Welcome to this rich issue of Interplay that engages with developments in adult education and playback theatre approaches with young audiences. The opening article, in this issue is by esteemed European practitioner, Daniel Feldhendler. Daniel sketches a picture of contemporary education in which theatre and other story telling methods are central for building the future. Proposing a model for Education For the Future, the article recounts a number of significant recent gatherings in which educators, artists, and practitioners within Germany, Europe and from across the world debate, discuss, and promote personal stories for social and educational development.
Alongside this, this issue presents perspectives on playback theatre approaches with young audiences. As part of school pro- grams, within the social context, and integrated into group therapy, the papers consider the value of telling, listening, acting oth- ers’ stories, being audience or witness, and stepping aside to enable the expression of natural and appropriate leadership within this demographic. In the piece by Kathleen Olivier, we follow and extend the dialogue on Playback and Therapy covered in the previous issue (Dec, 2013). Her paper, Playback Theatre with Young People in a Psychiatric Centre, looks particularly at the value of playback for managing emotional distance, building resilience, and supporting one another as they explore their lives and express their responses in various ways. Papers from Anastasya Vorobyova and Timothy Reagan consider playback theatre with young audiences and discuss the way in which the young performers and tellers alike initiate the continuation of their involvement with playback and in sharing it with others.
Drilling down into playback practice and learning Bako Tihamer documents his recent work in de- signing and delivering playback theatre training specifically aimed at emerging conductors, while in an extension of his thinking about playback theatre and the actor, Assael Romanelli’s latest work interrogates intimacy, sexuality and eroticism as potential concepts for understanding Play- back Theatre acting. Meanwhile Ana Ma Fernández Espinosa piece reports on the networking event in Spain and Brian Tasker introduces his work on integrating Playback Theatre within recovery workshops for people overcoming addictions.
There is news from the Board, who are seeking a New Treasurer, and an update from the Montreal team who are preparing to welcome guests at the 2015 Conference in July.
Finally, I wish to bid you goodbye. This is my final edition of Interplay as I step aside for a new Editor. I wish to particularly thank Magda Miranda for her work on design and distribution, and myriad other small things; those who have supported me as translators including, but not limited to: Hikari, Janet Salas, Michele Chang, Ramiro Salas, Sheila Donio; thanks also to Amanda Brown, Sarah Urech, Jonathan and Jo, the many and varied authors who have taken the time and invested in reflecting and sharing their practice for publication, and you, the reader for comments, good wishes and your constancy across the 8 years.
I wish the incoming editor all the best,
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