will take place september 23rd - 27th in Jonava, Lithuania
Organisation for understanding and education through theatre
Regional Centre of the International Amateur Theatre Association (aita/iata)
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North European Amateur Theatre Alliance
Organisation for understanding and education through theatre Regional Centre of the International Amateur Theatre Association (aita/iata) |
BLANK FESTIVAL
in Copenhagen, 5 – 7 October 2001
A blank festival. A festival that started from scratch – or, more precisely, from one of many ideas fostered by the Nordic Baltic Conference “Amateur Theatre on the Grassroots Level”, held in Slagelse, Denmark, September 1999. The idea was for 3 theatre groups from as many countries to link up, each of them to find and produce an original new play in their respective languages. The productions were to be presented at a mini-festival and then, by rotation, the plays would be translated (twice) and performed at two more mini-festivals. At the Conference two groups – from Copenhagen, Denmark, and Limbazi, Latvia – agreed to initiate a pilot project, and were later joined by a third group from Uusikaupunki, Finland.
Danish group Teaterkatten hosted the first mini-festival in Copenhagen, 5 - 7 October. The blank festival had been filled in – and the result exceeded even our most sanguine expectations. I am tempted to characterize it “a small miracle”, both in terms of inspirational value and artistic achievement.
The plays presented were: “The Women of Kaliensk” by Kaj Nissen (Denmark), ȁThe Plate of Somalian Blood” by Elina Kilkku (Finland) and “Iron Weed” by Inga Abele (Latvia). The plays were entirely different, both in style and contents. And yet, perhaps strangely, they struck a common chord that brought them right to the forefront of current events. Social and political values collapsed and what remained was the question, “Where was my mistake, where did I go wrong?” (quote from the Latvian play).
The artistic flair of the productions was impressive, so was the quality of the play scripts that were here performed for the first time. Three playwrights with very different profiles. Kaj Nissen is firmly established in Denmark, Elina Kiljju is an upcoming Finnish playwright (the play was commissioned by the group) and Latvian Inga Abele wrote “Iron Weed” as her diploma work at the Academy of Dramatists in Riga.
“The Women of Kaliensk” is about 7 women waiting for their husbands to return from the war. They have been exposed to degradation and suffering – and promise each other that this story must never repeat itself. Whatever the price! Kaliensk is a place very close to hell.Lisa Hasselby has directed the play with great care and a sense of compassion. In this production the focus is on the psychological implications that motivate each of the seven women – and their returning husbands.
“The Plate of Somalian Blood” is a cleverly constructed fictitious story about the rise of right wing politics and racism (in Finland). Fictitious? The inherent threat was all too clear and uncomfortably close to reality. The plot works on several levels – actors playing actors that enact the story. Director Jukka Tyrvälnen, working here with a strong cast, has opted for stark simplicity.
“Iron Weed” is a contemporary urban tragedy set in Riga. It might be any big city. It is the story of a family (society) that has been established without the main binder – love. Material success – “the good life” – catapults the family towards a collapse of imaginary values and ultimate disaster.In Didzis Jonovs’ highly original production the play is, as it were, deconstructed to form a dynamic composition of segments in which each segment suggests the full story. It was, somehow, similar to a holographic image which can be seen from all angles to disclose details and, at the same time, reveals the whole.
Not surprisingly, the three productions created excitement, debate (colloques were conducted by DATS consultants Jakob Oschlag and John Ytteborg) and a wonderful sense of togetherness. Also, the significance of the project is the 3-year process. While Denmark, Finland and Latvia have much in common, their cultural and linguistic diversity will most certainly create an ongoing challenge. The next two festivals may be even more astonishing in terms of interpretation and artistic treatment of the 3 plays!
The group Teaterkatten deserves praise for their warm and caring organisation of this first encounter. The place and date of the next mini-festival have already been set. It will be hosted by the Finnish group in Uusikaupunki, on the west coast of Finland, in September 2002.
Obviously this type of co-operation entails a great deal of preparation and commitment. The success of this pilot project made it all worthwhile. Hopefully it will encourage other groups in the NEATA region to go ahead with similar joint projects.
John Ytteborg
By Villy Dall
Former President of NEATA
The concept of mini-festivals was introduced about eight years ago by John Ytteborg who, in 1992, after 15 years, had left the position as Secretary General of the International Amateur Theatre Association (AITA/IATA) to take up a new one as international advisor of the Danish Amateur Theatre Association (DATS).
Over the years, three mini-festivals have been held in Denmark, but the big step forward for this concept was when the Executive Board of AITA/IATA accepted John?s proposal for a global mini-festival weekend during June 1-4, 2000, as a way to celebrate the new millennium. It was called "The World's Greatest Amateur Theatre Festival".
In the end, the result was 33 different mini-festivals taking place in widely different communities in 19 countries, and yet integrated by the idea of a common global event.
Furthermore, I also know of various traditions of smaller international festivals on a bilateral or trilateral basis hosting amateur theatre groups of the same language but coming from different neighbouring countries, e.g. German, Polish, or Finnish speaking groups crossing national borders to meet in festivals.
During September 22-26, 2000, John and I attended a mini-festival - called "Avant-garde & Tradition - Lithuanian Days" - in Gatchina, approx. 50 kms south of St. Petersburg in Russia, hosting four Lithuanian and five Russian groups. This is - as far as I know - yet another concept of a mini-festival, viz. a bilateral co-operation between two neighbouring countries. Next year a new festival will take place in Lithuania. A bilateral mini-festival between two neighbouring countries is a way to keep travelling costs at a minimum.
In his proposal, John said about the mini-festivals that "small is beautiful - but it is also very practical and workable!" And then he defined the concept of mini-festivals as:
The local groups will offer and use whatever facilities they have and can make available - in terms of theatre/performing spaces, workshop rooms, meeting places etc. Invited groups must be informed of these facilities in advance - especially as regards measurements of performing spaces, lighting and sound equipment etc.
The groups from abroad should preferably be accommodated in the private homes of members of the hosting groups. Other forms of accommodation are possible.?
Obviously the 33 mini-festivals in June this year were organised in many different ways. In Nancy, France, five French groups joined hands with groups from Singapore, Trinidad & Tobago, and Tunisia - truly a global experience! In Cuba we are told that the festival took place in 14 provinces, involving some 150 theatre groups, both amateur and professional! A mini-festival? It might have qualified as a record-breaking festival of its own! Interesting also the geographical spread of the global event – from Estonia to India, from Bulgaria to the USA. - to give a general idea. In some countries there were two festivals (Belgium, Denmark, Ireland, Russia, UK, USA) or even three (Estonia, Lithuania, Slovakia, Sweden).
"The event was inspired by the concept of the Global Village. The local community which has its own specific cultural identity and yet contains the world. The world which is experienced as one big community in which all people regardless of race, colour and creed co-exist and communicate freely," John writes in an article for the AITA/IATA Newsletter. He continues: "The Global Village is an electronic concept made possible by the vastly increased speed and velocity of human inter-action and communication through technological means. The Internet also made it possible for AITA/IATA to spread the global mini-festival project effectively, and for groups from all over the world to respond and find other groups to give life to their own local mini-festivals."
Compared to all other kinds of communication, the Internet and e-mail are very valuable gifts to international co-operation among amateur theatre groups and people. Not only the mini-festivals but practically all festivals this year were organised more or less through e-communication, and we all experience the flourishing of exchange of e-mail addresses among festivals participants.
The new means of communication creates more interest for international exchange because the information is spread very quickly. And it makes contact and staying in contact so easy.
Taking my own country, Denmark, as an example, we have this year experienced a fast growing interest among our amateur theatre groups to take part in international festivals and other kinds of exchange:
And in these endeavours, the concept of mini-festivals is a good choice. It is handy, workable, personal, and low budget. And it will give you experiences for a lifetime - whether you are an organiser or a participant.
The IV Official NEATA festival
Tórshavn, Faroe Islands August 2nd- 8th, 2006.
The following groups/countries participated:
Se more about the different companies and their performances on MįF's homepage
During the Festival – organised and hosted by The Faroe Islands Amateur Theatre Council (MįF) – there was also different kinds of workshops, happening in the streets, sight seeing, ‘Theatre Market Place’, Open forum and every evening the Festival Club was a very popular meeting place for all the participants.
At the Open Forum the performances were discussed with the groups.
During the Festival there was held a board meeting of Nordic Amateur Theatre Council and a board meeting of NEATA (North European Amateur Theatre Alliance).
The III Regional NEATA festival
Viljandi, Estonia, 3 - 8 August, 2004.
There were 9 performances from 9 countries: Denmark, Iceland, Finland, Norway, Sweden,, Estonia, Latvia, Lithuania (NEATA), and guest performance from Belgium (CEC).
Adjudicators of the performances: Artistic director Mr. ? (Estonia) and Jacob Oschlag, Theatre adviser (Denmark).
Symposium: "It all started now - what are we going to do tomorrow?" Danute Vaigauskaite (Lithuania), Jakob Oschlag (Denmark).
Photos from the festival
The II Regional NEATA festival
Västeräs, Sweden, 1st -7th August, 2002.
There were 15 performances from 11 countries: Denmark, Iceland, Finland, Norway, Sweden, Estonia, Latvia, Lithuania (NEATA), Macedonia (CEC), 2 guests performances from neighboring countries Russia and Byelorussia.
Adjudicators of the performances: Timo Makkinen (Finland), Bobo Lunden (Sweden), Billy Nilsson (Sweden).
The I Regional NEATA festival
Trakai, Lithuania, 24th - 29th July, 2000.
There were 15 performances from 11 countries: Denmark, Iceland, Finland, Norway, Sweden, Estonia, Latvia, Lithuania (NEATA), 2 guests performances from Russia (CEC), 2 guests performances from neighboring countries Poland and Byelorussia.
Adjudicators of the performances: Jakob Oschlag (Denmark), Billy Nilsson (Sweden), Gytis Padegimas (Lithuania), John Ytteborg (Denmark).
Symposium:" Education of Amateur Theatre Directors and Actors". Leaders: Danute Vaigauskaite (Lithuania), Jakob Oschlag (Denmark).
From 5 to 7 October, 2007, the Festival of Contemporary Drama "Spelesprieks" ("Joy of Acting") will take place in Limba˛i, Latvia. The festival is hosted by the Latvian National Centre for Traditional and Performing Arts and Ausekla Theatre of Limba˛i.
You are kindly welcome to participate in the festival with a staging of a play by contemporary playwright of your country. Maximum duration of the performance - 1.30 hours.
The organizers of the festival will cover the local expenses of the groups (up to 10 persons for each country) - transport expenses Riga-Limba˛i-Riga; catering (3 days) and accommodation (3 nights). The expenses for any additional participants should be covered by the group.Catering expenses for one person: breakfast, lunch and dinner - 20 EUR per day; hostel accommodation for one person - 30 EUR per night. Travel expenses are the responsibility of the participants.
In order to make the festival programme more attractive and original we have intended to implement a creative experiment - joint staging of a play. All foreign theatre companies are welcome to participate in it. The play would be divided into parts (fragments). Each theatre will have an opportunity to present their version of the fragment. During the festival there will be a single joint rehearsal where all fragments will be united into a staging. As a result a staging of one play in different languages and means of expression will have been made.
The organizers of the festival have chosen the play "Upite" (Little River) by Mrs. Lelde Stumbre (an English translation will be available) as a subject of the experiment. The play is short (6 pages in A4 format in 12th font). Mainly there is only one character, a young woman, but towards the end appears the other character, an old man. The plot as well the personified depiction of nature gives actors and directors wide possibilities of interpretation.
The action of the play takes place on the shore of a little river, where a young woman, who has just suffered a car accident, arrives. The woman talks to herself, the river, her husband on a mobile phone, which leads to a situation, that the woman can no longer live the way she did before. Something changes in her life because of the old man, river or other reason. What exactly changes? The task of our creative experiment is to reveal and exhibit the reason.
By implementation of this creative project the organizers have intended to activate one of the major aims of the festival - to encourage theatre companies to search for new forms and means of expression.
Please remit the application form, annotation about the theatre, 2-3 pictures and the video version of your staging till 31 November, 2006, to:
Ms. Dinara Klepere
Latvian National Centre for Traditional and Performing Arts
Pils laukums 4, Riga, LV 1365
E-mail
We look forward to our future cooperation and your interest to participate in our project, the Festival of Contemporary Drama "Spelesprieks" ("Joy of Acting").
Supplement:
1. Application form 
2. Places of performance