooded many towns
in toxic red sludge. 600,000 - 700,000
m3 of sludge was estimated to have affected seven resident areas near Ajkai
Timfoldgyar plant in Ajka, 160 km southwest of the capital Budapest. Two people died while seven were missing and
hundreds of people were injured. In Devecser, 400 houses were flooded and 40
people had to evacuate to Somlovasarhely. In Kolontar, the mud level rose up
to 2 meters. According to the National
Disaster Management Directorate, the
sludge or waste of aluminum production
consists of heavy metals, which makes
people toxic if ingested.
About 120 people in which six people
were seriously injured were treated by
medical staff. Most of them suffered from
Three vital moments: I, R and J
I: April 2010 saw the 1st ever National
Playback Gathering organized in Pécs.
From this event that we had good energies to develop our playback work further. Over the course of this event we
experienced, more consciously, the
strength of the genre and the inherent
potential in the Hungarian playback community. The professional awareness of
the Playback Theatre of Pécs became
stronger. In realising this event, the results of our joint efforts and the level we
achieved were of visible value for all of
us.
R: It was R from Budapest who had the
idea of offering playback performances to
the victims of the sludge flood disaster in
north-eastern Hungary that occurred 1-2
go to page 29
From the Editor
IPTN President´s Letter
This issue of Interplay reaches the public domain 21 years after the
first ever Newsletter issued by IPTN was shared with the members
back in mid-1990. A two-page A4 document that announced the establishment of the International Playback Theatre Network, this letter
acknowledged the embryonic growth of the number of people using
playback and preempted a boom in growth and in the spread and
reach of playback theatre throughout the 90s.
This issue pays homage to those early days and aims to stimulate the
membership to remember stories about the life and times of IPTN –
Board, membership, Interplay, conferences, regional gatherings, practice stories, that will form the basis of and retrospective in
the December 2011 issue along with stories from the 10th international conference. 21 years since the very first Interplay was published under the editorship of Jonathan Fox Playback Theatre has
grown in a very organic way and has spread across the globe since its
early days when a group of friends went in search of a method that
would give meaning to their passion for theatre and performance
and integrate their values for humanitarian world. This is reality is not
better illuminated than through the lead story from Pêcs Playback
Theater.
This issue also marks the lead-in to the final stages of preparation for
the 2011 International Playback Theatre World Congress in Frankfurt,
Main in November and there are final notes from the conference committee inside along with a call for participants to travel on from Germany to Italy for a post-conference event. We wish the conference
organizers the best success in these final months of preparation.
Read about the life-changing experiences of sharing practice across
culture with co-written pieces by Holland„s Paulien Haakma and Brazil„s Clarice Steil Siewert about their work in Brazil, and North American husband and wife team Christopher and Anne Ellinger on Israel.
Also in this issue are regional reports from Germany, UK, and Taiwan.
The question of institutional playback training gets more attention
with a piece from UK„s Nick Rowe and his students and another from
the 2010 grandaunts from the School of Playback Theatre (New
York).
What a complex simple thing is playback theatre. A method that is
dependent absolutely on a systematic application of a simple ritual
structure yet which yields complex human interaction and resonates
with humanity across all cultures. Here„s hoping that reading this issue of Interplay will evoke some of this in you.
Dear Playback friends,
Letters and Stories to:
It is time to celebrate
the 21st anniversary of
the International Playback Theatre Network
and Interplay! The
IPTN started before
the time of Facebook, and at that time Interplay was published on paper! For 21 years
the Network and its principle publication
have been the main vehicle for our connections and the sharing of PT energy, vision
and applications; and it has helped a dream
come true! The Playback movement is flourishing around the globe.
Imagine right now - as you read these lines
- somewhere in the world a playback performance or workshop is taking place: a gift
to ourselves, to our friends, to our community, to our troubled world.
We all know that Playback Theatre is
about people: building community through
sharing our stories. And in this high-tech
world of 2011 there is a ever growing need
for 'high touch' - to meet/play in the same
space/time and really listen to each other.
2011 is also marks the 20th anniversary for
me and my playback group. I founded the
first Playback group in Tel Aviv in 1991 and
most of the original team are still working
and performing together. Some of us have
grey hair now, and playback has become
our way of life - its been a path to a very
meaningful life.
My dear wish is that we all continue to support IPTN, enjoy Interplay, and that I may
see you at the IPTN Conference in Frankfurt
November 2011.
Rea Dennis
Interplay Editor,
readennis@me.com
Celebrate the
21st
anniversary of
IPTN and
INTERPLAY
With love
Aviva
IPTN President
since2007
POST CONFERENCE
FESTIVAL
―a ritual for the common good”
this issue pp. 4-18
30 Nov - 4 Dec 2011
Send stories for next issue
UMBRIA, Italy
readennis@me.com
Page 2
More details page 46
IPTN President´s Letter continued
親愛的一人一故事朋友們，
Meus queridos amigos playbackers,
Chegou a hora de comemorarmos os 21 anos da IPTN e do Interplay. Vocês se
lembram dos tempos antes do Facebook? A Rede Internacional de Playback
Theatre (IPTN) nasceu muito antes disso. Fundada há 21 anos, ela foi uma ligação fundamental, uma conexão social e profissional para todos os playbackers,
nos ajudando a manter contato uns com os outros ao redor do mundo. E lá
atrás o Interplay era impresso no papel! Por 21 anos o Interplay tem sido o
principal meio de conexão para a nossa comunidade, e um veículo fundamental
para compartilharmos métodos e visões sobre o Playback Theatre. De diversas
formas ele foi essencial para tornar um sonho realidade! O movimento do Playback está florescendo no mundo todo e continua crescendo com novos trabalhos
em áreas de emergências e outras áreas humanitárias, e também em novos
países e regiões.
是時候慶祝國際一人一故事劇場網絡及期刊
Interplay的廿一周年了！你還記得沒有
facebook的時候嗎？國際一人一故事劇場網
絡比這更要早之前就誕生了，在二十一年
前，它是所有一人一故事劇場工作者的一條
重要連線，一個社交及專業網絡，讓我們可
以與世界各地的各位保持聯繫。而那時候，
Interplay還是用紙張印刷的！在過去二十一年
來，Interplay是我們作為一個共同實踐一人一
Com amor e estima
Aviva
故事社區的主要消息來源，亦為所有一人一
Tr. Sheila Donio
從很多方面來說，它的確是讓夢境成真的主
故事的應用及遠景分享與發佈的主要方法。
要一環！一人一故事的運動在世界各地都有
プレイバックを愛するみなさんへ
蓬勃的發展，並在很多新的國家、新的區
IPTNとインタープレイ新聞が21年目のお祝いを迎えることになりました。
域，在新鮮的範疇如緊急狀況及人權等各方
あなたはインターネットがこんなに流通する前のことを覚えていますか？
面都有新的發展。
IPTNはずいぶん前に生まれたのです。
試想像一下，現在，當你正閱讀這數行字
世界中の私達プレイバックを愛する人々を結ぶために、社会的にもプロフェッショナルとしても重要な
ネットワークとして、21年前に作り上げられました。
時，在世界的某處，正有一個一人一故事的
そしてその時には、InterPlayは新聞にも掲載されたのでした！
２１年間InterPlayは私達の重要な連絡機関としてプレイバックシアターのやり方や練習の交流、どんな
夢を持とうか・・などを分かち合い
演出／工作坊正在進行中──一份給予我們
自己、朋友、社區和我們非常不安的世界的
一份禮物。
そして発展させて来ました。
我們都知道，一人一故事劇場是關於人的，
いろいろなやり方で、夢を実現するために大切なことを培って来てくれたのです！
它是關於與人交朋友、聆聽故事，而在這個
プレイバックの活動は世界で繁盛し、非常事態であったり災害や危機に巻き込まれた人たちが居る地
域、新しい国や地域でも新たな課題を持って発展し続けています。
高科技的世界，我們更需要去創造高層次接
想像してみて下さい・・今・・この文章を読んでいるあなたが、この地球上のどこかでプレイバックシ
アターを、私達自身へ、友達へ、私達のコミュニティへ、そして問題のあるところへの贈り物として、
パフォーマンスやワークショップをしているところを想像してみて下さい。
觸的機會，好讓我們可以面見、表達、嬉戲
及分享。
今年也是我和我的團隊的二十周年，我在
プレイバックシアターは私達皆が知っているように、人々について表したり、友達を作ったり、ストー
リーを聴くというものですが、”high-tech”（ハイテク）のこの現代社会の中では、
1991年於我的城市特拉維夫市創立了這裡第
“High touch”つまり出会い、表現すること、演じること、分かち合うこと等の機会をより多く作ること
が必要とされて来ています。
創團成員依然一起工作及演出，有些都已長
一個一人一故事劇團，直至現在，大部份的
私や私のグループは今年で20周年となります。
出白髮來，一人一故事也成了我們的生活方
1991年に私の町『テル・アビブ』に初めてのプレイバックシアターの グループが出来ました。
式，與及通往有意義人生的途徑。
そして私達は今も活動しパフォーミングを共に行っています。
我希望你們能繼續建立及支持國際一人一故
私達の中には白髪になった人もいて、プレイバックシアターが人生の一部となり、意味深い人生を歩ん
で来ることが出来ました。
事劇場網絡，並享用及供稿予Interplay。在
私は、ネットワークを構築し続け、支え続け、Interplayを楽しみ、投稿して下さった全ての皆様に心か
らお礼を申し上げたいと思います。
在2011年11月的法蘭克福國際一人一故事劇
そして、2011年ドイツで行われる世界大会のチームとして、歓迎の意を表すると共に、１１月に皆
さんとドイツでお目に掛かれる事を心より楽しみにしております。
此，我代表法蘭克福的團隊歡迎大家，期待
場會議與你見面。
祝好！
愛を込めて
艾菲花（Aviva）
IPTN理事長Aviva
より
國際一人一故事劇場網絡主席
柳川 比呂子
Tr. Hiroko Yanagawa:Hikari
International Conference focuses on DIVERSITY AND MIGRATION
譯：鍾勵君（小貓）
Translated by: Michele Chung
See more details pages 20-21
Page 3
The origins of the International Playback Theatre Network are a testimony to the professional approach of the earliest practitioners and their dedication to the ongoing development of the method, their natural disposition toward
sharing it, and a growing awareness of the importance of reflecting on their work with audiences.
An early report on the establishment of IPTN reads:
“The original Playback Theatre set up a not-for-profit corporation and earned tax-exempt status to carry out their business.
When they slowed their activity three years ago they kept their legal structure. In order to promote the development of Playback around the world, they agreed to elect a new slate of Directors with broad representation and Playback experience. The
new Directors were individuals who came to the meeting on April 30 and whose decisions established the IPTN. The actual
meeting costs –about $500—were covered by original Playback.” (Published in 1990, see page 10).
This meeting saw the establishment of a vision and a mission and the formation of the first IPTN Board of Directors
elected from those present, the 11-member inaugural board included:
Judy Swallow (USA), Tim Van Ness
(USA), Julia Craven (USA), Jo Salas
(USA), Diane Blumenthall (USA), Elise
Gold (USA), Mary Good (Australia),
Christina Hagelthorn (Sweden), Annette
Henne (Switzerland), Jonathan Fox
(USA), Marc Weiss (USA).
By the close of the first year a further three direcotors were added, Deborah Pearson (Australia), Martin Sutcliffe
(NZ) and Bev Hosking (NZ). See documentation on page of this issue.
Page 4
IPTN was born. This beginning, as a base from which to expand the practice of Playback internationally, was
well supported, especially by playback companies in Australia and New Zealand and the embryonic movement in Germany, Sweden and Switzerland. In addition to promoting “the development of playback around
the world”, it was also very quickly clear that the Network would act to link dispersed individuals. This function
of IPTN, in formally linking the early playback companies and individuals and the value and need for this can
be seen by the rapid initiation of an international gathering which is now recognised as the first International
Playback Theatre Conference. The conference occurred from 23-25 January, 1991 in an inner city primary
school in Melbourne, Australia. 76 participants came to this event from 12 companies in 3 countries.
The first president, Mary Good (Australia) and the first Secretary, Jo Salas (USA) were truly representative of
the spirit of the time to build links and to share the method widely and with diligence. As Mary stated in the
March 1992 issue of Interplay, IPTN is a “creature born of the 1990s – a network of people‖. This phase was characterised by a mode of transmission more akin to the nomadic oral traditions, which saw those who founded
the form travelling to new places and sharing workshops, and there following, those who had been inducted
by the founders, those perhaps considered “second generation” then being informally endowed with the
grace to take the method to other areas, beyond the reach of the founders.
The network grew exponentially throughout the closing decade of last century as the relevance, portability, and
efficacy of playback was established. Central to this growth was the work of the IPTN boards, the work of IPTN
conference organisers and the reach of Interplay, the IPTN newsletter.
The first Interplay was published in November 1990, featured the first call for board members and included as a list
all the current financial members of IPTN for that inaugural year. Responsibility for the membership is still a big part
of the work of the IPTN Board. From the outset Interplay has sought to be inclusive. With the first issue predominately in English with a small section translated to German, over the years Interplay, whilst remaining predominantly English has included articles and comments in Spanish, Portuguese, Chinese, Japanese, German, French,
Estonian, Lithuanian, Russian, Hungarian and Finnish. These decisions were often guided by acknowledging readers and members in regions where playback was in early stages of development.
Interplay has continued to be the voice of the IPTN membership for 21 years, first under the editorship of Jonathan
Fox with regional editors in Australia, USA, Europe, and NZ, then with the assistance of Sarah Urech until 1998. After
which Robyn Bett, Deborah Pearson & Bruce Russell assumed the role, until 2001. From there it has been Nick
Rowe (2001-2006) and Rea Dennis (current editor).
After the first international conference in Melbourne 1991, conferences continued annually through 1992
(Sydney), 1993 (Finland), 1994 (Christchurch), and 1995 (Olympia) giving great momentum to the growth of playback and stimulating creative consideration of the structure and detail in the method with particular attention to
the growing number of contexts in which playback theatre was being used. This growth is visible through the more
formal discussion and documentation of playback that has occurred in Interplay (see all previous Interplays
online http://playbacknet.org/about/interplay/).
In the final years of the 20th century, the conferences were profound with the critical discussion about playback
as an intervention and playback as a community of practitioners reaching a peak (in Perth 1997) and the sheer
number practitioners and the range and complexity of practice frameworks creating vibrant discussion (in York
1999) causing pause for thought amongst the IPTN. 2000 saw the initiation of REGIONAL GATHERINGS with the first
occurring in the Mid Atlantic in September that year. Since this time, Interplay* has featured many reports from
regional gatherings (for some historical snapshots see page 15 and for regional news this issue see pp.38-43 ).
This century has so far hosted two significant international conference events: 2003 in Shizuoka City, Japan, and
2007 in Sao Paulo, Brazil. Like Perth and York, these conference once again boasted a large delegation of individuals in the beginning stages of their
understanding of and practice of
playback theatre.
2011 will see the staging of the 10th
annual playback theatre conference
in FRANKFURT, Main in Germany from
23-27 November this year. Themed:
Social Dialogue is a World of Upheaval, there are over 400 delegates
registered to attend (for more details
see pages 20-21).
Prepared by Rea Dennis
Rea has been one who has benefitted from the development and outreach work effected through IPTN over the past 21 years. A the third generation practitioner—she was fortunate to learn under the late great Francis Batten in Brisbane (Francis came to Australia in the early 80s and
was responsible with Bridget Brandon for the formalising of creative playback training through the Drama Action Centre in Sydney). Rea has
built an international practice in researching, teaching and performing playback theatre. She is the current Interplay editor.
Page 5
THE BIRTH OF IPTN AND INTERPLAY
inaugural meeting APRIL 29 MAY 1, 1990, in New Paltz, NY
… began with a party, a ceremony and of
course, acting out some stories...
… a feeling of history...
… This is what we decided …
The name of the organization shall be ...
Next meeting will be in either Australia
or New Zealand in January 1992.
Elected to serve to office
There will be three categories of membership
the cost will be
FIRST
FRONT
PAGE
Page 6
THE
FIRST
BOARD
Page 7
JONATHAN FOX
OCT 1990
—
AUG 1998
AU
GU
S
T1
998
—D
E
C2
Page 8
001
INTERPLAY EDITORS 1990-2011
1990-1997
JONATHAN FOX
1998— 2001
ROBYN BETT
DEBORAH PEARSON
BRUCE RUSSELL
2001– 2006
NICK ROWE
2007— current
REA DENNIS
C
01—DE
DEC 20
2006
BANNERS
Page 9
Page 10
sarah
IPTN PRESIDENTS
a
Aviv
Australian
Mary Good was elected the first president of IPTN in 1990.
Mary stayed as President until SEPTEMBER 1993 when New Zealander
Bev
Hosking assumed the role as the second IPTN President. In MARCH 1997
another Australian Peter Hall from Sydney was elected 3rd president.
1999
Veronica Needa was elected 4th president (
), with Fe Day (New Zealand) elected the 5th President in
1993
in the Board Meeting preceding the 8th IPTN Conference in Japan.
England’s
DECEMBER
SEPTEMBER
Sarah Halley
(USA), was our 6th president (2005), with the current
and 7th President of IPTN
Aviva Apel from Israel elected in 2007. Aviva
will complete her term later this year and the new president wil be announced at
the 10th international conference of
IPTN in Frankfurt later this year.
Page 11
Page 12
Page 13
Wordt
Vervolgd
naar
Brazilië
Page 14
Page 15
Community Playback
Theatre
Celebrates 25 Years
Twenty-five years ago when the Original Playback Company disbanded after a decade of performing, Judy
Swallow, a founding member, brought together a group of interested people in the carriage house behind her
home in Poughkeepsie, NY - and Community Playback Theatre was born. Within a few years CPT left the carriage house and moved to our current home, the historic Moreno Theatre at Boughton Place, in Highland, New
York.
Community Playback Theatre is blessed with an unusually stable line-up of performers. Several of us were at
Judy's first CPT session. Two of us were members of the original company and have continued to be involved in
performance until the present. Additional actors joined us twenty and eighteen years ago. Our newest member joined us in the fall of 2010.
Although Judy directed the initial development of the group, leadership has become a role, not a position in
our company. Important to our development has been the concept of shared leadership, as well as the rotation of the role of conductor during performances. Additionally, we do not have a designated musician. Actors take turns as musicians accompanying the action on the stage.
We credit our longevity and ongoing cohesiveness to regular participation in company process meetings,
which have been instrumental in allowing us to convert interpersonal frictions into creative energy.
In addition to regular monthly performances, our contract work has included shows and workshops for elders,
support groups, conferences, Head Start, troubled children, creative children, celebrations and family gatherings. Fred and Toni teach Playback classes weekly and have been developing a use of Playback to enhance
family communication. Judy continues to teach Playback workshops locally and around the world. Judy and
Betty are offering a Playback series to Lifetime Learners at Bard College in the fall.
Community Playback offers jams, during which interested folks even those with no experience can jump in
and try acting in a safe, fun-oriented atmosphere. Our rehearsals are open to visiting Playback practitioners
from all over the world who share and explore ideas with us.
Over the years we have hosted regionally attended workshops led by master Playback practitioners including
Francis Batten, Mary Good, Bridget Brandon, Heather Robb, Peter Hall and Veronica Needa. A special rehearsal with Israeli Playbacker Rachel Slater was a highlight not long ago.
A weeklong workshop was led by Keith Johnstone, the developer of Theatresports™ and the group attended
a workshop with Jean Claude van Italie of the Open Theater.
We’ve co-rehearsed with other groups in the region and have exchanged performers with Hudson River Playback and Pentimento Playback. Videos of our work served as examples for the first Playback classes in Cuba.
In addition we've contributed to phone conferences on Playback topics, helped organize Northeast Gatherings in the U.S. and have performed in New York City's Lincoln Center.
Always seeking ways to deepen and expand our performance, CPT has incorporated mask work and extemporized poetry into short and long Playback forms. Currently we are exploring new approaches to un-cast stories leaving it up to actors to chose and exchange roles.
Page 16
Last year we lost the oldest member of our company, Saul Handlers. Saul joined CPT shortly after it's inception, and continued to grow and contribute as an actor until his death. He performed ably in our August show. He died two weeks later, at the age of 83. We miss his rebellious humor and his tireless loyalty
to action.
Written on behalf of the Company by Fred Harris and Betty MacDonald.
Fred Harris has been developing techniques to dramatize community story since the 1960 's. A social worker and student of Playback, psychodrama, and theatre history, he has worked with many populations.
Betty MacDonald first performed on stage as a tap dancing butterfly at the age of three. Since then everything she has engaged in… sculpting, writing, acting, mime, singing, bioenergetics, and meditation… has led her to her true home in Playback Theatre.
COMMUNITY
PLAYBACK
THEATRE
(from left to right):
VAL WELLS,
BETTY MACDONALD,
FRED HARRIS,
TONI HORVATIN,
JUDY SWALLOW,
JEANETTE LEONE,
LEE MYER
See below: FROM March 1992 (Betty’s words)
Page 17
CELEBRATING
30
years
Playback Vacations—a fun way to strengthen IPTN
by Christopher and Anne Ellinger
This year, to celebrate our 30th anniversary of being a couple and our 10th anniversary of doing Playback, we took a fabulous ―Playback Vacation‖ in Israel.
Not only did we rest, play, and have romantic times together (e.g. walking through
wildflowers and on beaches while at home we‘d be shoveling snow… shopping in the
big outdoor produce markets, floating in the Dead Sea… hiking through the desert to a
waterfall in an oasis…) but we weren‘t stuck in the role of tourists, skimming the surface, gawking from a distance at a different culture. We had the means to connect in
a deep and real way to dozens of Israelis because we shared a common passion:
Playback.
Most of the three weeks we spent in Tel Aviv, probably the city with more Playback
than any other on the planet. We were delighted and grateful how Playback folks
there welcomed us with great enthusiasm and openness, like members of a strong
extended family. We joined seven different companies‘ rehearsals, attended Playback
performances, helped lead two exciting Playback workshops for Arab actors, met with
the Conductor‘s Forum, and enjoyed stimulating conversations with many Playback leaders (of course over excellent hummus or
strong Turkish coffee!). We were stimulated by the variety of approaches, and moved by the connections and feel we made several friends for life. We look forward to hosting Israeli Playback members in Boston in the coming years.
When others remarked that visiting Playback groups when traveling seemed a cool thing to do, we encouraged them to try it, too.
We come home thinking: wouldn‘t IPTN be stronger if lots of us took Playback vacations? A vibrant network depends upon real
relationships, connections and friendships made in person. Aviva Apel (IPTN president) at our second wonderful Israeli breakfast
together spoke eloquently about how important face-to-face relationships are, as she shared a little of her travels to visit Playback
communities in various countries. Something special happens when we experience each other‘s lives in context, not just online or
at a conference every four years. If you‘re wondering where to go on a vacation, consider adding the option of Playback visits to
your list of criteria.
Perhaps IPTN and the regional Playback networks
could create a Playback version of CouchSurfing.org? Those of us happy to host traveling Playbackers could post when our we rehearse, whether
we could offer places to sleep, what languages we
speak, other fun things a traveler could do in our
towns, etc. Then even shy Playbackers could feel
freer to reach out and create connection.
How about you?
Want to visit us in Boston?
Contact Christopher@TrueStoryTheater.org
LEFT: Christopher and Anne amongst some of the people
they met while in Jaffa. For more on this see their report
on page...
Page 18
MEETING, MOVING, CONNECTING, SHARING:
A milestone meeting
A double interview about our Milestone: meeting, moving, connecting and sharing Playback Theatre between Amsterdam,
Holland and Joinville, Brazil by Paulien Haakma (the Netherlands) and Clarice Steil Siewert (Brazil).
MEETING
Paulien: Playback Theatre is for me the most beautiful form of improvisation theatre. One of the main goals of Playback Theatre is to bring people together and to share stories.
Bringing people together meant in this case to find Brazilian Playback actors who are interested to meet me, and maybe to work
together. With some help by Sheila Donio and Rea Dennis who I met at the IPTN World Conference in São Paulo in 2007 and by
Veronica Needa who I know from courses I followed at Playback School UK, I got in contact with Dionisos Teatro. They are a
theatre group in Joinville, Santa Catarina, Brazil.
Clarice: Improvisation is part of Playback Theatre. Sometimes this concept brings the idea that playback is an easy, fast and
superficial theatre. Everyone that starts in playback discovers that this is definitely not true. Improvisation gives us the fresh, the
new, the creation, and it is difficult and deep. Dionisos Teatro started working
with Playback in 2008, and at the very beginning also discovered that we only
develop in Playback when we get in touch with other people. People from the
audience, from the stage, from the music and people with more experience.
WHAT’S BEEN HAPPENING
Our encounter with Paulien started with some improvisation and the necessity
of learning with other people. We knew from our friends in ―Playback para Todos‖, a Brazilian network of playback theatre, that Paulien Haakma, a Dutch
playbacker was going to come to Brazil at the end of 2010. They said that she
was a very experienced playbacker and was interested in getting to know Brazilians Playback groups. That was enough for us to get in touch with her, ask
about what kind of workshop she could offer us and set the date. Sometime
later, when she was about to arrive, we started asking ourselves ―Who is she?
We don´t really know her! She is going to be at our houses and we don´t really know her! Is she vegetarian?‖
JOINVILLE
BRAZIL
Paulien: ...December 2010, there I am: on the other side of the world: Joinville airport ! What will this week bring me? What
kind of people will these actors be? Will my “Dutch approach” work in a Brazilian context?
MOVING
Paulien: As a dancer and physical actress I discovered through the years that movement is for me the language to express
what needs to be sculpted on stage. It has become a way of looking, as well as a way of thinking… Life is one big movement,
isn‘t it? Movement is also my main tool in Playback performances. The power of ―speaking without words‖, often in a metaphoric
way, usually gives a direct connection with the audience… they will be moved and directly touched by the ―kinesthetic sense‖.
How to translate this experience into a workshop?
The invitation of Dionisos Teatro gave me the opportunity to reconsider my dance and theatre background and to share with
these actors my dedication to movement in Playback Theatre. I brought the actors back to the ―archaeological level of movement‖
and discovered with them the movement of Material, Things and Atmosphere. We started both days with research exercises:
invite your body to explore the source of creativity in oneself. Try to be open and curious and see what is coming out of this
source.
The result was a group of very eager actors who dared to let go of outcome and really ―jumped‖ into the unknown. At the end
they find their own language of moving and expressing themselves in movement. It was a great honor to me to be a facilitator for
this delicate process and to be allowed by these actors to encourage them to a different way of working with movement.
Clarice: ―Be the bubble‖, ―Be the rubber‖, ―Be the oil‖. These were the rules in the workshop ―The Moving Moment of Material,
Things and Atmosphere in Playback Theatre‖. We talked about the subject matter we find in the stories and which we could turn
in on the stage. The depth about this was not in how to show this material, but in how to be this material: how to make our body
become these things. It gives us a lot of possibilities on stage.
We also talked about the so called ―presence‖ in Playback Theatre; it is not enough to have our hearts on Playback (although we
all know how that is fundamental). We have to give our whole body. It has to be present, with strength and energy. Again our
bodies were in the center of the ―magic‖ of Playback Theatre.
Continued on page 33
Page 19
10a Conferência Internacional
集中討論「多元及遷徏」的國際會議
Em Alemanha
第一屆一人一故事劇場國際會議
Playback Theatre – Diálogo Social em um Mundo em Convulsão
2011年11月23至27日
Faltam só cinco meses para a Conferência Mundial da IPTN começar!
A Equipe de Planejamento da Conferência para o Encontro Internacional da IPTN de 2011, composto por Elke Houston, Janet
Salas, Klaudia Spandl-Töpfer e Marlies Arping, está animada e
ansiosa para receber 460 participantes na cidade de Hamburgo
na Alemanha, em novembro deste ano.
A conferência, que acontecerá entre 23 e 27 de novembro é a
décima deste tipo e promete uma programação para a troca de
projetos e práticas de Playback Theatre, e espera promover especialmente o trabalho do Playback com o diálogo social em sociedades multiculturais, com ênfase em diversidade e migração.
Eles dizem: ―O nosso desejo é que a conferência de novembro
de 2011 proporcione a muitos de nós a grande chance de trabalharmos juntos explorando e seguindo novos rumos e oportunidades. Escolhemos o tema Playback Theatre – Diálogo Social em
um Mundo em Convulsão lá atrás, em 2009, enquanto o mundo
ainda estava zonzo com os efeitos da crise finenceira mundial.
Desde então, tivemos mais crises devastadoras e convulsões no
mundo todo que, de uma maneira ou de outra, atingiram a todos
nós‖.
A conferência está lotada, com mais de 460 inscrições vindas de
30 países diferentes. Os organizadores contam que “infelizmente
as inscrições tiveram que ser encerradas na casa dos 400. Com
a nossa experiência em conferências anteriores, havíamos planejado receber 300 pessoas. Mas para a nossa surpresa, assim
que abrimos o preço promocional, recebemos um turbilhão de
inscrições. Bem que tentamos acompanhar a velocidade dos
interessados e processar as inscrições o mais rápido possível,
enquanto continuávamos com os nossos trabalhos e atividades
regulares, mas infelizmente tivemos alguns contratempos que
esperamos já terem sidos solucionados.
O comitê já se recuperou do turbilhão inicial e a maior parte das
inscrições foi processada (confira em www.iptn2011.org). Eles
ainda estão surpresos com o interesse e comentam: ―Quem diria
que tantos playbackers pelo mundo se interessariam em vir para
Frankfurt? Estamos encantados com a reação fantástica do mundo do Playback Theatre‖.
Para acomodar todos os interesses e aceitar um maior número
de participantes, os organizadores tiveram que passar um pente
fino em Hamburgo a procura de mais espaço para a conferência
e mais quartos em hotéis, realmente criando espaço para as 100
pessoas inesperadas. E com 400 participantes confirmados eles
dizem: ―infelizmente atingimos o limite de o quanto os organizadores podem fazer em termos de logística e também pessoalmente. É claro que adoraríamos oferecer vagas para todos que
se interessaram, mas infelizmente não será possível já que a lista
de espera é enorme‖.
Para se manter informado sobre as novidades da Conferência,
você pode nos seguir no Twitter e também se inscrever em um
RSS feed do Livro de Visitas e do Blog do nosso site.
Qualquer pessoa que queira contribuir é bem-vinda a postar
mensagens ou fazer contato.
德國法蘭克福
Um abraço,
Elke Houston, Janet Salas, Klaudia Spandl-Töpfer, Marlies Arping
Da Equipe de Planejamento da Conferência da IPTN 2011
Playback-Theater-Netzwerk e.V., Frankfurt.
Page 20
一人一故事劇場──在動盪不安的世界中的社會對話
距離今屆的國際會議只有五個月！
2011 年國際會議的會議籌委小組成員：艾奇‧候斯頓（Elke Houston）、珍納‧莎莉斯（Janet Salas）、 卡麗迪亞‧史賓度－陶花
（Klaudia Spandl-Töpfer）、瑪莉詩‧艾萍（Marlies Arping）懷著
興奮的心情，期待在十一月的時候歡迎共四百六十位會議參加者來到法
蘭克福市。
這個於11 月23至27日舉辦的會議，已經是一人一故事劇場界別裡的第
十次了，會議提供了平台讓世界各地的一人一故事劇場計劃及實踐得以
互相交流，並希望可以促進以「多元及遷徏」為主題，於多元文化社會
中透過一人一故事劇場來進行社會對話的工作。
會議籌委們提到：「我們的希望是2011 年11月的會議可以讓我們有機
會一同去探索，並發掘新的航道與機會。」
「我們大會的主題：『一人一故事劇場──在動盪不安的世界中的社會
對話』於2009年因著世界性的經濟危機而訂定，自那時起，全球發生
了更多災難性的危機及動亂，對我們或多或少都有莫大的影響，而將來
如何，也是未知之數。」
現時，大會的報名人數已達到460人，遠遠超過了我們的限額，當中包
括來自30個國家的朋友。籌委會道：「……抱歉我們只能招待400人，
根據過往的經驗，我們本來把目標人數定為300人，並以此人數來計劃
會議，但是出乎意料之外，當預早留座的登記一開始，我們就已經接獲
排山倒海而來的登記表格。我們以盡快處理，並嘗試在我們日常的工作
以外並排進行這項工作，希望可以趕上進度。然而，這期間我們還是遇
到一些阻礙，但我們希望現時我們已經開始可以逐一解決。」
籌委會已經從這張登記風暴中過渡，而大部份的登記程序已經完成，你
可以到www.iptn2011.org查看。縱然如此，他們仍然為到這麼熱烈的
反應而感到驚訝：「誰會想到世界各地有這麼多的一人一故事劇場工作
者想來法蘭克福？我們為這踴躍的回響而感到非常高興。」
為了款待這麼龐大的參加人數，籌委會在法蘭克福市內四處張羅，搜尋
及預訂更多會議可用空間，並預留更多酒店房間，讓新增的100位參加
者也有住宿服務。而在確認了400 位參加者為上限之後，他們「很抱歉
我們已經達到作為籌委會，在流程上及能力上能夠處理的極限了。」
「很明顯地，我們是希望可以為所有報名朋友提供一個位置，可是這是
不可能的，因為那個候補名單實在是太長了。」
如果你有興趣得知會議的最新發展，你可以Twitter 跟隨我們，也可以
在我們的網站的留言板（Guestbook）及部落格（Blog）中訂閱RSS
摘要，我們歡迎任何希望可以幫忙的人士在這些地方留言或與我們聯
絡。
祝好！
艾奇‧候斯頓（Elke Houston）、珍納‧莎莉斯（Janet Salas）、
卡麗迪亞‧史賓度－陶花（Klaudia Spandl-Töpfer）、瑪莉詩‧艾萍
（Marlies Arping）上
2011年國際會議的會議籌委小組成員代表
DIVERSITY多様性とMIGRATION移行に焦点を当てた世界大会
第１０回プレイバックシアター世界大会
日時：20011年11月23日-27日
場所：ドイツ フランクフルト
＜プレイバックシアター；激動の世界における社会的対話＞
世界大会開催まで５ヶ月となりました。
2011年世界大会企画チームのElke Houston, Janet Salas, Klaudia
Spandl-Töpfer, Marlies Arping は世界中から集まる460名の代表の
方々を2011年11月にドイツのハンブルグの町へお迎えする事をたい
へん楽しみにしています。
11月23日から27日に開催される世界大会は、10回目の大会にあた
り、プレイバックのプロジェクトや実践活動の交流のための企画と同
時に、「多様性と移行」に重点を置いて多文化社会における社会的対
話が促進する事を願っています。
「2011年世界大会は、私達皆が新しい路やチャンスを見つけ出すため
に一緒になってワークする機会を提供することを表明します。」
ブラジルで行われた2009年第９回世界大会で、私達がタイトルを『激
動の世界における社会的対話』としたのは、世界経済危機の影響がま
ださめやらぬ時期だったからでした。
それ以来さらに多くの壊滅的な危機や激動が世界中で起こり、それら
は大なり小なり私達全てにインパクトを与え、将来がいったいどうな
るのか分からなくなりました。
今大会は３０国以上の国々から460名の参加申し込みがありました。
主催者のレポートによると
「残念ながら400名までの参加までとしなければなりませんでした。
もともと、以前の大会の経験から、私達は300名の参加を目標として
計画していたのです。しかし早期優待制度を打ち出した途端に、予想
を遥かに超えた嵐のような参加申し込みがありました。私達はこう
いった事態に耐えながら、日常の仕事をし、そして参加申し込みを出
来るだけ早く処理してきました。
残念ながら何回かの中断を余儀なくされたものの、その間に全て解決
出来ました」
今では委員会はこの初期の嵐から回復し、ほとんどの登録が処理され
ました。
ホームページwww.iptn2011.org. でご確認下さい
主催者たちは「誰がこんなにもたくさんのプレイバック愛好者が世界
各地からフランクフルトまで来てくれると思っただろうか？
私達はこんなにも素敵な反応を世界中のプレイバックシアターの世界
から頂いたことが嬉しい！」と 今も尚、感動しています。
溢れるばかりの興味と多数の参加希望のため、主催者はハンブルグに
より大きな
大会々場とホテルを見つけました。そして予想していなかった100名
分の部屋を、ご用意出来ることになったのです。
そして、400名の参加申込みをもって「残念ながら、事業遂行上も個
人的にもこれが限界です。」と言わなくてはならなくなりました。
登録して下さった全員にご参加頂きたいところですが、たくさんの
ウェイティングリストがあるため、残念ながらそうはいきません。
今大会の最新情報を知りたければ、Twitterやウェブサイトのゲスト
ブックやブログからRSSフィードを購読することができます。
大会にお手伝い頂ける方は、メッセージを投稿するか、ご連絡を下さ
い。
心を込めて
2011年世界大会主催チーム
Elke Houston, Janet Salas, Klaudia Spandl-Töpfer, Marlies
Arping
より
10th International Conference
November 23rd -27th, 2011
Germany
Social Dialogue in a World in Upheaval
Only five months till the IPTN World Conference kicks off!
Conference Planning Team for the 2011 International Gathering of the membership of IPTN Conference Elke Houston,
Janet Salas, Klaudia Spandl-Töpfer, Marlies Arping are looking
forward with excitement welcoming 460 delegates to the city
of Hamburg in Germany in November this year.
The conference, to be held from the 23 – 27 of November is
the 10th of its kind and promises a program of to international exchange on Playback Theatre projects and practice and
hopes to promote the particular work of playback in social
dialogue within multicultural societies, with a particular emphasis on diversity and migration.
They state: “Our hope is that the conference in November
2011 will offer many of us a great opportunity to work together to explore and take up new paths and opportunities.
“We chose the title – Playback Theatre – Social Dialogue
in a World in Upheaval – for the conference back in 2009
while the world was still reeling from the effects of the global
financial crisis. Since there have been many more devastating
crises and upheavals worldwide which impact on us all to a
greater or lesser extent – where these will lead us in future is
unknown.”
The conference is now booked out with over 460 registrations
from 30 countries across the globe. The organizers report that
they “regretfully have had to cap attendance at 400. Originally, from experience with previous conferences, we had a
target of 300 and had planned for this number. Rather unexpectedly for us, as soon as we opened registrations with the
early bird price, we received a storm of registrations. We tried
to keep up with this and process the registrations as fast as
possible while carrying on with our normal jobs and activities.
Unfortunately there were a few hiccups, but we hope that in
the meantime we have been able to sort everything out.”
The committee has recovered from this early storm and most
of the registrations have been processed – you can check
them out at www.iptn2011.org. Yet they are still amazed at
the response saying: “Who would have thought that so many
playbackers from around the world would want to come to
Frankfurt? We are delighted with the fantastic response from
the international Playback Theatre world.”
Accommodating the flood of interest and accepting a larger
number of participants has required that the organizers comb
Hamburg to find and book more conference space and reserve
more hotel rooms so that there is now room for the unexpected extra 100 people. And with 400 confirmed participants
they say that they have “regretfully reached the limit of what
we as organizers can cope with, logistically and personally.”
“Obviously we would have loved to offer a place to all those
who registered, but this will simply not be possible, as there is
a long waiting list.”
If you would like to keep up with the latest Conference developments, you can follow us on Twitter and also subscribe to
an RSS feed from our website Guestbook and Blog.
Anyone who wishes to contribute is very welcome to use
these to post messages or make contact.
With warmest regards from
Elke Houston, Janet Salas, Klaudia Spandl-Töpfer, Marlies
Arping (for the Planning Team of the IPTN Conference 2011
Playback-Theater-Netzwerk e.V., Frankfurt am Main.
Page 21
A REPORT from Nick Rowe, Bryony Hawes, Emily Sweetlove and Henry Williamson
Each academic year, as part of the assessed community dance and theatre modules, we invite students to form a
playback theatre company. Few if any of the students have experience of playback and most, initially, feel anxious
about improvising and telling stories together. Despite this there seems to be agreement amongst students and
staff that immersion in playback can improve performance skills, develop a capacity for listening and can be highly
enjoyable. What we are not so certain about are the particular factors that may inhibit performers and tellers in a
university environment and the limitations of doing playback with a relatively young and inexperienced group. With
these questions in mind we (the authors and a group of theatre, dance and music students) documented the life of
our group over the course of the year. This article tells this story and seeks to address some of the questions that
as tutor and students have given us the most concern. Playback requires a capacity for spontaneity and improvisation. We will ask questions about how this is influenced by the presence of the tutor and under the realities of assessment. We are also interested in how the tutor‘s and fellow students‘ presence influenced the stories told in rehearsal.
Rabbit in the headlights: the early days
In describing the early days of our work together one the students said that ―we were like rabbits in the headlights‖.
The company described their worry of ―getting it right‖ in front or each other and the tutor and of letting down the
teller. They talked about ―trying too hard‖, ―showboating‖ and ―going for laughs‖. In retrospect they remember their
performances being ―on the surface and too literal‖. Perhaps most notable in their discussion of the early days was
the difficulty people described in listening to the teller and to each other. Emily wrote in her diary:
I feel that within our group we really need to learn to listen and watch each other to gauge
start and stop times, mood and general structure.
Many of the students spoke about being too aware of self. Emily again:
I find that especially within improvisation when everyone‟s put on the spot and feeling vulnerable I only think of what I‟m going to do, how I‟m going to involve myself.
It seems that one of the key changes from the early days is an increased awareness of the importance of working
in an ensemble and the capacity to ‗de-centre‘ to some degree so that it is possible to listen to the story, draw on
personal associations and work flexibly in performance with others in order to perform the story.
Finishing each others’ sentences: the importance of the ensemble
Emily wrote in her journal after 6 weeks of playback:
One aspect we struggle with within a Playback rehearsals is focus and controlling our energy.
In this rehearsal there was one story which started on such a high it; „fizzled out' leaving areas
unexplored. As a group we need to work more on sensing how we need to approach each story
and listen to each other. Not rushing in blindly trying to complete it on our own.
Page 22
At first our company consisted of actors, musicians and dancers who did not necessarily know each other. Over
the course of our rehearsals together we told each other stories from our lives, improvised together and shared the
experience of performances. This kind of ‗social interconnectivity‘ seems to be common amongst playback performers. One of the company put this well when he said that by the end of our time together it seemed that we
were ‗finishing each others‘ sentences‘.
A director for a millisecond
One of the students told us:
From the moment you stand up out of your seat and move into space, you are that director for
those milliseconds that no-one else is moving, you’re directing the piece.
One student told us that in the beginning he struggled with his desire to grab the lime-light and direct the focus to
himself. This was, he thought, a reaction to the situation he found himself in with new people, in a new theatre
form and under the pressure of the presence of a lecturer. Over the course of rehearsing and performing playback
he recognised this about himself and took the step to challenge himself to step back and become more aware of
others in the company and how he could support their work. He recognises that there is a very different kind of directing in playback in which performers add to each other‘s work:
I like playback because it is about developing each others’ talent, and it’s about developing each
others’ stories. An idea on stage is not a performance, it needs to be added to and this is what I
now try to do. If this makes sense it is: from being the clay to moulding the clay.
Nick comments:
This is a sophisticated view of the directorial role within playback performing. There is maturity in these
words. In order to achieve this supportive generosity to each other students need to relinquish their desire
for centre stage and, they might imagine, their wish for high marks in order to support the other performers.
The trouble with Playback in the academy
The notion of the importance of the ensemble reveals a contradiction in practising playback within formal higher
education environment. The students were very aware of this. As one person put it, ―I needed to get my input in
because if not I would get a low mark, but I also know that sometimes it is better to do less and hold back and support the idea of another person who might then get a better mark than you‖.
Emily explores this contradiction:
Universities rely on assessment, essays and examinations. Each piece of work produced by a student is judged
and marked by a tutor based on a set of guidelines. This structure stands in complete contrast to the spontaneous
nature of playback theatre. So how then can playback be taught and graded in a university?
Telling in front of your tutor
Playback theatre rehearsals rely on company members to tell stories from their own lives. Although students were
pleased that the tutor joined in this and told his own stories, there were particular dynamics in a student/tutor company that Henry was particularly concerned with understanding. He writes:
In our company our conductor was also our lecturer. The fact that he was present can inhibit the choice
of story told for fear of judgement since it is him that determined our grade at the end of this project.
There is no doubt that the presence of the tutor influenced the stories told. Henry writes about when this presented
a problem to him:
There were occasions when telling created a problem: when the story contained a lot of drinking the
night before and I felt that this was not the kind of thing I would have wanted my conductor to hear.
Another student speaks about the sense of being pressurised:
There was one week where we had to say how we were feeling and I was having quite a – I was
having a particularly bad week with stuff that was happening outside and I did feel genuinely very uncomfortable with how I felt, but I did feel very pressured that I had to talk about
it and the piece that followed that didn’t really reflect it, and I was quite reluctant about saying what was happening to me and I didn’t really like how I was very pressured into telling.
This report is continued on the following page.
Page 23
/from the previous page
Nick comments:
These last two comments give me concern and pause for
thought. It seems that structures or exercises which ‗force‘
students into telling or set up an expectation that telling is
expected need to be avoided. Generally there needs to be
more space and explicit permission for the student to decide not to tell.
Conclusion
We want to conclude with some key learning points that have come from this year. This article and a presentation
from some of last year‘s students will form the basis of an introduction to playback for the next student group. The
following guidance will help us to address some of the issues that arise when playback takes place in the academy.
1. It is clear that students can feel under considerable pressure to tell stories in rehearsal. Because of the central
role that the personal story has in playback it is inevitable that there will be some blurring of the traditional boundaries between tutor and student. However, more care needs to be taken so that students explicitly recognise their
right to choice in when and what they tell.
2. It seems important that the tutor continues to tell stories from his/her own experience. This telling can model
where the boundaries may lie in telling and provide a valuable way in which the tutor can build trust with the students.
3. An ability to perform within an ensemble is crucial to successful playback theatre. This capacity is developed
through regular rehearsals. As Emily noted: there is a reciprocal relationship between getting to know each other
and learning about playback. Perhaps we can summarise the aim in the words of one of this year‘s students: to
end up ‗finishing each others‘ sentences‘.
4. The contradiction between ensemble playing and performing for assessment with always be present when playback takes place in higher education. It is important that this is acknowledged and discussed and that students are
clear about the criteria for assessment.
5. If we are to continue assessing student performances then we need to be clear and very explicit about what we
are looking for. The criteria we use currently are that the student demonstrates the capacity to: be responsive to
the audience, adapt to changing circumstances, listen carefully to the story, and to offer a creative response.
These need to be carefully explained and exemplified throughout the weeks approaching the assessment.
6. Analysis of the relationship between theory and practice is as valuable in playback as in all theatre practice. A
critical appreciation of the ethical and political issues raised when personal stories are told and performed is crucial
if performances are to be respectful of the teller and the audience. It is the responsibility of the tutor to integrate
discussion and theory into rehearsals in such a way that it informs and deepens understanding but does not inhibit
improvisation.
We would be interested in hearing from other tutors or students who have taken part in playback the schools or
universities. Do you have the same experiences?
Nick Rowe is a senior lecturer in Theatre and in Health at York St John University. He is a founding member
of York Playback Theatre and is a former editor of Interplay. He is author of the book “Playing the Other:
Dramatising Personal Narratives in Playback Theatre”. This paper was presented at the Playback in the
Academy Event in Canada..
"There is always something in
the self that is either overcompensating, pretending, giving in,
or pushing too hard. The only
way one can reach that and
move it out is through ritual"
Sobonfu Some
Page 24
Apologies
This issue of INTERPLAY is late due to the high
demands of living a good and productive life.
Please accept my apologies
Ed.
The School of Playback Theatre was launched in 1993 to consolidate the transmission of the method as it
expanded rapidly around the world and into more diverse cultures. Initially it offered incremental training in
the form of beginning, intermediate, and advanced playback training. However this developed over the
years to include more targeted training e.g. in Leadership and in Practice.
In 2006, the SPT was renamed the Centre for Playback Theatre in a bid to acknowledge its expaning focus toward development and humanitarian responsiveness worldwide. This change coincided with further
development in its course offerings eventually arriving at the suíte of courses offered today that endeavour
to provide an intensive training on the utility and efficacy of playback theatre in a range of contexts for a
range of responses to establish and build ethical leadership in playback theatre. This hás been traditionally honoured through the graduation of students from the Leadership Course, a three-week residential training with Jonathan Fox.
Despite the various changes within this period (including the downsizing of the organisation that you may
read about on Page 48) the school continues to produces graduates and hás the equivalent of sister faculties in Italy, Japan, Germnay, UK, Isreal, Hong Kong, Hungary and Sweden.
Meanwhile, the New York based Centre for Playback Theatre continues to deliver training to international
cohorts. The 2010 graduants Elisabeth Couture of Quebec, Canada, Davina Holmes of New Zealand now
living in England, Anna Lena Ostern of Finland now living in Norway, Sheila Donio of Brazil, Katrin Knoche
of Germany, Endel Hango of Estonia, & Will Chalmus and Davis Rodgriguez Melendez of the United States (picture below) are the most recent playbackers to receive their diplomas. These next few pages are
dedicated to this latest group as they share their responses to and appreciation for the oppotunity to train
with Jonathan Fox and Hannah Fox in New York, USA.
Page 25
Leadership was the realization of a dream for me.
What I most appreciated about the intensive course
was the opportunity to affirm and consolidate my
Playback training and to face my fears around leadership. I appreciated being physically close to the roots
of Playback by working with Jonathan and geographically by being in NY; as well as meeting people from the many branches of Playback
around the world. At our graduation, I sang a Maori
waiata. For me, this acknowledges the love which I
have always felt present during Playback and in turn
acknowledges Jonathan & Jo‟s legacy, which I hope I
can pass on with the same respect and integrity to
those I lead.
The outspoken Davis is someone I savor, with that mix of
Philly, Jersey, and Puerto Rican flavor.
There’s a woman I show the utmost respect from Québec, my Playback mama Elizabeth.
Endel is a wise man that sheds light and his land Estonia
is the home of Skype.
Sheila stole my heart and helped it heal
With the warmth and passion only found in Brasil.
A super conducting spirit, you should have seen her.
When I go to Europe I’ll look up Davina
With Katrin as a friend you can’t go wrong,
a German who always plays and loves through song.
And Anna-Lena from Finland, I really miss her She is
not a friend, she is my soul sister.
And a Big Shout out to my man
Neil from Brisbane.
You are all a part of me.
So for the things we’ll do…
--You Will C.
Willc4me@gmail.com
E hara i te mea
No inaianei te aroha
No nga tupuna
I tuku iho I tuku iho
Love is not something of today
It is handed down to us from our ancestors
Davina Holmes: Aotearoa New Zealand
As part of a long Playback Theatre journey, I have been
present at the last three Graduation ceremonies of the
Centre in NY. In 2006, I was a member of the audience.
In 2008, I performed for the students and guests. And
finally, this year, I was one of the graduates. The three
weeks of classes made me remember each step of my
journey –from the hardest to the most pleasant ones.
We studied, we discussed, and most of all, we practiced leadership. It was a pleasure to share that intense
time of my life with our small, cozy, and diverse group
of students. It was a pleasure to learn once more from
Jonathan and Hannah. Together we put on very special
performances, met with guests that shared their work
and knowledge, rested under the sun, went over beautiful mountains, and faced classroom challenges. I am
very proud of myself and of the class of 2010.
Sheila Donio
Page 26
It was a very special year. I enjoyed
being with this group of students
very much. There were some moments of intense uncertainty and
some high points, and what is most
gratifying, moments when one lead
to the other.
*****************************
Jonathan Fox
From Élisabeth Couture
Comme professeur, j‘ai toujours cherché à enseigner ce que j‘appelle un « savoir vivant », des connaissances qui sont
profondément enracinées dans nos expériences concrètes. Jamais je ne me suis sentie plus proche de ce type de savoir que
pendant mes trois précieuses semaines de formation au centre de Playback Théâtre. La pratique est complexe et une énorme
quantité de savoir vient la soutenir : comment développer un jeu spontané tout en découvrant les résonnances métaphoriques des
histoires, comment rendre visible leurs aspects sociaux, personnels et archétypaux, comment déterminer et respecter certaines
règles d‘éthique, et beaucoup plus… Mais aussitôt que nous croyons avoir saisi le noyau dur, nous savons que la prochaine
histoire soulèvera de nouvelles interrogations et nous remettra en question, au plan personnel et du processus en cours. Ce savoir
est toujours en mouvement. C‘est pourquoi je me suis retrouvée au cœur d‘un savoir vivant, à la limite de moi-même et en
questionnement constant avec mes partenaires. Tout cela, dans le grand bonheur de découvrir l‘essence de Playback Théâtre
avec des personnes aussi curieuses que moi.
*****************************
As a teacher, I have always strived to teach what I call ―alive knowledge‖, learning that is deeply rooted in our concrete experiences. I have never felt so close to this kind of knowledge before my precious three-weeks training at the Center for Playback
Theatre. The practice is complex and a great amount of knowledge supports it: how to develop spontaneous acting while discovering the metaphoric resonances of the stories, how to make visible their social, personal and archetypal aspects, how to determine
and respect certain ethical rules, and so much more... But as soon as we think that we have captured the hard center, we know that
from the next story, new interrogations will arise to question ourselves and the ongoing process. This knowledge is always in movement. That‘s why I was at the heart of ―alive knowledge‖, at the limit of myself, in an ongoing questioning with my partners. And this,
while living the great happiness of discovering the essence of playback with people who are just as curious as me.
The dramaturgy of giving a strong offer
During three unforgettable weeks in July 2010 at Manhattanville College I and my colleagues in playback studied,
worked, elaborated, and plumbed the depth of playback
theatre and company life from the perspective of the
leader. Jonathan Fox (and Hannah Fox for three precious
days) was our guide, coach and master teacher. The notion
of giving a strong offer turned out to be a core substance
of dramaturgical thinking in the structure of a performance. What I found especially transforming during the
learning process, was the side coaching from Jonathan,
who often interrupted or coached in action, in order to
make us reflect; who challenged us to “walk our talk”, or to
embody the standpoint for which we were arguing. As PT is
a team work, the listening skills, and the skills to give quick
and adequate responses were much challenged and developed during the three weeks of intensive training.
Out of the Box
Before, there was a fascination for the form. There was
quite a number of experiences and pictures in my mind.
There were some questions and a willingness to risk and
go to look for the answers. There was my stubbornness
and Jonathan’s openness and Di’s few words. Here I must
thank Di Adderly for her recommendation – THANK YOU!
In Manhattanville, there were new acquaintances and
new good friends, all kind and interesting. There were a
lot of discussions, some answers to the questions and a
whole new horizons to explore. Some of the acting was
easy and some of the conducting was not. It was HOT and
a lot of fun.
Now, I’m left with much more questions and the trust and
firm belief that I can move towards finding the answers,
even if I need other’s help. There are plans to fulfill and a
path to follow. There is a network to work with. I’m open.
Endel Hango
Anna-Lena Østern
Page 27
It was an honor and so much fun to offer a three day "performance
practice" with the Leadership class this year. Even though we did a
lot of stretching, sweating, and running around the room, I was
very energized by the work and the creativity in the room. I was
also inspired by how each student faced her/his 'performance
challenge' head on and pushed through the physical and emotional boundaries. The concepts of "embodying" our stories, being
seen and heard, and making bold choices really took hold by the
third day. Thank you for letting me walk with you on your journey
for a part of the way.
-Hannah
Leadership kann verändern
Als ich losflog zum Leadership hatte ich ein paar gesundheitliche Probleme. Manchmal ist das der Beginn einer Veränderung – bei Kindern kann
dies häufig beobachtet werden. Dass es in dem Maße auch auf mich selber
zutreffen würde, hätte ich nicht gedacht. Im Kurs haben wir viel gelernt,
praktisch und theoretisch, welche Vielfältigkeit ein Leadership beinhaltet.
Da wir jedoch ebenso die Leader sind, lief parallel dazu ständig ein
persönlicher Prozess. Wir haben viel gelacht und viel geweint – es hat
mich stärker, klarer und optimistischer gemacht, zu einer Veränderung
beizutragen, so schwer es im Alltag manchmal zu sein scheint. Faszinierend und glücklich schätze ich mich, in dieser Gruppe mit diesen Kollegen
gewesen zu sein – ich habe mich mit meinen Macken und Kanten, mit
meinen Fähigkeiten und kreativen Ideen getragen gefühlt – ein riesiges
DANKE an alle und Jonathan, der uns die Welt des Playback geschenkt
hat. Die drei Wochen haben mich verändert und ich bin sehr dankbar
darüber.
Leadership can change
When I took off for Leadership Course I was having some problems with
my health. Sometimes these kind of challenges can signal a beginning of a
change – often you can see this in little children. But I did not begin to
think that this would be so in my case. We have learned a lot during our
course, practical and theoretical. There were so many things which had to
be covered in leadership and because we, the grandaunts, were already
leaders, there was a personal process going on alongside the shared process the whole time. We laughed and cried a lot – this helped me to grow
stronger, clear, and more optimistic – I’m sure I am an active part of
change. This can be difficult yet I learned – yes, I can! I’m fascinated and
happy that I had the possibility to be of this group of colleagues. I felt
supported in all my edges and my quirks, with my creativity and with
other possibilities – let’s make music. A very big THANK YOU to all of
my colleagues and Jonathan, who gave to us the world of Playback. The
three weeks had changed me a lot – I’m very thankful about that.
KATRIN
Completing the Playback Leadership course this year
at Manhattanville College, NY, has been one of best
experiences of my life. Not only reminded me of the
love and commitment I have to the form, but it also
made me grow as a human being. Meeting my classmates from different parts of the world and sharing
with them the classroom and human experience was
the best gift in the world. Learning about them and
knowing them, under Jonathan's leadership, was the
best gift I had ever received. I humbly and wholeheartedly encourage anyone who is interested in
completing the Playback Theatre program to do so
because it would be an experience that expands one’s
leadership and changes one's life forever.
Davis
Page 28
ABOUT THE DISASTER,
from opening page
burns on their skin and eyes. As the disaster
agency in Hungary reported, 390 residents were
relocated and 110 people were rescued from
flooded towns. Many rescue efforts have been
made to help residents get over the disaster. Forty
soldiers along with army vehicles joined in the rescue services. The cause of the incident has been
investigated.
Source:
http://society.ezinemark.com/red-sludge-environmentaldisaster-in-hungary-77366b02575f.html
Stories Help Wash Away Red Sludge Memories Playback Pécs responds in Descever
From opening page
months before the gathering. The idea had a serious echo. A cooperation of different companies set up a team that might
be mobilized in case of emergency. At first, the 200 km distance between Budapest and Pécs prevented us from actively
joining in. We followed the preparation with the help of the news and tried to contribute to the spirit of the idea. We in Pécs
were excited by the question: how might we use the power of playback in the elaboration of experiences gained in extraordinary situations?
And then came J: J is a volunteer psychologist who works within the Maltese Charity; he took the step to consult with
the mayor, the Service, the school and the social workers about performing. This led the authorities to question who could
be assisted by such a performance. They decided that they could hold an open performance in the community centre.
Then the message of J. arrived: the local government of Devecser welcomes gladly, if our company gives a performance
for the victims of the sludge!
Important experience from Sondrio
Despite our passion and commitment we had three persons from our company - J., I. and M. who became important navigators for this important journey. They had the opportunity to train with Jonathan Fox in Sondrio, Italy,in a workshop focused on playback in emergencies based on Jonathan's own learning about playback and its healing potential for the victims following the devastation of Hurricane Kathrina in New Orleans. The situation in Hungary made participation at the
workshop very timely.
*
The workshop in Sondrio had more then thirty participants from many different countries. The
effect of our colleagues returning from the workshop in Sondrio was extremely important. Their
“We followed
motivation, confidence and understanding about how we have to undertake this work was inspirthem as they
ing. They had learned that in such situations:

it is important to be present in every single role being prepared for the most unexpected
turns:

shared their new
knowledge .... It
was not easy to
take in these
new ideas”
it is useless to start without the necessary humbleness; real presence is needed at the
encounter in order to be able to abide and to change in the swirl of the crisis.
We followed them as they shared their new knowledge. They claimed that it was necessary to
*
spend at least five days on the location to get acquainted with the real situation, to warm up to
the performance, to take up contact with the people living there, to get in touch with their experiences.
For us - the others, who didn't take part in the workshop - it was not easy to take in these new ideas. Many aspects were
very new for us. We had to create time for the performance among our everyday activities and we had to face the seriousness of our task in a different way.
We had to work hard to apply the experiences brought from Sondrio to our actual situation. We needed to be thoughtful,
not just apply the solutions from others as if there was a recipe, but to use their experiences as tools for creating our own
approach.
When to perform?
This was up to us. The mayor said: "We are here and you can do it whenever you come." The opportunity made us
Continued next page
Page 29
Red Sludge Memories
continued from previous page
more sensitive to the news from Devecser - Kolontár: how many people are still in hospital, how many houses
have to be demolished, what kind of support people are waiting for. This realization made our rehearsals focused,
with everybody involved and willing to act. We found and fixed convenient dates as soon as possible.
Personal Commitment
This required serious deliberation from all of us to decide how we could personally participate. There were many discussions and planning sessions where differences of opinions appeared. There were moments, when the different ideas
seemed irreconcilable. At the same time, these discussions were building and preparing us. All the three participants of
the Sondrio workshop considered our company capable to perform the task: our place is there in Devecser.
This period of preparation had a deep impact on the company members, for example, one stated: "During the days of the
preparation the red sludge appeared in my dreams. It was a difficult dream, full of tensions. I had to cross a field flooded
by the red sludge, considering every step. I could see some grassy hills where one could walk but I had to jump over the
parts covered by the sludge. After waking up, I feelings of the difficulty of advancement and being threatened were with
me." (A)
For some the preparation was very personal. One company member stated: "As a part of the preparation I found it important to think about my own life and to find occasions when I faced similar unfeasible situations." This resulted him remembering two deeply personal experiences. One related to his wife's illness and death. He said, "While I did not experience immediate danger, but my life turned a somersault during her ilness and then two and a half years we lost her."
A second related to a time during his childhood when his family needed to hide in their cellar due to fights in their
neighborhood. "My parents - under the gloomy weight of their earlier siege experiences - tried to create livable conditions
in the narrow space, where only the children could get beds. I remember one evening my father set up two tables besides my bed, so that I could sleep in their entrenchment. If someone had shot in from the street with a rifle or sten-gun,
the hardwood table would have warded off the bullets. As a child I could not understand why he did that. At dawn the
entering tanks of the soviet army stopped at the corner, hundred meters away and shot with their guns three times into
the military building standing behind our house."
Setting the dates
The company needs high-level cooperation and good quality leadership. To handle tension in such situations needs carrying capacity, positive thinking, good ideas and occasionally goal-oriented interventions. We needed to mobilize our
strengths and abilities to achieve proper results. In a conversation we convinced Cs. that the company definitely needed
her presence as well. Realizing that we arrived at an important stage of our common life - putting her other important
issues into the background - she decided to take part. She could organize the necessary conditions to come with the
company to perform. Our team was finally set up.
We planned to go to Devecser on Friday, the weekend before our performance on Tuesday. This allowed us to prepare,
be together and get acquainted with the residents.
J. went to Devecser during the previous week, doing voluntary psychological work she participated in assisting the residents. She sent us the message that the people were waiting for us. It enhanced our warm up and strengthened our
mission-awareness. Finally we spent three days in the small town. Five of us left Pécs by car on Friday morning to meet
the others in Devecser. It was important to travel together. The three-hour trip helped us prepare for the situation waiting
for us. On the roads where the traffic was restricted or unauthorized, we advanced with a feeling of being chosen, and
continued towards Devecser. As we neared the town the policemen controlling the traffic, knowing the purpose of our
arrival, let us through. In good mood, with good expectations we arrived at the border of the town. (K)
J. welcomed us with joy. That afternoon there was to be a forum at the community centre for the residents. It was worthwile to go there for an orientation to the town and situation. We could even find an opportunity to announce our performance on Sunday.
This was a good opportunity to correct the information that people had received previously from the vice-mayor, who had
announced our performance at an earlier forum reading from the website about the Pécs December performance, entitled "Absurd stories", "there are absurd situations, which are so bad, that it is good in itself‖ As we were not being present
we could just imagine the effect of these sentences on the people present. We hoped, if we spoke more authentically
about the genre of playback and our ideas about the performance that people would not assume that crazy people were
approaching their town.
We gave the performance the title: "The Flood - Experiences and stories about the red-sludge
disaster". On the Saturday morning we rehearsed. The stories of disaster from the forum generated
strong emotions in us. The preparation focused us on our own losses and connections. We became sensitive to each other, and once again experienced misunderstandings between us, some clashes happened because of our different ideas. Many of us experienced isolation from the others and "I am
totally alone", "I can't connect up" feelings. The tension of the situation gave us hard work.
Meeting our own traumas, we became open to the current situation. Yet we felt we could overcome the
difficulties together. It counted quite a lot that we were together as members of a 15 year old
team with strong cohesion.
Page 30
The forum was about health. The remarks and the questions were investigating the issue: how dangerous the actual and
the long-term effects of the disaster were for the people living there. For the inhabitants it was important to know exactly
the factors threatening their health and the health of their children. The respondents (physicians, pediatricians, academic
researchers) provided comforting news and forecasts compared to the public awareness, about the alkalinity of the soil, the
dust and heavy-metal load of the human organism. They made it clear, the questions concerning the future can be answered with responsibility only later on, in the possession of the research results. In addition to health issues questions
about indemnity also turned up: the accuracy of the damage assessment, the legal conditions of the indemnity, areas that
involved much more uncertainty for those present.
Our announcement about the performance was received with attentive silence. Nodding heads reacted on our sentences
referring to the importance of sharing experiences, joint processing and the experience of collectivity.
In preparing for the performance J. indicated that she would like to conduct. We discussed conducting and I suggested
having dual leadership so that the conductor was not on his/her own considering the exceptionality of the situation and the
expected tension within the performance. After talking about the possibilities we agreed to have two conductors J and I.
J was able to take us to visit a couple, whose house had been destroyed by the sludge. Ten years of work was lost, The
Maltese Charity Service temporarily ensured a sublet for them in the town, and they were seeking the possibility to buy
another house with the recourse of support. They told about the difficulties they were having, what made them concerned,
what they could accept with good heart as a solution. Even in their difficult situation they had confidence in the future, six
weeks after the disaster they could already laugh.
As we listened, it became clear that the disaster had become part of their life, but it wasn‘t identical with it. We felt in the
time spent with them, that "Life is for living and that they want to live it". This generated the feeling of spiritual spaciousness, a kind of happiness in us. We were able to enlarge the frame of our performance too.
"The Flood" did not have to be the exclusive subject of the performance, rather, the performance had to be connected with
life - past and future - both had to appear on our stage.
The performance started at 2.30 in the club-room of the community centre. We had one hour to warm up. Being together
on the previous two days tuned us up in a good way, our energy level was also high enough. At 2.15 we finished the rehearsal. We were waiting for the spectators, arriving little by little. We started the performance, asking the spectators about
life in Devecser before the disaster.
Some reflections on the performance
"The rehearsal was still going on when a woman entered in the hall, she was our first spectator. We had to ask her to wait
a bit outside. When after finishing the rehearsal I went out to invite her into the hall, she was talking with two gypsy women
on the street, in front of the community centre. They were standing beside a baby carriage - probably mother and daughter,
with the grandchild. The older woman asked: what kind of performance will be here? When they heard that we would enact the recent experiences of the inhabitants - with a wide dab they said: "We don't need a performance. We have experienced it already." Quickly - not even looking back - they pushed away the baby carriage. How could they know, that the
playback theatre has a different purpose and functioning, then the simple repetition of what happened." /A./
Women came. The audience of our performance consisted of women and an adolescent boy, arriving with his grandmother. Their number were between ten and twenty. The small number of the spectators challenged us and tested our
flexibility and spontaneity. We needed to keep our conviction that it was worthwile to make effort in a situation like this.
"A musician, four actors and two conductors - filed into the hall."
After greeting the audience I had the first sentences to say. The
others introduced themselves each word reaching to the audience
to create an atmosphere, a possibility, to share. The first woman
spoke: she belongs to Devecser. She was born here, she belongs
here. She loves living here. Her family, all the important persons of
her life, live here. The first fluid sculpture was born from this. After
the second fluid J. conducted. A tearful teller told her story. The air
of the hall became dense, the tissues were dwindling away. Someone said she had to leave the room to get some fresh air. J. gave
great attention to the spectators, reacting on their movements. She
drew them in and the sluices broke, the experiences started to
flow. Her conducting elicited their experiences through focused
attention, inducing the people to speak not so much by giving
structure, or by focusing on concrete things, by shepherding in
channel, by directing or counteracting.
I stood on the edge of the stage, then sat. I became a listener, a spectator. I prepared to conduct the performance again
when the time would come, but the stories they told sucked me in. Later I went on stage as an actor and finished the performance in this role. (A). The strong emotions determined what happened, the speakers shared the tension they had experienced, it entered into the common space. Every enactment opened the tap of the next story. Someone who first refused the call, later started to speak spontaneously and the words were flowing out from her. The audience helped to create the emotional balance. The voice of the hope and the image of a livable future appearing as well.
Among the tellers…
An auntie was sitting there with blade-sharp mouth and then suddenly sorrow broke from her: she would like to fly away
because it is impossible to survive this.
Continued next page
Page 31
Red Sludge Memories
continued from previous page
A girl going home by bus, getting off the bus, she learned about the flood running on the town, flushing the post office,
where her mother worked.
An unsuspecting mother unaware of the events in the next valley until she heard helicopter noises, then, after the calls with
her family she learned what had happened and ran to the kindergarten for her child.
The emotions: despondency, fear, loss, grief, threat, vulnerability.
And something beautiful: a future.
A two and a half year old little girl, busy with her idea becoming a ballet dancer giving a good mood to the family, helping
them to realize, they don't have to be concerned with the tragedy all the time, in the meantime they can live.
Another beautiful thing: a family remains there, because since the flood their smaller daughter became pregnant. "If new
life comes here, then life is livable here". They finished restoring their house on Friday, the flood came on Monday. It did
not destroy the house, but the good feeling of living here had ceased.
Others would leave, because the centre of the town now has become its edge. How will it be after that?
S. was sitting among the spectators in the last row. Present. Alert. She welcomed the latecomers. She closed the door.
She offered tissues. Followed spectators who exited to the corridor, accompanied them back. Her presence strong but not
obstructive. She comforted but did not intrude. Her reactions emphasized the importance of the experiences and the people present. She complemented our work on stage.
By the end of the performance it became clear that none of our spectators were hit directly by the sludge disaster. The
flood stopped some meters away from the house of one of the tellers, but the others lived in other parts of the town. There
was one, who hadn‘t even seen the sludge, she did not go there to have a look at the flooded area, because she did not
want to see the damage, the decay. It seems, that those who were touched indirectly - listening to the blast, the helicopterbuzz, the shouting and the news – but didn‘t have direct experiences carried the tension in themselves of what they imagined it was like. A woman spoke about her life since the disaster: she has been going to sleep, putting the most needed
things in her suitcase beside her bed. If she has to go, she wants to go quickly. Yet there had been no mud near the place
where she lives. Devecser will never be the same for many of them.
Performing in Distaster
After the performance we gathered to share our experiences:
"It was very hard work, after it I had to cry quite a lot.”
This performance is a present. I will never connect to the people, in the same way as I did before." /J./
Everybody started to look who at they really are, masks disappeared."
"I am living my relationships in a different way." /S./.
"I don't know what would have happened if there had been more of them, this much we could take in.‖
―The role of music enlarged. Music contributed a lot to the expression of intense emotions. It is impossible to act the
sludge so many times in the same way. The usage of symbols played a big role as well." /J./
During the discussion it became clear that all of us experienced a tension that made it difficult to be present and to be connected to one another. It was a relief to know, we did not experience it alone, to realise that it was not about ourselves but
it was the consequence of the situation. The encounter with the sludge, with the unresolved tension, carried by the tellers
and their stories. We were lucky, that our journey home to Pécs – with five of us in a car - took more than three hours. We
talked a lot and it was nice to connect up with the relief of the tellers, the dissolution of the tension of the spectators, to experience our own relief, talking and sharing our experiences. We decided to process our joint experiences in our future
rehearsals, learning a lot from this performance.
What happened next.
News of our performance saw our company invited to Tüskevár, a neighboring village. In Devecser: a therapeutic group
has been organised spontaneously for four couples. From the local journalist: we got the feedback: the situation was so full
of emotions, that she will write about it in the Christmas issue. From the vice-mayor: we are planning already the next performance.
Written by András Zánkay with Playback Theatre Pécs.
András is a clinical psychologist, psychodrama T. E. P., and playback practitioner. His most remarkable playback theatre experiences
have been 1989 in Amsterdam, Nederland and 1992 in Budapest, Hungary and in Wellington, New Zealand motivated me to learn and
practice playback in the first Hungarian playback company: Rögtönzések Színháza (Theatre of Improvisations) Budapest. He trained in
playback with Daniel Feldhaendler, Christina Hageltorn, Deborah Pearson, Jonathan Fox and Veronica Needa and teaches playback
in Pécs and Szeged, in Hungary, and also in Athens, Greece.
Playback Theatre Pécs was founded in 1995 by András and his psychodrama trainees. The oldest playback company in Hungary, they
have performed monthly since April 1996 inand around their our city. The company has 11 members - seven conduct performances
from time to time and also teach playback in different groups. Veronica Needa has given trainings with the company since 2004. “With
excitement we prepare to our performance and to the homegroup ("Focus on warm-up"), at the conference in Frankfurt am Main, in
November."
Page 32
from page 19
A MILESTONE MEETING
Haakma & Steil-Siewert
CONNECTING
Paulien: In the afternoon we worked in a Playback setting, to apply the research, which has been done, in the morning in Playback forms. It was wonderful to see how all participants, experienced PT players as well as beginners, found a new way to be present themselves on stage. The enacted stories in Playback forms became more mature and obtained more expressive power. I was
very touching to see that the seeds which I planted were already germinating and growing!
Clarice: For a group that had been working with Playback Theatre for only three years, there were other essentials teachings: how
to improve the metaphors in the narrative forms, the importance of objectivity on conducting, lead and be led on stage, breathe
together, and of course, the beauty of new forms: three solos, square meter and chorus.
SHARING
Paulien: Next to workshop I was a guest of Dionisos Teatro for a week. It was very special to be part of a Brazilian family for a
week and have an impression of Brazilian family life.
With the actors of Dionisos I also shared a lot of stories about Company life and fundraising in Brazil. We discussed ―Playback
Theatre content‖ as forms, heart of the story and group processes. But we also had time to think together about the target audience
in Joinville and Brazil. Or how to explain to ―business people‖ about the value of Playback Theatre? Or how to use Twitter as a tool
for a Playback company? It was a big source of inspiration for me to share and discuss these aspects of Playback Theatre.
Clarice: Apart from the technical stuff (which were extremely important for the group), what was really beautiful was the encounter. Dionisos Teatro found Paulien, and now she is going to be forever part of our lives, and part of our knowledge in Playback, as
other people we already met. The big learning is: how wonderful it is to depend on other people to learn!
Paulien: …And then, after a week, I was there again on Joinville Airport… to leave for Sao Paulo…. When I left my luggage at the
check-in desk, the man behind the desk was concerned by my tears: “Is everything alright, madam?” Through my tears I replied:
“Yes, I am fine, but it is very hard to say goodbye and leave my Brazilian Playback family, Dionisos Teatro…”
Pictured here
with workshop
participants and
members of the
Dionisis Teatro
Clarice (white tshirt) and Paulien
(red t-shirt) are
2nd and 3rd from
right in the back
row.
*Paulien Haakma is an experienced actress and dancer in contemporary theatre. Since 2004 she is a Playback practitioner. She is a former
member of Playback Company Amsterdam and Playback Company Wordt Vervolgd in the Netherlands. Since January 2011 she is working as
a Playback practitioner and trainer with pH5.5, a network of independent Playback players in The Netherlands. As a trainer, actress and
teacher Paulien uses Dance and Theatre methods to support people in sharing their stories and experiences, to build communities of understanding.
*Clarice Steil Siewert is an actress and made her master degree in theatre in the University of Santa Catarina. Works at Dionisos
Teatro since 2000, and participated in several plays. Dionisos Teatro works with Playback Theatre since 2008, making presentations open
to the public, communities and businesses of Joinville, Brazil.
Page 33
ENCOUNTRANDO,
MOVENDO,
CONNECANDO,
COMPARTILHANDO
WHAT’S BEEN HAPPENING
JOINVILLE
BRAZIL
A double interview: meeting, moving, connecting and sharing Playback Theatre between Amsterdam, Holland and Joinville, Brazil by
Paulien Haakma (the Netherlands) and Clarice Steil Siewert (Brazil).
de Paulien Haakma e Clarice Steil Siewert
ENCONTRANDO
Paulien: O Teatro Playback é para mim a forma mais bonita de teatro de improviso. Um dos seus principais objetivos é unir
pessoas e compartilhar histórias.
Unir pessoas, neste caso, significou encontrar atores de playback brasileiros que estivessem interessados em me conhecer e
talvez trabalhar juntos. Com a ajuda de Sheila Donio e Rea Dennis que conheci na Conferência Mundial do IPTN em São Paulo
em 2007 e de Verônica Needa que eu conhecia de cursos que fiz na Escola de Playback no Reino Unido, eu entrei em contato
com a Dionisos Teatro. Eles são um grupo de teatro de Joinville, Santa Catarina, Brasil.
Clarice: A improvisação faz parte do teatro playback. Às vezes este conceito traz a ideia de que o playback é um teatro fácil,
rápido e superficial. Todos que começam a fazer playback descobrem que isso definitivamente não é verdade. A improvisação
nos traz o frescor, o novo, a criação, e isso é difícil e profundo. A Dionisos Teatro começou com teatro playback em 2008, e desde o início já descobriu que só podemos nos desenvolver no playback quando entramos em contato com outras pessoas. Pessoas da plateia, do palco, da música e pessoas com mais experiência. Nosso encontro com a Paulien começou com improvisação e a necessidade de aprender com outras pessoas.
Nós soubemos pelos amigos do ―Playback para Todos‖, uma rede brasileira de teatro playback, que Paulien Haakma, uma playbacker holandesa estava vindo para o Brasil no fim de 2010. Disseram que ela era muito experiente e estava interessada em
conhecer grupos brasileiros de playback. Isso foi o suficiente para entrarmos em contato, perguntar que tipo de workshop ela
poderia oferecer e marcar a data. Algum tempo depois, quando ela estava para chegar, nós começamos a nos perguntar ―Quem
é ela? Nós não a conhecemos direito! Ela vai estar em nossas casas e nós não a conhecemos! Será que ela é vegetariana?‖
Paulien: ...dezembro de 2010, aqui estou eu, do outro lado do mundo: aeroporto de Joinville! O que essa semana vai me trazer? Que tipo de pessoas serão esses atores? Será que a minha “abordagem holandesa” funcionará no contexto brasileiro?
BELOW: Paulien (camiseta verde) na foto com os participantes do workshop
Page 34
MOVENDO
Paulien: Como dançarina e atriz de teatro físico eu descobri com o tempo que o movimento é para mim a linguagem para expressar o que é preciso ser esculpido no palco. Isso se tornou um jeito de olhar, assim como um jeito de pensar... a vida é um
grande movimento, não?
O movimento é também a minha ferramenta principal nas performances de playback. O poder de ―falar sem palavras‖, geralmente de forma metafórica, costuma criar uma conexão direta com a plateia... eles serão movidos e diretamente tocados pelo
―sentido cinestésico‖.
Como traduzir essa experiência em um workshop?
O convite da Dionisos Teatro me deu a oportunidade de reconsiderar minha experiência em dança e teatro e dividir com esses
atores minha dedicação ao movimento no Teatro Playback. Eu levei os atores de volta ao ―nìvel arqueológico do movimento‖ e
descobri com eles o movimento do Material, das Coisas e da Atmosfera. Iniciamos os dois dias com exercícios de pesquisa:
convidar o corpo a explorar a fonte de criatividade em si mesmo. Tentar ser aberto e curioso e ver o que está vindo dessa fonte.
O resultado foi um grupo de atores ávidos que se atreveram a abrir mão do êxito e realmente ―pularam‖ no desconhecido. Ao
final eles acharam sua própria linguagem de se mover e expressar no movimento. Foi uma grande honra para mim ser a facilitadora desse delicado processo e ser autorizada por esses atores a encorajá-los para um modo diferente de trabalhar com o movimento.
Clarice: ―Seja a bolha‖, ―Seja a borracha‖, ―Seja o óleo‖. Essas foram as regras do workshop ―O momento tocante dos materiais, coisas e atmosfera no teatro playback‖. Falamos sobre os assuntos que achávamos nas histórias e os quais poderìamos
nos transformar no palco. A profundidade disso não estava em mostrar esse material, mas em como ser esse material: como
fazer o nosso corpo se tornar essas coisas. Isso nos dá muitas possibilidades no palco.
Também conversamos da chamada ―presença‖ no Teatro Playback; não é o suficiente ter os nossos corações no playback
(apesar que todos sabem como isso é fundamental). Nós temos que dar todo o nosso corpo. Ele tem que estar presente, com
força e energia. Novamente nossos corpos estavam no centro da ―magia‖ do Teatro Playback.
CONECTANDO
Paulien: À tarde trabalhamos com uma apresentação de playback, para aplicar a pesquisa feita pela manhã sobre as formas
do playback. Foi maravilhoso ver como todos os participantes, atores de playback experientes assim como iniciantes, encontraram uma nova forma de se colocarem presentes no palco. As histórias encenadas nas formas do playback se tornaram mais
maduras e obtiveram maior poder de expressividade. Foi muito emocionante ver que as sementes que eu plantei já estavam
germinando e crescendo.
Clarice: Para um grupo que tem trabalhado com teatro playback por apenas três anos, tivemos outros aprendizados essenciais: como melhorar as metáforas nas formas narrativas, a importância da objetividade na condução, liderar e ser liderado, respirar juntos, e claro, a beleza das novas formas: três solos, metro quadrado e coro.
COMPARTILHANDO
Paulien: Além do workshop eu também era uma convidada da Dionisos Teatro por uma semana. Foi muito especial ser parte
de uma família brasileira por uma semana e ter uma ideia do que é a vida de uma família brasileira.
Com os atores da Dionisos eu também compartilhei muitas histórias sobre a vida de uma companhia e a captação de recursos
no Brasil. Mas também tivemos tempo para pensar juntos sobre o público alvo em Joinville e no Brasil. Ou como explicar para as
―pessoas de negócios‖ sobre o valor do Teatro Playback? Ou como usar o twitter como uma ferramenta para uma companhia de
playback? Foi uma grande fonte de inspiração para mim compartilhar e discutir esses aspectos do Teatro Playback.
Clarice: Além das questões técnicas (que foram extremamente importantes para o grupo), o que foi realmente bonito foi o encontro. A Dionisos Teatro achou a Paulien, e agora ela será para sempre parte de nossas vidas, e parte de nosso conhecimento
sobre playback, assim como outras pessoas que já conhecemos. O grande aprendizado foi: como é maravilhoso depender de
outras pessoas para aprender!
Paulien: …Então, depois de uma semana, eu estava lá novamente, no aeroporto de Joinville... para ir para São Paulo... quando deixei minha bagagem no balcão do check-in, o homem atrás do balcão estava preocupado com as minhas lágrimas: “Está
tudo bem senhora?” Em meio às lagrimas eu respondi: “Sim, estou bem, mas é muito difícil dizer adeus e deixar a minha família
de playback brasileira, a Dionisos Teatro...”
*Paulien Haakma é uma experiente atriz e bailarina do teatro contemporâneo. Desde 2004 ela é praticante de playback. Ex-membro da Companhia de Playback de Amsterdã e da Companhia de Playback Wordt Vervolgd na Holanda. Desde janeiro de 2011 está trabalhando como
praticante e instrutora com pH5.5, uma rede de playbackers independentes na Holanda. Como instrutora, atriz e professora Paulien usa o
método da dança e do teatro como suporte para as pessoas compartilharem suas histórias e experiências, para construir comunidades de
entendimento.
* Clarice Steil Siewert é atriz e mestra em teatro pela Universidade do Estado de Santa Catarina. Trabalha na Dionisos Teatro desde 2000,
tendo participado de várias montagens teatrais da companhia. A Dionisos Teatro trabalha com teatro playback desde 2008, fazendo apresentações abertas ao público, em comunidades e empresas de Joinville.
Page 35
WHAT’S BEEN HAPPENING
JOINVILLE
BRAZIL
ONTMOETEN,
IN BEWEGING KOMEN,
VERBINDEN, DELEN
Een dubbelinterview: ontmoeten, in beweging brengen, verbinden en delen door
Terugspeeltheater tussen Amsterdam, Holland en Joinville, Brazilië, door Paulien
Haakma ( Nederland) en Clarice Steil Siewert ( Brazilië).
Paulien Haakma e Clarice Steil Siewert
ONTMOETEN
Paulien: Terugspeeltheater is voor mij de mooiste vorm van improvisatietheater. Eén van de belangrijkste effecten van Terugspeeltheater is mensen samen brengen om met elkaar verhalen en ervaringen te delen. Mensen samenbrengen betekende in
dit geval Braziliaanse Terugspelers vinden die geïntereseerd zouden kunnen z zijn om mij te ontmoeten en wellicht mee
samen te werken. Met hulp van Sheila Donio en Rea Dennis, die ik ontmoette op de IPTN Wereld Conferentie in São Paulo in
2007 en Veronica Needa, die ik leerde kennen tijdens de cursussen die ik volgde bij Playbackschool UK, kwam ik in contact
met Dionisos Teatro. Zij zijn een theatergroep in Joinville, Santa Catarina, Brazilië.
Clarice: Improvisatie is een onderdeel van Terugspeeltheater. Improvisatie en terugspelen geeft soms de indruk makkelijk, snel
en oppervlakkigte te zijn. Iedereen die begint met terugspelen ontdekt echter dat dit helemaal niet het geval is. Improvisatie
geeft ons verse en nieuwe ideeën, het is moeilijk en raakt diep. Dionisos Teatro begon met Terugspeeltheater in 2008 en vanaf
het begin ontdekten we dat we onszelf alleen verder konden ontwikkelen in Terugspeeltheater, wanneer we in contact kwamen
met andere mensen. Mensen uit het publiek, mensen op de speelvloer, muzikanten en mensen met meer ervaring. Onze ontmoeting met Paulien begon dan ook met improvisatie en de wens om te leren van andere mensen.
Via onze vrienden, ― Playback para Todos‖, een Braziliaans netwerk van Terugspelers, hoorden we dat Paulien Haakma, een
Nederlandse Terugspeelster naar Brazilië zou komen, eind 2010. Zij vertelden dat zij een zeer ervaren terugspeelster was en
interesse had om Braziliaanse Terugspeelgroepen te leren kennen. Dat was voor ons genoeg informatie om met haar contact
op te nemen en haar te vragen wat voor soort workshop zij ons kon komen geven en welke datum daarvoor geschikt kon zijn.
Een tijdje later, vlak voor haar aankomst, vroegen wij onszelf af :―Wie is zij? Wat weten wij eigenlijk van haar? Zij zal bij ons
thuis logeren en we kennen haar helemaal niet! Zou ze vegetariër zijn?‖
Paulien: .... December 2010, daar sta ik dan: aan de andere kant van de wereld: Luchthaven Joinville! Wat zal deze week brengen? Wat voor soort mensen zullen de acteurs zijn? Zal mijn Nederlandse aanpak wel aansluiten in Brazilië ?
IN BEWEGING KOMEN
Paulien: Als danseres en fysiek acteur heb ik gedurende de loop der jaren ontdekt dat beweging voor mij mijn taal is om op de
speelvloer vorm te geven, en zichtbaar te maken wat er nodig is. Het is mijn manier van ―kijken naar de wereld ― geworden,
en een manier van denken... Het leven is tenslotte één grote beweging, niet waar? Beweging is ook mijn instrument in een
Terugspeeltheater voorstelling. De zeggingskracht van beweging , vaak in een metaforische vorm, zorgt voor een directe verbinding met het publiek.... de ―kinesthetische‖ ervaring maakt dat publiek en spelers met elkaar contact kunnen maken en ontroerd kunnen raken.
Hoe kan ik deze ervaringen uit de afgelopen jaren samenbrengen en vertalen in een workshop?
De uitnodiging van Dionisos Teatro gaf mij de mogelijkheid mijn theater en dans achtergrond opnieuw onder de loep te nemen
en mijn liefde voor beweging en Terugspeeltheater te delen met deze Braziliaanse acteurs. Ik nam de acteurs mee naar ― het
archeologische niveau van beweging‖ en ontdekte met hen de beweging van Materiaal, Voorwerpen en Atmosferen. We begonnen beide dagen met onderzoekende oefeningen: nodig je lichaam uit om de bron van creativiteit in jezelf te exploreren. Probeer open te staan en nieuwsgierig te zijn naar de uitkomst.
Het resultaat was een groep gretige acteurs, die bekende vormen durfden los te laten om in het ― niet weten‖ te springen. Aan
het eind vonden ze zo hun eigen bewegingstaal en manier om zichzelf in beweging uit te drukken.
Clarice: ― Wees de zeepbel‖, ― Wees het rubber‖, ― Wees de olie‖. Dat waren de regels in de workshop‖ The Moving Moment of
Material, Things and Atmosphere in Playbacktheatre‖. We spraken over hoe we voorwerpen, die in verhalen voorkomen, konden vertalen naar de speelvloer. Het doel was niet om dit materiaal te laten zien, maar om het materiaal te zijn: hoe kunnen we
me tons lichaam dit materiaal worden. Dat geeft ons heel veel mogelijkheden op de speelvloer.
We spraken over ― presence ― in Terugspeeltheater; het is niet genoeg om je ziel en zaligheid in Terugspeeltheater te leggen
( hoewel we allemaal weten dat dat wel nodig is). We moeten aanwezig zijn met ons hele lijf, in het hier en nu, met kracht en
energie. En zo brachten we onszelf met dit bewustzijn van ons lichaam in het middelpunt van de ― magie‖ van Terugspeeltheater.
VERBINDEN
Paulien: In de middag werkten we in een Terugspeeltheater setting, om het onderzoek van de ochtend toe te passen in Terugspeeltheatervormen. Het was geweldig om te zien hoe alle deelnemers, ervaren spelers , als beginners, een nieuwe manier
vonden om zichzelf te presenteren op de speelvloer. De teruggespeelde verhalen kregen meer diepgang en wonnen aan ex-
pressiviteit. Het raakte mij enorm dat de zaadjes die ik geplant had, al zo snel ontkiemden en groeiden!
Page 36
Letter from Yu-Chen Kao, Jester Lee, & Jerry Chen in Taiwan
Dear Mesdames and Sirs,
Following the 2009 joint performances of the global playback
events, the Playback Theatre community in Taiwan has completed
the joint performances this year for helpers servicing in the disaster areas of the 88 floods. We also held two empowerment workshops for the local community in the disaster areas which was in
Pingtung for women volunteers in community and in Taitung for
youths and children in the permanent houses for the survivors.
Trying to use Playback Theatre as a methodology for spiritual
recovery and serving helpers after the disaster, we invited Pamela
Freeman to Taiwan to share her experience working on trauma
and local organization. Afterward, there were 15 performances
for the helpers serving in the disaster areas acting by 7 playback
groups and 2 united teams. The performances included a special performance for those who serving Playback in the disaster
areas.
The first phase of this project was supported by the Renewal Foundation in Taiwan. By finishing the first phase of the project,
we will soon share the exprience and learning from the work of the past year to the international Playback Theatre community.
WHAT’S BEEN HAPPENING
TAIWAN
CHINA
Sincerely yours,
Yu-Chen, Jester & Jerry
如果你想知道戲劇教育、一人一故事劇場和教育劇場的訊息和我的隨堂心得，
歡迎上我的部落格喔！http://tw.myblog.yahoo.com/lifestory-theatre/
From previous page
Clarice: Voor onze groep, die nog maar drie jaar met Terugspeeltheater werkt, leerden we nog meer essentiële zaken: Op
welke manier we metaforen konden inzetten in vertellende vormen, hoe belangrijk het is om objectief te zijn als conductor,
leiden en volgen op de speelvloer, samen ademhalen en natuurlijk de schooonheid van de nieuwe vormen: drie soli, vierkante meter en koor.
DELEN
Paulien: Behalve gastdocent was ik ook gast van Dionisos Teatro voor een week. Het was heel bijzonder om te mogen
logeren bij een Braziliaanse familie en een indruk te krijgen van het Braziliaans gezinsleven.
Met de acteurs van Dioniso Teatro hebben we ook ervaringen uitgewisseld over de organisatie van een Terugspeelgroep
en fondswerving in Brazilië. We discusieerden over inhoudelijk Terugspeel zaken als vormen, ―heart of the story ―en groepsprocessen. Maar we hadden ook tijd om samen na te denken over de doelgroep van Terugspeeltheater, het publiek in
Joinville en Brazilië. Hoe leg je bijvoorbeeld opdrachtgevers in de zakelijke dienstverlening uit wat de toegevoegde waarde van Terugspeeltheater kan zijn? Hoe kun je twitter gebruiken als instrument van een Terugspeeltheatergroep? Het gaf
veel inspiratie om ook deze aspecten van Terugspeeltheater te delen.
Clarice: Naast de spel-technische zaken ( die heel belangrijk zijn voor de groep) was de ontmoeting tussen ons heel bijzonder. Dionisos Teatro leerde Paulien kennen en zij zal vanaf nu niet alleen een dierbare terugspeel-collega zijn, maar
ook een deel zijn van ons leven, zoals met alle andere terrugspeel collega‘s die wij al ontmoetten. Onze grootste les is:
hoe prachtig het is om van andere mensen te leren!
Paulien: En dan, na een week... was ik daar weer op de Luchthaven van Joinville... om terug te gaan naar São Paulo...
Toen ik mijn bagage achterliet bij de incheckbalie was de man achter de balie bezorgd om mijn tranen: “Alles in orde, mevrouw?” “ Ja, alles ok, maar het is erg moeilijk om afscheid te nemen van mijn Braziliaanse Terugspeelfamilie, Dionisos
Teatro...”
Paulien Haakma is een ervaren danseres en actrice in eigentijds theater. Sinds 2004 speelt zij Terugspeeltheater. Zij is een voormalig lid van
Terugspeeltheatergroep Amsterdam en Terugspeeltheatergroep Wordt Vervolgd. Sinds januari 2011 is zij trainer en speler bij Terugspeeltheater Netwerk pH 5.5, een door haar opgericht netwerk van onafhankelijke Terugspelers in Nederland. Als trainer, actrice en docent gebruikt
Paulien Theater- en Dansmethodieken om mensen ervaringen en persoonlijke verhalen te laten delen, zodat zij zich in werk en leven verder
kunnen ontwikkelen.
*Clarice Steil Siewert is actrice en haalde haar Master Degree in Theater aan de Universiteit van Santa Catarina. Zij werkt met Dionisos Teatro sinds 2000 en speelde in verschillende toneelstukken. Dionisos Teatro speelt Terugspeeltheater sinds 2008 en verzorgt
open voorstellingen voor publiek, organisaties en zakelijke dienstverleners in Joinvile, Brazilië.
Page 37
German speakers celebrate: A Service for the "God-less"
Klaus Werner Stagier and his company "Resonanzbühne Köln" share their experiences from the German-Language Playback Theatre
Gathering in Cologne where they celebrated a “come together” one sunday morning.
Raising one foot slowly while breathing in and lowering it again while breathing out- can this be an element of worship? When, at
the end of an encounter with about 100 participants, a small number of them put on little paper hats (in form of a boat, from which
sprung the twin-towers of Cologne Cathedral), walk around like hostesses, tourist guides or communion administers handing out
carefully scrubbed pebbles collected at the river Rhine - can this be satisfying? The persons for whom we prepared our first service
for the “God-less”, are special people. We, too, are part of them, members of "Resonanzbühne Köln." The event, at Meister Eckehart Haus, Cologne was our first service for the God-less. The participants are playback actors: creative people, willing to show
themselves, to react spontaneously, keen on recognition and success. They have team spirit and—as playback’s founder Jonathan
Fox puts it—are ready for service; they are ready to create room where people can tell stories and where these stories might be
heard, absorbed and put on stage.
Once a year, the German–speaking European Playback groups meet for a weekend. This story is from the annual meeting that took
place in Cologne in 2009. The organizers invited us to contribute items. My idea was to offer a (church) service on Sunday, in the
morning.
Two members of our group, Hans and Ursula, were part of the organizing group and presented the idea on my behalf. They reported that the word “service” caused aversion and my idea was rejected. What name could we use to communicate the spirit of
our offer? Maybe it is better in English, for example: a service for God and men, or, a “Come together”. These suggestions were
also rejected.
It seemed as if nobody had any interest in our proposal. However we persisted with our idea, looking for a different headline. We
finally named it “Begegnung feiern” Celebrating
title: “Gottesdienst für Gott-lose” A service for God-less.
a come together. And for us there was and
God-less, in my eyes, is someone who has a hard time accepting God and the service for him the way it is offered by
the traditional churches. There is, for example, a great deal
of background knowledge about the language and the rituals needed to participate.
still is a sub-
WHAT’S BEEN HAPPENING
GERMANY
There were not more objections, Celebrating a come together was
accepting… but nobody showed any interest in our project either. It
was there, written down as an item on the program, but no one promoted our meeting on Sunday morning and after the long night of
party, we didn’t either. We were no longer sure. We did not know if
what we had created would happen. The big question was: who would turn up? Maybe the few of them for whom a Sunday has
remained a Sunday?
We took the challenge and started detailed preparations in our group. Which elements do you expect when going to a church service? What should happen to make you feel satisfied when leaving? What makes you want to come back and even invite people to
join you, because it is worth it? What creates your joy of living and willingness to increase your commitment grow?
This is where the problems began: that it is not about the questions; it is about God, about a church service, a service to please
God. We soon agreed, that it should be in God’s concern that the people who do his service enjoy doing it and benefit from it too.
In small task groups we discussed the single elements that matter in a church service respectively those we expect.
The results:
There should be time for reflection, to rest in haste of all day stress, to linger and listen for: Where am I, how do I do, which people
mean something to me? What is on my mind?
There should be a time for meeting, in different ways, unconventional ways.
A celebration also has a reason, there is cause for joy and gratefulness. What is it we are happy about and what makes us want to
celebrate? How do we show this?
Food and drink are part of a celebration, we need something to eat or to drink, something to really touch.
Yes, and Word of God, a story from the Bible. But there was no demand for that. No story, which is related to unpleasant church
memories. An additional chance for Gods presence? He comes anyway, in the time of reflection, in coming together, while eating
and drinking. What a pity, the Bible knows so many wonderful stories of meeting, but it seems these are not required.
Action is in demand, not only resting and reflecting; being able to do something, to act, to sing, sound and movement!
It is Sunday morning, the day of the Lord. The days before were deterGod-less is, from my point of view, somebody (as
mined by insecurity, questions, worries. Did we not forget anything? How
is it going to be? Do we come across?
Meister Eckehart puts it) who lets God be for
Who will come?
10 minutes before the start there are maybe about ten to fifteen people
sitting on some of the 100 chairs arranged along the walls to form a free
space in the center.
Page 38
God’s Sake, who is not able anymore and does not
want to live with human perceptions of God. One
who again and again lets go of concepts and pictures and who knows he is safely held and kept in
that we cannot name.
Slowly the room fills with people, some in small groups, some alone, they sit, some sit on the floor.
I welcome everybody and with just a few words invite everyone to dance. We start where the group finished the night before in the
disco . There are four subdivisions, in a rectangle two groups face each other, the space in the center remains free. African music
sounds, and everybody leaves himself to the rhythm. Through the ears the music drops into the body and calls for response especially from the heart, because there is its origin. Ta dam, ta dam, ta dam...
The instructions: go 8 steps towards each other, recognize your counterpart, with the eighth step express a sound, a gesture, send a
signal and then take eight steps backwards. First one pair of groups, then the other. “The group approaching me seems powerful, I
feel scared. Before I even have time to react, we draw back again, breathe - and with the next turn I realize, we are powerful, too, we
go straight, send sounds, perform signals, draw back and go forward again. Like a school of fish it seems to me. While one of the
groups comes forward the other one draws back again, the movement pulsates and wakes desire and life, aggression and tenderness”.
Everybody sits now and I welcome them, a few words, then: pause, reflect
about oneself, being attentive for a moment for what we usually do, enGod-less, in my eyes, are also the people who take
countering and thanking. Arriving (at last). A little exercise: Feel yourself,
the message of the incarnation of God seriously,
where and how you sit, your bottom on the chair, your breath after the
those who know themselves released to freedom.
dance, your pulse. A little dance sitting: moving the leg up while inhaling,
We come from him, but he has dissolved himself
putting it down while exhaling. Leaning back while inhaling, sitting up while
exhaling. Two to three minutes, everybody gets involved, only once there is
into mankind, like coloured powder in water.
some giggling, some loud words, nobody gets distracted by that. Silence. I
get the feeling it could continue like this, no need for anything more.
I invite them for another dance, an invitation to meet, to encounter. Two persons at a time stand next to each other in direction of
dance- towards the circle of the sun. An inner ellipse evolves and an outer one. The inner one changes the viewing direction 180°
rotation, everyone now has diagonally a counterpart. With the onset of the music the ones from the inner circle wriggle around those
from the outer part, who keep standing where they are. This gives each and everybody the opportunity to meet everyone else, to
exchange gestures. After the walkabout is completed once, those who walked and those who stood take turns.
That's the announcement, that's the plan. But what happens is something nobody could forecast: intensive reunion celebrations,
hugs, memories of the day before, palaver, stagnation. I stand there, wondering and forgetting for a second, that the movement was
supposed to be flowing. And then again everybody is ready to disengage and to move.
The dancing couples sit down next to each other on the chairs for some minutes of reflection and exchange. Which part of the weekend has touched me God-less is, from my point of view, somebody who
is not touched by the question about God at all,
in a special way? Which moments of the playback theatre filled me with
somebody who is busy with himself and the world,
thanks? After a couple of minutes there is a vivid exchange, which is comwith its needs and its richness, somebody who
pleted by an exercise in pairs. I give an example with my wife: We stand
opposite to each other, enough free space between one another, and I
works on a fair sharing of resources and on the
move my outstretched arm, with the hand pointing to my counterpart, from survival of the planet.
the top of the skull slowly downwards: head, neck, breast and pelvis , legs,
feet. I move my arm like a scanner sending its light through a sheet of paper. While doing this I say "YOU". The answer comes, with a
personal gesture "I".
"YOU" and "I" stand facing each other and repeat the exercise, now with changed roles. Because the couples now are familiar with
each other, everybody is willing to take part in this exercise and they are looking for a space in the room. A "YOU" arises, an "I", a
counterpart. The room vibrates from all the attention and loving care. Though there is a sound of many voices, silence is there too.
Finally now it is the moment to say “Thanks” and we do this, standing in a big ellipse. We led sound the vowel “A” (like in park) ,
walk to the center and raise arms or make a gesture downwards or to the person opposite. In the middle of the room develops a
mighty choir of thanking, a sound I create and that wraps me. "Almost a little too powerful, I need room, we draw back." And once
again. " I can participate better and find space for myself, just by sounding more powerful myself."
When at the end everyone has found a chair, members of our group bring in small baskets with pebbles from the river Rhine, one for
every participant. On their heads they have little paper boats, from which arise the towers of Cologne Cathedral like hostesses, tourist guides or communion administers. We collected the pebbles together and scrubbed them. They are given as a remembrance of
the river Rhine, the water and as a symbol for the continuous process of friction in playback groups, where groups and individuals
are formed as pebbles, too. Everybody takes a pebble and is satisfied.
God-less, in my eyes finally is he or she whose
And for dessert there is a labyrinth dance. Everybody takes hands and forms a
destiny it is, to struggle with God. Who has to
chain. Yvonne is at the head of the huge serpent and leads us right into the
encounter the one who has given himself as the
narrowness and back out into the wide, straight into the next item on the
great destiny into the personal life. Whether it
program of the morning.
suits or not- HE did not ask.
A service to the delight of the people and the hidden God, of
whom was not spoken. Do people need such forms of encounter? Are they necessary, meaningful?
We are working on this kind of encounter and want to create room and invite to services for “God-less”. For those who want to
come in contact and exchange with me, here is my website: www.klaus-werner-stangier.de
Klaus graduated from School of Playback Theater (IPTN) and runs "Resonanzbühne" Playback Theatre in the MEH. He has a passion for
liturgy having developed and written widely about Bibliodramaweiterbildung.
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Gottesdienst fuer Gottlose, Begegnung feiern
Klaus-Werner Stangier
Einen Fuß langsam mit dem Einatem anheben und mit dem Ausatem wieder absetzen – kann das ein Element eines Gottesdienstes
sein? Wenn am Ende einer Begegnung mit ca. 100 Menschen einige aus ihrer Mitte sich kleine Papierschiffchen, aus denen die
Türme des Kölner Doms ragen, aufsetzen und wie Hostessen, Nummerngirls oder Kommunionausteiler.innen umhergehen und am
Rhein gesammelte und sorgfältig geschrubbte Kieselsteine verteilen – kann das sättigen?
Bericht und Einladung stammen aus einem besonderen Interesse, sind Ausdruck der Suche und Wunsch, ein Projekt gemeinsam zu
entfalten. Entfalten, denn es gibt schon eine Knospe, kleine Wurzeln, einen ersten gelungenen Versuch, einen Gottesdienst für Gott
-lose in die Welt zu setzen. Davon gleich mehr. Zunächst möchte ich kurz skizzieren, wen ich zu den Gottlosen zähle.
Die Menschen für den wir den ersten Gottesdienst für Gott-lose vorbereitet haben, sind ein eigenes Völkchen. Wir, die play-back
Theatergruppe, Resonanzbühne Köln im Meister Eckehart Haus, gehören auch dazu. Die Teilnehmer.innen an unserem ersten
Gottesdienst für Gott-lose sind Playback Spieler.innen. Kreative Leute, bereit sich zu zeigen, spontan zu reagieren, auf Anerkennung
und Erfolg aus, die meisten Gruppen träumen davon, endlich auch finanziell potente Auftraggeber zu finden, sie besitzen Teamgeist
und sind auch bereit zum service, wie Jonathan Fox, der Gründer der Bewegung formuliert; geht es doch darum, einen Ort zu
schaffen, an dem Menschen ihre Geschichten erzählen können, und diese Geschichten werden gehört, aufgenommen, in ihrem
Wesen erfasst und auf der Bühne in Szene gesetzt.
Jährlich treffen sich die deutschsprachigen Gruppen Europas von Freitag bis Sonntag zu einem Jahrestreffen. Meine Idee: da bieten
wir am Sonntag morgens einen Gottesdienst an. Zwei aus der Gruppe, Hans und Ursula, haben sich im Vorbereitungsteam
engagiert und vertreten dort die Idee. Wie sie berichten, erregt schon das Wort Gottesdienst Aversionen und erst mal Ablehnung.
Wie können wir das Treffen nennen? Vielleicht klingt es besser englisch, etwa: ein service for god and men. Come together, ein
service for god and men.
Aber auch der Vorschlag kam nicht an, man ging schnell weiter zu anderen Tagesordnungspunkten. Es schien so, als habe niemand
ein Interesse an unserem Vorschlag. Wir blieben aber dran und suchten einen andern Titel. Begegnung feiern war schließlich der
neue Titel oder Feier der Begegnung. Für uns gab und gibt es noch einen Untertitel: ein Gottesdienst für Gott-lose.
Gott-los ist in meinen Augen, wer sich schwer tut, den Gott und den Dienst für ihn, wie ihn die traditionellen Kirchen
anbieten, anzunehmen und zu vollziehen. Man muss schon Abitur gemacht, besser noch studiert haben, um die historischen
Hintergründe zu kennen, die es z.B. erlauben zahlreiche Sprechweisen zu verstehen und mit vollziehen zu können.
Gegen eine Feier der Begegnung hatte nun niemand aus der Vorbereitungsgruppe etwas einzuwenden, niemand ließ aber auch ein
Interesse an unserem Projekt erkennen. Der Programmpunkt erschien im Programmheft, im Plenum warb niemand für das Treffen
am Sonntagmorgen nach der langen Nacht des Festes, wir auch nicht. So sicher waren wir uns unserer Sache nicht, wir wussten
nicht, ob das, was wir nun ausgebrütet hatten, auch ankommen würde. Die große Frage auch, wer denn überhaupt dort auftauchen
würde. Vielleicht die wenigen, für die der Sonntag noch ein Sonntag
ist? In unserer Gruppe begann ein Prozess der Vorbereitung. Welche
Elemente erwartest du, wenn du in einen Gottesdienst gehst? Was
sollte da möglich sein und geschehen, damit du zufrieden nach Hause
gehst und gerne wiederkommst; so gerne, dass du andere einlädst
WHAT’S BEEN HAPPENING
mitzukommen, weil es sich lohnt, so gerne, dass deine Lebensfreude
und Bereitschaft dich einzusetzen wachsen? Da beginnen schon die
Probleme: so kann man doch nicht fragen, es geht um Gott, um einen
Gottesdienst, einen Dienst, der Gott gefallen soll. Wir waren schnell
einig, dass es auch Gottes Interesse sein sollte, dass die Menschen, die
ihm dienen, das gerne tun und mit Gewinn auch für sich selbst.
In Kleingruppen fragten wir uns nach den einzelnen Elementen, die
einen Gottesdienst ausmachen, bzw die wir erwarten. Die Ergebnisse:
- Es sollte Zeit zur Besinnung geben, innehalten können im Tempo des
Alltages, verweilen, horchen: wo bin ich, wie geht es mir, welche Menschen spielen für mich eine Rolle? Was beschäftigt mich?
- Und Gelegenheit zur Begegnung sollte vorgesehen werden, verschiedene Formen, Zeit für Begegnung, unkonventionelle Formen.
- Eine Feier hat auch einen Anlass, es gibt einen Grund zu Dankbarkeit und Freude. Worüber sind wir froh und was macht uns
dankbar, so dass wir feiern können?
- Zu einer Feier gehören Speis und Trank, wir brauchen etwas zu essen oder zu trinken, was zum Anfassen.
- Ja, und Gottes Wort, eine Geschichte aus der Bibel. Aber die war nicht gefragt. Keine Geschichte, die an unliebsame kirchliche
Erinnerungen rührt. Eine andere Chance für Gottes Wirken? Er kommt sowieso, beim Innehalten, in der Begegnung, beim Essen
und Trinken. Schade, die Bibel kennt so viele und wunderbare Geschichten der Begegnung, aber die sind jetzt nicht gefragt.
- Aktion wird gewünscht, nicht nur innehalten und still horchen, etwas tun können, singen, tönen, Bewegung!
GERMANY
Gott-los ist in meinen Augen, wer Gott um Gottes willen gelassen hat, wer nicht mehr mit menschlichen
Vorstellungen von Gott leben kann und möchte, wer immer wieder Bilder und Konstrukte los lässt und sich
aufgehoben und geborgen weiß im Namenlosen.
Es ist Sonntagmorgen, der Tag, den Gott gemacht hat. Die Tage vorher waren geprägt durch Unsicherheit, Fragen, Sorgen. Haben
Page 40
wir nichts vergessen, wie wird es werden, kommen wir an, wer wird kommen? 10 Minuten vor Beginn sitzen vielleicht 10 bis 15
Personen auf den ca. 100 Stühlen, die an den Wänden entlang aufgestellt sind und in der Mitte Platz lassen, ein großer rechteckiger
Raum, mehr lang als breit. Langsam kommen sie, in kleinen Gruppen, einzeln, die Stühle füllen sich, einige sitzen am Boden.
Ich begrüße alle und lade, ohne große Worte voraus, zu einem Tanz ein. Wir machen da weiter, wo die Gruppe gestern in der Disko
aufgehört hat. Vier Untergruppen bilden sich, jeweils zwei Gruppen stehen sich gegenüber, der Raum in der Mitte ist frei. Aus den
Lautsprechern klingt afrikanische Musik, alle überlassen sich am Ort dem Rhythmus. Über die Ohren tropft er in den Leib und sucht
die Resonanz vor allem im Herzen, denn da ist sein Zuhause. Ta dam, ta dam, ta dam ... Die Anleitung: geht 8 Schritte aufeinander zu,
nehmt euer Gegenüber wahr und lasst beim 8. Schritt einen Klang und eine Körpergebärde entstehen, sendet euch ein Signal und
geht wieder 8 Schritte zurück. Erst das eine Gruppenpaar, dann das andere. „Mächtig erscheint die Gruppe, die mir da entgegen
kommt, ängstlich wird mir zu Mute. Schon weichen wir wieder zurück, aufatmen und beim nächsten Mal begreifen, ich, wir sind auch
wer, wir gehen nach vorne, schicken unseren Laut, eine kraftvolle Gebärde und wieder zurück und wieder nach vorne, wir wie ein
Schwarm von Fischen. Während unsere beiden Gruppen nach vorne gehen, weichen die andern schon zurück, wir wieder nach vorne,
die Bewegung pulsiert und weckt Lust und Leben, Aggression und auch Zärtlichkeit.“
Gott-los sind in meinen Augen auch die Menschen, die die Nachricht von der Menschwerdung Gottes ernst
nehmen, die sich in die Freiheit entlassen wissen, dass wir zwar von Gott herkommen, er sich aber in uns Menschen
aufgelöst hat, wie ein Farbpulver im Wasser.
Als alle sitzen, sage ich einige wenige Sätze zur Begrüßung, ein paar Worte: innehalten, sich besinnen, mal aufmerksam tun, was wir
oft tun, uns begegnen und danken. Ankommen. Eine kleine Übung: Spür dich, wo du sitzt, dein Gesäß auf dem Stuhl, deinen Atem
nach dem Tanz, deinen Puls. Ein kleiner Tanz im Sitzen: verbunden mit dem Einatem das Bein ein wenig anheben, mit dem Ausatem
absetzen. Den Oberkörper mit dem Einatem zur Stuhllehne hin zurücklehnen, mit dem Ausatem in die Senkrechte gehen. Zwei, drei
Minuten, alle lassen sich ein, nur an einer Stelle ein Kichern, ein paar laute Worte, niemand lässt sich ablenken. Stille. Ich habe den
Eindruck, das könnte jetzt so weiter gehen, mehr braucht es nicht, so ist es gut.
Ich lade dann doch zu einem weiteren Tanz ein. Jeweils zwei Personen stellen sich nebeneinander in Tanzrichtung – dem Lauf der
Sonne entgegen. Eine innere Elipse entsteht und eine äußere. Die innere Elipse ändert die Blickrichtung um 180 Grad, jede und jeder
hat dadurch diagonal ein Gegenüber. Mit dem Einsetzen der Musik schlängeln sich die innen Stehenden um die außen Stehenden, die
am Platz bleiben. So kommt jede.r bei jeder.m vorbei, eine Gelegenheit sich anzuschauen und eine Gebärde auszutauschen. Ist der
Rundgang einmal vollzogen, bleiben die, die gegangen sind stehen und die andern bewegen sich.
So die Ansage, so der Plan. Was da aber dann entsteht, hat niemand voraus gesehen, es gibt intensive Wiedersehensfeiern,
Umarmungen, Erinnerung an den gestrigen Abend, Pallaver, Stockung. Ich stehe da und staune und vergesse für einen Moment, dass
die Bewegung doch fließen sollte. Und dann sind auch alle bereit sich zu lösen und weiterzugehen.
Gott-los ist in meinen Augen, wen die Gottesfrage gar nicht berührt, wer beschäftigt ist mit sich und der Welt, mit ihren
Nöten und ihrer Fülle, wer für eine gerechte Verteilung der Güter und das Überleben unseres Planeten arbeitet.
Die Tanzpaare von der Aufstellung nehmen nebeneinander Platz auf den Stühlen, Zeit für eine Besinnung und dann auch einen
Austausch: Welche Begegnung an diesem Wochenende hat mich besonders berührt? Welche Momente im playback Theater machen
mich dankbar? Nach einigen stillen Minuten kommt es zu einem regen Austausch, der abgeschlossen wird durch eine Übung zu zweit.
Ich zeige sie mit meiner Frau. Wir stehen uns dabei gegenüber, haben genügend Zwischenraum und ich bewege meinen
ausgestreckten Arm, dessen Hand zu meinem Gegenüber zeigt, vom Schädeldach langsam abwärts, Kopf, Hals, Brust- und
Bauchraum, Beine und Füße zeigend langsam nach unten, wie ein Scanner, der sein Licht durch das Papier gehen lässt. Dabei sage ich
DU. Als Antwort kommt, mit einer persönlichen Gebärde verbunden, das Wort ICH. ICH und DU stehen sich gegenüber und
wiederholen die Übung, jetzt mit umgekehrten Rollen.
Alle suchen zu zweit, nach dem Gespräch miteinander vertraut, einen Platz und lassen sich auf die Übung ein. Ein DU entsteht, ein
ICH, ein Gegenüber.Spätestens jetzt geht es darum zu danken, und wir tun das, indem alle, in einer großen Ellipse stehen, den Vokal a
tönend in die Mitte gehen und dabei die Hände nach oben richten oder nach unten oder auf das Gegenüber hin. In der Mitte des
Raumes entsteht ein mächtiger Chor der Danksagung, ein Klang, den ich erzeuge und der mich einhüllt. „Fast ein bisschen zu mächtig,
ich brauche Platz.“ Und noch einmal. „Da kann ich mich schon besser reingeben und mir Platz schaffen, indem ich kräftig töne.“
Als alle sich anschließend an ihren Plätzen niedergelassen haben, kommen die Mitglieder unserer Gruppe und bringen in kleinen
Körben Kieselsteine aus dem Rhein, für jede.n einen. Auf dem Kopf kleine Papierschiffchen, aus denen die Türme des Kölner Doms
ragen, Hostessen, Nummergirls, Kommunionausteiler.innen. Wir haben die Steine zusammen gesammelt und geschrubbt. Sie werden
gegeben als Erinnerung an den Rhein, das Wasser, und als Sinnbild für den Reibungsprozess in den Playbackgruppen, wo durch den
Prozess der ständigen Reibung sich die Gruppe und die Einzelnen wie die Steine auch formen. Alle nehmen und werden satt.
Gott-los ist in meinen Augen schließlich, wessen Los es ist, sich mit Gott herum zu schlagen. Wer eine Form sucht, immer
wieder neue Weisen, dem zu begegnen, der sich als das große Los in das persönliche Leben ungefragt hinein gegeben hat. Ob es
passt oder nicht, spielt da keine Rolle, Gott ist das Los.
Und zum Nachtisch gibt es dann noch einen Labyrinthtanz, alle fassen sich bei der Hand und folgen als große Schlange den
Windungen, die Yvonne anregt, hinein in die Enge und wieder hinaus in die Weite, hinaus dann auch in die nächsten
Programmpunkte des Vormittags. Ein Gottesdienst den Menschen und dem verborgenen Gott, von dem keine Rede
war, zur Freude. Brauchen Menschen solche Formen der Begegnung. Sind sie not-wendig, sinn-voll? Wer darüber
mit mir in Kontakt treten möchte, meine website www.klaus-werner-stangier.de Wir arbeiten an dieser Form und möchten Räume
schaffen und einladen zu Gottesdiensten für Gott-lose.
Page 41
Dreaming: Sharing Playback, Lessons from Israel
Anne and Christopher Ellinger on traveling in Israel and sharing their playback skills
Playback Theatre has grown impressively in Israel. Twenty years ago, there were two Playback companies in Israel and somewhere between 40-60 Playback groups all within a five-hour drive. The two of us wanted to learn from Israel as we work on growing
Playback in our region, North America. So we decided to escape the interminable Boston winter and take an ―Playback vacation‖ in
Israel. Over three weeks we rehearsed with seven companies, enjoyed a public a performance, co-led Playback workshops for two
groups of Arab-Israeli actors, and had lingering conversations with many Playback leaders over fabulous humus and Turkish coffee. Everyone seemed delighted to welcome us as far-flung members of the same expressive family, and hungrily exchanged artistic and company-development ideas. Although we just scratched the surface it gave us some useful ideas about spreading Playback in a region. Here are lessons we took:
Support teachers
A few teachers started years ago, including Aviva Apel, along with the Israeli
PBT School affiliated with the Center. New troupes were initiated by their
students… and now at least twenty teachers offer Playback classes (each in
their own style) in addition to leading their own performing companies. Often
students study for a year before beginning to perform and for several years
before starting their own troupes – but some have started their own companies more quickly. Another source of Playback teachers are drama therapists. Sometimes experienced teachers have had formal, paid mentoring
relationships with newer teachers. This plethora of teachers seems the
strongest factor in enabling Playback to bloom.
WHAT’S BEEN HAPPENING
ISRAEL
Connect across troupes
Since 2005, conductors across Tel Aviv and beyond have been meeting every six weeks in a Forum to exchange artistic ideas and
explore collaborations. Most meetings have representatives from about 20 troupes. Running a Playback company presents so
many challenges, we imagine that the support and friendships developed through the Forum have been helped some leaders keep
going. Because Israel deals with so many companies in such a small geographic area, the Forum is also a place to discuss the
realities of business competition between troupes.
Reach the public
In 2007, members of the Conductors‘ Forum started to produce an annual conference (open to the public with workshops about
Playback) and a festival (now grown to public Playback performances for 3 days and nights with 16 companies). These have attracted students to the Playback classes and put Playback ―on the map‖ of the theatre-going community.
Expect troupe offshoots
Several Israeli companies have had members leave and start their own troupes. Sometimes this has been a friendly process; other
times very stressful. Usually people start their own companies so they can follow their own artistic or social vision (different from
the leaders) and can have greater control and autonomy. From hearing these experiences, we take that it might help to expect
offshoots. Perhaps then the process can be thoughtfully managed so the people involved can maintain positive relationships.
Accept style differences
In Israel we saw that troupes had different priorities. Some most valued artistic excellence, others therapeutic value, others societal
impact (such as building bridges between Jews and Arabs), and some simply having fun. Even within common priorities, each
troupe was shaped by the particular strengths, vision and quirks of its leaders. As Playback proliferates in a region, it helps if members can welcome the variety within the form.
Build on cultural strengths
When we asked, ―What helped Playback spread here?‖ our Israeli Playback friends were quick to name supportive aspects of the
Israeli culture: the long history of oral story-telling; the way most people are spontaneous and expressive; the need to release tension from living in a place of conflict. ―Of course people strike out and start their own troupes!‖ Some said risk-taking is part of a
cultural norm, partly coming from compulsory military service, We were stimulated to think about what cultural traits (as U.S. citizens) we can build on that are supportive to Playback. Perhaps the intense individualism of the United States makes people hungry for more sense of community; TV talk shows and reality shows have normalized the public sharing of personal stories; perhaps
the spread of comedy improv into the culture might create receptivity for Playback.
We dream of the day when active Playback groups could be widespread and well-known. What do you think helps Playback spread? Do you
have any stories of spreading Playback to tell?
SEE ANNE (far left, photo left) and
CHRISTOPHER (far right, photo right)
working with the Arab Israeli actors in
Jaffa.
Anne and Christopher have been doing playback
for over 20 years. For more on their story see
“Celebrating 30 years” on page 18.
Page 42
UK PLAYBACK GATHERING 2010
Brian Tasker and Bernie Hammond report from Noddfa, Penmaenmawr, North Wales on the UK gathering from October 2010
The wonderful nuns of Noddfa, Brian Tasker and Ecco Playback Theatre Liverpool welcomed 40 participants from around
the UK at the end of October last year to the cosy house set in the Welsh village of Penmaenmawr between the mountains
and the sea.
Arrivals started on a starry and crisp Wednesday night and carried on through rain and shine over the next day or so. Two
brave souls from Bristol took up the challenge of climbing Snowdon on Thursday morning – which we heard all about in
Saturday night‘s performance! We gathered on Thursday afternoon in the village hall, a 10 minute walk down the hill, using
a combination of Biodanza courtesy of Brian and Sociometry from Ecco to warm up to being together. We came from beyond the four corners of the UK, with approximately 13 different companies represented and individuals from as far apart
as the Shetland Isles, France, Latvia, Colombia, Hong Kong, Australia and New Zealand. We got straight into Playback on
Thursday evening after a break for a home cooked dinner. As a very new company Ecco were delighted to have the opportunity to hear and share stories from Playback friends of their beginnings in Playback, and also some rather colourful images from travels around the world which often involved bodily functions! We were received very appreciatively and
learned a lot from the performance.
A warm up together in the village hall on Friday morning
was the start of a rich and varied palette of workshops over
two days. We covered Conducting, Warming up, Playing
the Fool, Exploring the relationship between Action therapies and playback, Forms, Creating spaces for listening,
Stories around sexual orientation, Addictions, Image and
Metaphor, Sculpture, Reviewing Ritual and Teaching Playback. The workshop leaders came from as far north as
Argyll & Bute and as far south as Cornwall and represented at least 7 different playback companies and many,
many years of experience in Playback and other fields
such as Dramatherapy, Theatre, Dance movement Psychotherapy, Sculpture and Organisational Training. On
Friday night another new company, Watch This Space,
from Burnley, performed with great enthusiasm and energy
– some interesting questions were prompted by the choice they made not to cast a teller‘s actor in story and the debate
continued in and out of workshops for the rest of the weekend.
On Saturday evening we moved to a different community centre slightly further up the road, as the Police had already
booked the hall for their Disco. Actually this offered a more inviting space for performance, with a lovely wooden floor and
Veronica conducted a company made up of members from Ecco, Watch this Space, Manchester and Spirit Level. Several
of the sisters from Noddfa joined us and one shared a story of her return to the house after many years. There was lots of
singing on Saturday evening, which had been a bit lacking in the elsewhere in the weekend.
On Sunday morning we gathered together one last time to share our experiences of the past few days and in small groups
created presentations to show each other: highs, lows, smiles, tears, communicating and feeling not listened to all got an
airing. Then we closed, as we started, to Biodanza rhythms, taking our leave of each other in a ritual before eating another splendid lunch together and making our way home.
WHAT’S BEEN HAPPENING
NORTH WALES
UK
Next Issue
*
MORE on 21 years of IPTN
*
REPORTS FROM THE 10th INTERNATIONAL CONFERENCE IN FRANFURT
*
Submission Deadline: 25 September 2011, (conference subs accepted up until 5 Dec)
Page 43
BOOK REVIEW
APPLIED THEATRE:
INTERNATIONAL CASE STUDIES AND CHALLENGES FOR PRACTICE
Monica Prendergast & Juliana Saxton
INTELLECT
2009
Paperback 176 pages
ISBN 9781841502816
19.95GBP $US35.00
In a similar approach to the 2007 book by Tim Prenkti and Sheila Preston, The Applied Theatre Reader
(Routledge) which features Jonathan‘s essay about Playback in Burundi, Applied Theatre: International
Case Studies and Challenges for Practice is a collection of case studies from internationally renowned
practitioners with broad experiences of applying theatre in a range of context. What makes this book different however it the way in which it trawls back through the works of the past 20 years to recover key articles and reports from a range of sources. In this way it acts as part genealogy, part history of applied theatre since the term was first coined in the 1990s.
Monica Prendergast and Juliana Saxton have long reputations in the fields of drama education and have
sourced case studies across five continents and 15 countries. In many ways, this text offers practitioners
(and students) a kind of rich introductory tapestry for those interested in understanding the field. The book
is highly relevant for playback practitioners and companies. Divided into key themes, many in which playback has historically been applied including: theatre in educational settings, prisons, community performance, conflict resolution and reconciliation, interventions and development, it answers basic questions
about what is applied theatre and how it works in an organized and manageable way. At the same time it
gives essential insights into the wide range of activities that are often associated with applied theatre and
invites critical interrogation of issues.
The book acts as a comprehensive global survey and adopts a systematic analysis of the cutting edges of
contemporary practices, acknowledging the multi-disciplinary nature of the subject, and giving excellent
signposts for those wishing to discuss, critique or justify playback theatre in more general theatre terms.
What makes it particularly relevant for company development is the useful structure it provides offering:
Suggested Reading, Questions for Discussion and Suggested Activities which groups can use to foster a
learning community approach or even in a kind of book-club approach.
Prendergast and Saxton were awarded the American Alliance for Theatre and Education (AATE) Distinguished
Book of the Year award for the volume. The award is usually given each year to that book that best furthers scholarship and enhances theatre practice and studies.
Reviewed by The Editor
Page 44
FROM THE BOARD
IPTN IS SEEKING BOARD MEMBERS FOR 2011-2015
For the first time, the International Playback Theatre Network (IPTN) is seeking new Board members with a public call. We are
seeking playbackers to serve for a four-year term, with the possibility to continue four more years (through 2019).
The IPTN is a worldwide network supporting all people interested in Playback Theatre. The board is responsible for membership
services, the website, Interplay magazine, choosing hosts for international conferences, etc. The Board officers are president, vice
president, secretary, treasurer, membership coordinator, conference liaison, and Interplay liaison. We also have temporary committees for projects or other special purposes.
A Board member must be an IPTN practitioner member. She or he will be expected to keep in contact and communicate with the
IPTN community in his or her region and nearby regions, promote IPTN, and support playbackers and playback companies in the
area. The Board meets face-to-face every two years, and online six times a year. Board membership is an unpaid (volunteer) position.
If you have questions about Board service, please contact President, Aviva Apel Rosenthal, vice president Yasushi Sakurai or
Board members Aniko Kaposvari or Jari Aho.
If you are interested, please read the IPTN website http://www.playbacknet.org and send an email to tell us about yourself and answer following questions:
how playback theatre fits in your life
what kind of connections you have to the playback theatre community in your country or region, or internationally?
how are your English and IT communication skills?
what skills or experience you have which may be relevant?
how you see IPTN and its role?
what would be your goals in serving on the IPTN Board?
are you able to travel to IPTN Board meetings, including the IPTN Frankfurt conference Nov 2011?
You are encouraged to attach one or more recommendation letters to your email. The Board hopes to reach a decision on
new members by the end of August 2011. We hope that new Board members can join the Board meeting in Frankfurt. In
addition to this open call, the Board retains the right to nominate new Board members by personal call
(experience, special skills, regional representation, etc.)
MEMBERSHIP SECRETARY (UK)
Introducing the new membership secretary for IPTN in the UK.
BRIAN TASKER has recently taken over from Veronica Needa as IPTN Membership Secretary for the UK and enquiries should be directed to briantasker@hotmail.com
Brian graduated from the School of Playback Theatre in 2008 and in addition to his day job
as a counsellor in an addictions treatment centre, works independently as a nomadic Playback Theatre practitioner under the name Makeshift Theatre. He has recently been teaching
Playback Theatre in Sri Lanka. You can read about it on his website:
www.makeshifttheatre.co.uk
Interplay is the membership publication of the International Playback Theatre Network. Conceived in
1990 during the fledgling year if IPTN, it was launched
in November of that year under editor Jonathan Fox
with regional editors in Australia, New Zealand, Europe
and North America. Interplay has been instrumental in
keeping the ever expanding, diverse playback theatre community connected and has provided essential
space for critical and evaluative thinking that has influenced the development of the form and the
spread of the method to over 40 countries worldwide.
Part journal part newsletter, Interplay is published
twice per year and features articles, practice reports,
upcoming events, and membership news. Interplay
invites submissions, for submission details contact the
Editor.
Rea Dennis readennis@me.com
INTERPLAY
Published: 2 times a year
By: International Playback Theatre Network.
Editor: Rea Dennis
Additional Design: Magda Miranda
Distribution: Scripti Artes e Desenvolvimento
For submission details readennis@me.com
Regular Deadlines for Submissions 25 Mar, 25 Sept
Page 45
Coming up
STOP PRESS
A RITUAL FOR THE COMMON GOOD
30 Nov—4 Dec, Italy
The Italian Playback community are organising an International PT
Festival to take place immediately after the IPTN World conference in
Frankfurt. The intention is to create an opportunity for the many people who have not been able to attend the 2011 International Playback
Theatre Conference in Frankfurt to have an international exchange,
but in Italy instead. The post-conference event promises an environment to
exchange perspectives & practice in Playback Theatre in community work on
the theme of our common good. Concepts like otherness, creativity and
globality will provide the lead in reflections on the role of playback theatre for
humanity‘s future and for generating new vision with this method. Playback
practitioners and leaders from our international community will conduct
workshops and training: Hannah Fox USA; Matteo Undici (USA); Kimberley
Rattley (USA); Aviva Rosenthal (Israel); Jaap Oostra (Netherlands); Josephine
Lin (Taiwan); Eddie Yu (Hong Kong).
Location: L'Hotel Della Torre is in Trevi - a lovely medieval town in beautiful Umbria www.centrohotelunbria.com
Cost (inclides full board): Regular € 350 (by 15/9), Regular € 400 (after 15/9)
Contact: Giacomo Volpengo 340 9648737 - torino@playback-theatre.it
Announcing: Playback North America network and festival
We wanted to let our Playback friends around the world know that a Playback North America (PNA) network has launched. All
are invited to the public Festival this June in Boston. Those of you organizing Playback in other regions are invited to be in conversation—we’d be very interested in learning from what you’ve done.
PNA’s purpose: is to enable Playback Theatre in North America to realize more of its potential
Objectives are to:

promote mutual learning, support and collaboration among all who love Playback in North America

increase the public visibility of Playback here and help it spread

support the leadership of troupes

help Playback companies increase their financial well-being

learn about and strengthen our social impact
Where we’ve come so far
Getting started: A couple of us in Boston’s True Story Theater, also work part-time at an NGO called ArtsRising, and got support for a 2+ year initiative to support Playback Theatre in the region.
Creating a Map: In January 2010 we started hunting for what companies were active in North America. We were excited to
discover 73 active companies—many more than we had heard of.
Needs Assessment: We spoke to someone from each of the 73 companies as well as a few inactive companies, asking people
about their experience, needs and dreams. We compiled the results and held 5 teleconferences to share the results with
those interviewed.
Leadership Gatherings: Last fall we held two gatherings, with about 40 attendees each, to explore together the idea of forming
a North American network and possible action groups.
Technology: We created a simple public website and explored technology for sharing among members.
Membership: We spoke with IPTN about creating a bundled membership for the region and IPTN together and in January 2011
we launched a paid annual membership. Current 132 members have joined from 53 companies, as well as other
individuals interested in Playback.
Social Networking: In February we set up an online social networking site where Playback North America members will be
able to post personal profiles, hold dialogues, and form action groups.
Festival: A public festival for all interested in Playback in North America will take place June 16-19, 2011 in Boston. We will
have at least six companies performing, lots of workshops during the days, plus peer coaching sessions, interview teams
to gather wisdom, and buddy groups.
Christopher Ellinger and Amber Espar
PlaybackNorthAmerica.net
Page 46
Coming up
CALL FOR EXPRESSIONS OF INTEREST…..
LONDON OLYMPICS 2012
Would you like to come to the London Olympics in 2012
AND perform Playback Theatre with your group?
True Heart Theatre (http://www.trueheart.org.uk) has been in discussion with a bijoux small-scale theatre space The New Diorama Theatre (http://www.newdiorama.com/) to host A PLAYBACK THEATRE FESTIVAL for one week during the period of the
Olympics. This notice is just to let you know this is in development and we would like to hear from any of you who might be
interested in being part of this event. At this stage we can only offer the space and a portion of the income from the box office
for your performance. So you would need to seek additional funding for your travel and accommodation, or make this part of
your summer holidays!
The theatre seats up to 80 people. There are also opportunities for displays of artwork in the open spaces and walls. There is a
small café/bar area or outdoor garden area for a little reception if your embassy would be interested in supporting this event! I
imagine that you would perform in your own language – and in English to enable multicultural encounter - and we would support you in advertising and bringing in as many people from your language group who are living in London. Let’s talk if this idea
tickles your fancy.
CONTACT: VERONICA NEEDA (in London)
vneeda@gmail.com Tel: +44 207 221 2694
The image above is A computer-generated image of the 2012 Olympic stadium.
Photograph: EPA The Guardian 27 May 2008 In 2012, London will host the Olympic Games 27 July - 12 August, and the Paralympic Games 29 August - 9 September. As well as the focus on sports, London is planning to present itself through the Arts to the
many visitors coming here during that period.
Lives and history: a comprehensive course on biographies and society
Palácio da Lousã
5 days, 18-22
July 2011 In English and Spanish
CES Research Group on Humanities, Migrations and Peace Studies
Encounter seminal anthropological constructs in an experiential approach to the study of human experiences. Unlike
the scientific model of statistical representativeness, the historic and hermeneutic analysis of “biographical objects”,
such as life histories, autobiographies, diaries, correspondence, memoirs, biographical narratives, personal testimonies, does not aim at describing general patterns and achieving “saturation”, but rather at uncovering and recognizing
the concrete lived experiences of social subjects in context. These subjects are deeply rooted in broader historical, sociological, political fabric that transcends their personal lives. At the same time, personal testimonies are shaped by the
specific relationships brought about by concrete fieldwork contexts in different disciplines and settings. Explore two
major epistemological and methodological issues: biographical objects as subjects of interaction (of dialogue, confrontation, conflict, negotiation, in silence, words or acts) and; interactions in the field of biographical research are
permeated by power relations that need to be analyzed in the horizon of its specific frameworks and settings.
Featuring Spanish physician Carlos Martín in an introduction to those seeking to respond to the complex
social, political, cultural, and linguistic diversity within any humanitarian crisis; Daniel Feldhendler, French
professor working in Germany for more than 30 years (Goethe University-Frankfurt) sharing his work on
Playback Theater (theater-récit and theater for social change) and enabling participants to learn and experience the potentialities of such tool for social interactions and dialogues; and oral historial Luisa Passerini
who will conduct a methodological reflection on the question of oral history and autobiographical memory.
Applications should be sent to livesandhistory@ces.uc.pt with a short curriculum vitae and a motivation letter.
Page 47
Dear friends and colleagues,
With great appreciation for your support, I am writing to say farewell in my
role as Executive Director of the Centre for Playback Theatre. As the
board of directors communicated in an e-mail on January 26, they decided
in close consultation with me to discontinue the ED position, based on the
LETTER FROM
organization's lack of funds to sustain its current structure.
SARAH URECH
Making such a decision has not been easy but is necessary to open up new
possibilities for the next phase. Even as I am in full agreement, I regret
that I will not be able to carry forward the original intention of growing the organization. I continue to
believe that now more than ever the world needs playback theatre.
Thank you for your support of the Centre during my tenure—your words of encouragement, offers to
help, feedback and requests, and generous financial contributions. One great way to keep supporting the
Centre is to spread the word about trainings to people in your region.
I am pleased Heidi Reagan and Kurt Rummel will continue as Centre staff. I have immensely enjoyed
working with them and am impressed by their contributions of professional skill, upbeat energy, as well
as their keen sensibility for the value of the Centre’s mission.
I would like to say a special thank you to the board for your deep commitment to the Centre and its mission. It has been a pleasure and privilege to work with you all, and I’m glad to remain on the faculty and
stay connected. Thanks for stepping in to carry the organization forward in this next phase. My good
wishes are with you.
As for me, the next chapter of my story is just beginning… with a job search. Meanwhile, I look forward
to continued involvement in playback and lots of future connections. Hoping to see many of you at the
IPTN conference in Frankfurt in November.
Auf Wiedersehen
Arrivederci
Au revoir
Hasta la próxima vez
Uf Wiederluege mitenand
до свидания
Till next we meet,
Sarah
sarahurech@hotmail.com
During this period Sarah resigned from the IPTN Board to avoid
any conflict of interest. IPTN Board and membership wish to acknowledge Sarah‘s long and sustained commitment during her
period of the Board and also in other roles over the last 21 YEARS
including her Assistant Editor Role on Interplay during the period
in which Jonathan Fox was editor, and again more recently as
Board Liaison supporting Rea Dennis as Editor.
THANK
YOU
Sarah
10th INTERNATIONAL Playback-Theater– CONFERENCE
sozialer Dialog in einer Welt des Umbruchs
Playback Theatre - a social dialogue in a world in upheaval
Each morning there will be home groups led by international trainers. On three afternoons - Thursday, Friday and Saturday - there is a
three-hour time slot set aside for Playback Theatre workshops, presentation of your projects, and small Playback Theatre performances.
Page 48