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The workshop programme 2007 was entitled “Political Theatre”

The International Forum’s workshop programme is intended to offer theatremakers practical and theoretical challenges in the company of established artists. Participants are asked to bring their own sketches, plans for plays, directorical concept papers, texts or questions with them.
The workshops 2007 tackled the following four areas:

Avishai Milstein
Workshop 1 – Practical analysis of texts and productions:
Der schöne Konflikt (Beautiful conflict)

Israeli academic, writer and director Avishai Milstein analyses both classical and contemporary theatre texts and productions on the basis of their structures of conflict. His approach envisages making basic patterns of human behaviour evident in the form of political developments.
Helena Waldmann
Workshop 2 – Concept and theatre:
Shop ohne Work (Shop without the work)

Director and choreographer Helena Waldmann tackles structures of work, including those of the theatre and investigates their underlying social models and political patterns.
Oliver Czeslik
Workshop 3 – Developing material:
Tabu, Irritation und Dokument im Polittheater heute
(Tabus, irritation and documentary in contemporary political theatre)

Playwright and screen Oliver Czeslik works with the participants to develop their own plays, ideas and concepts.
Mieke Matzke
Workshop 4 – Theory and theatre:
Public Theatre. Oder das Theater des Öffentlichen
(Public Theatre. Or the Theatre of Public Appearance)

Performer and academic Mieke Matzke reflects on the emergence of public appearance as a political practice in, amongst other places, the theatre and on the architectural structures of civic space.
Theatre work is intended for public presentation and is open to public criticism. The pressure associated with this is not necessarily productive. Through its workshops the International Forum creates a working space, where genuine debate between the artists with each other and with the form in which they are working may take precedence. It offers the possibility of creating theatre without any obligation to produce something for the public. It ends not with a premiere but with a sharing of working methods – out of the public eye. An open “utopian” space, international, intercultural, interdisciplinary but limited by time.

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