History of Magic-Net
retrospect
In three years (2001-2004) more than a dozen European theatres entered upon a “magical” journey. Their suitcases possessed theatre scripts and theatre conceptions from 13 European countries, which could not have been more different. Based on taking a critical look at classic texts, the attempt was made to make a young audience more acquainted with theatre and more aware of their inherited national drama. This goal in itself was already a challenging task, but it became even more demanding by having to fit the objective: the results had to be presented to the participating theatres that were to enter into a trans-national exchange.
Magic-Net virtually began to build bridges between past and present by involving the values of European cultures. Whether young or old, Magic-Net participants were convinced of the inexhaustible vitality of dialogue between cultures, addressing social, ethnic and religious topics in their work.
Magic-Net became synonymous with European co-productions which are visible documents of a productive and lucrative collaboration. By consolidating artistic potentials and cultural differences, something truly “magical” was created. Perhaps even a bit of European culture?
During countless discussions, the conviction spread among the participants that there is no singular European culture, and in any case, it would not be worth striving for. Rather Europe’s magnificent wealth is grounded on the diversity of its vast national, regional and local cultures. In the future, exchanges on friendly terms will be a priceless asset for the benefit of the European society.
At the end of our third project year and according to the agreement, the European Commission’s financial support is discontinued. This is a good enough reason to critically take stock, yet, this is not the final assessment of the project because Magic-Net will remain as a production platform to foster co-operations between theatres and their work with and for young people.
Magic-Net’s unique charm is due to the vigour of artists and young people. The Magic-Net meetings were quickly known for their special atmosphere, which made people feel comfortable, at ease and among friends. Most of us were aware of the privileged circumstances in which the multinational encounters with the purpose of creating trans-national theatre works were taking place. Relying on our cultural roots to promote a world of tolerance and acceptance, we shared moments of joy with the young people, which was and is a motivation for all involved.
In reference to the results, it is advisable to take a close look at Magic-Net’s objectives as they were stipulated, among others, in the application to the European Commission. Magic-Net’s target objectives were divided into four types of activities:
Activity 1.Exchange between the professional theatre companies:
Co-productions and touring of co-productions
Translation into action: With numerous performances Europe-wide, eight Magic-Net co-productions were created to disseminate the visions of the network. As a ninth co-production “A European Theatre Night under Olive Trees” was produced for the second Annual Meeting in Portugal. The event served as an exchange of communication between the participating artists just as a dozen of bilateral workshops did.
Activity 2. Exchange between young people (15-25)
Translation into action: All theatres developed a solid working relationship with at least one youth theatre group (or school) with intentions of a continuation. The School-Net links these groups and its participants. A monthly updated Bulletin is published to inform about the latest developments and plans of all Magic-Net theatres as well as youth theatre groups. In this way the internet activity “Romeo and Juliet in 30 pictures” was coordinated and published.
Magic-Net organized two extensive workshops (in Madrid and York) to assist teachers for practical drama instruction in school. The annual meetings served numerous facilitators in learning by doing.
Activity 3. Further education through a programme of workshops
Translation into action: More than a dozen high quality workshops and training programmes were conducted for actors (Frankfurt/Oder, Palmela, Cork), directors (Zaandam, Frankfurt/Oder, Palmela, Cork), theatre educators (Zaandam, York, Frankfurt/Oder, Palmela), dramaturges (Frankfurt/Oder, Madrid, Palmela, Cork, Thessalonica) and authors (Thessalonica). All these activities have contributed to a profound effect and an avid exchange between artists.
Activity 4. The Annual Meeting
Translation into action: The annual meetings were the core of the network. Next to the discussions and workshops, the three gatherings offered everyone the possibility to experience a mutual theatre event and to interchange opinions and views afterwards. Further in the yearbook the great importancy of these annual meetings are pointed out.
Conclusion.
On balance the result of three years: The participants can be proud to have fulfilled their own set goals without sticking rigidly to the original objectives. Instead, ample space has been allowed for self-development of the companies to experience a process of learning.
Yet, it appears to be incorrect to give the false impression that Magic-Net succeeded without admitting to occasional errors and taking some wrong turns through this three year run. Not all theatre companies were able to identify with the jointly adopted objectives that were passed in 2001.
The participating theatre companies were selected according to the idea of displaying and offering a wide range of artistic styles and organisational structures that would create artistic fruition due to contrasting nature. In most cases, this goal worked out on an artistic level. From an organisational point of view, at times it became noticeable that some theatres were overtaxed by the size of the project. The smaller theatres were especially challenged to meet the extra organisational obligations due to the membership in the network. Some of them have grown because of the challenge and they were able to use these experiences to improve their position within the community. Referring to this aspect, others were less successful, and therefore found fewer opportunities to use the additional chances for their advantages.
For most of the Magic-Net theatres, the end of the European funding was only an intermediate stop of the journey. At the workshop for authors and dramaturges 2004, the companies decided to communicate once again and commence on the most classical voyage of all voyages: The Odyssey.
It was a sensation in itself for 14 renowned authors from 12 European cultures to jointly write a theatrical work. This achievement is also due to the merit of the Berlin dramaturge Odette Bereska, who on the one hand allowed the authors creative freedom and on the other hand never lost sight of the stage adaptation.
With a cast of 12 actors from nine countries Magic-Net toured with “A European Odyssey” in summer 2005 through Europe. That remarkable production was the link between the two funding periods of Magic-Net. Direct after the production had its opening in Zurich, Switzerland, the new Magic Net started with the IV. Annual Meeting in Palmela, Portugal.
Magic-Net virtually began to build bridges between past and present by involving the values of European cultures. Whether young or old, Magic-Net participants were convinced of the inexhaustible vitality of dialogue between cultures, addressing social, ethnic and religious topics in their work.
Magic-Net became synonymous with European co-productions which are visible documents of a productive and lucrative collaboration. By consolidating artistic potentials and cultural differences, something truly “magical” was created. Perhaps even a bit of European culture?
During countless discussions, the conviction spread among the participants that there is no singular European culture, and in any case, it would not be worth striving for. Rather Europe’s magnificent wealth is grounded on the diversity of its vast national, regional and local cultures. In the future, exchanges on friendly terms will be a priceless asset for the benefit of the European society.
At the end of our third project year and according to the agreement, the European Commission’s financial support is discontinued. This is a good enough reason to critically take stock, yet, this is not the final assessment of the project because Magic-Net will remain as a production platform to foster co-operations between theatres and their work with and for young people.
Magic-Net’s unique charm is due to the vigour of artists and young people. The Magic-Net meetings were quickly known for their special atmosphere, which made people feel comfortable, at ease and among friends. Most of us were aware of the privileged circumstances in which the multinational encounters with the purpose of creating trans-national theatre works were taking place. Relying on our cultural roots to promote a world of tolerance and acceptance, we shared moments of joy with the young people, which was and is a motivation for all involved.
In reference to the results, it is advisable to take a close look at Magic-Net’s objectives as they were stipulated, among others, in the application to the European Commission. Magic-Net’s target objectives were divided into four types of activities:
Activity 1.Exchange between the professional theatre companies:
Co-productions and touring of co-productions
Translation into action: With numerous performances Europe-wide, eight Magic-Net co-productions were created to disseminate the visions of the network. As a ninth co-production “A European Theatre Night under Olive Trees” was produced for the second Annual Meeting in Portugal. The event served as an exchange of communication between the participating artists just as a dozen of bilateral workshops did.
Activity 2. Exchange between young people (15-25)
Translation into action: All theatres developed a solid working relationship with at least one youth theatre group (or school) with intentions of a continuation. The School-Net links these groups and its participants. A monthly updated Bulletin is published to inform about the latest developments and plans of all Magic-Net theatres as well as youth theatre groups. In this way the internet activity “Romeo and Juliet in 30 pictures” was coordinated and published.
Magic-Net organized two extensive workshops (in Madrid and York) to assist teachers for practical drama instruction in school. The annual meetings served numerous facilitators in learning by doing.
Activity 3. Further education through a programme of workshops
Translation into action: More than a dozen high quality workshops and training programmes were conducted for actors (Frankfurt/Oder, Palmela, Cork), directors (Zaandam, Frankfurt/Oder, Palmela, Cork), theatre educators (Zaandam, York, Frankfurt/Oder, Palmela), dramaturges (Frankfurt/Oder, Madrid, Palmela, Cork, Thessalonica) and authors (Thessalonica). All these activities have contributed to a profound effect and an avid exchange between artists.
Activity 4. The Annual Meeting
Translation into action: The annual meetings were the core of the network. Next to the discussions and workshops, the three gatherings offered everyone the possibility to experience a mutual theatre event and to interchange opinions and views afterwards. Further in the yearbook the great importancy of these annual meetings are pointed out.
Conclusion.
On balance the result of three years: The participants can be proud to have fulfilled their own set goals without sticking rigidly to the original objectives. Instead, ample space has been allowed for self-development of the companies to experience a process of learning.
Yet, it appears to be incorrect to give the false impression that Magic-Net succeeded without admitting to occasional errors and taking some wrong turns through this three year run. Not all theatre companies were able to identify with the jointly adopted objectives that were passed in 2001.
The participating theatre companies were selected according to the idea of displaying and offering a wide range of artistic styles and organisational structures that would create artistic fruition due to contrasting nature. In most cases, this goal worked out on an artistic level. From an organisational point of view, at times it became noticeable that some theatres were overtaxed by the size of the project. The smaller theatres were especially challenged to meet the extra organisational obligations due to the membership in the network. Some of them have grown because of the challenge and they were able to use these experiences to improve their position within the community. Referring to this aspect, others were less successful, and therefore found fewer opportunities to use the additional chances for their advantages.
For most of the Magic-Net theatres, the end of the European funding was only an intermediate stop of the journey. At the workshop for authors and dramaturges 2004, the companies decided to communicate once again and commence on the most classical voyage of all voyages: The Odyssey.
It was a sensation in itself for 14 renowned authors from 12 European cultures to jointly write a theatrical work. This achievement is also due to the merit of the Berlin dramaturge Odette Bereska, who on the one hand allowed the authors creative freedom and on the other hand never lost sight of the stage adaptation.
With a cast of 12 actors from nine countries Magic-Net toured with “A European Odyssey” in summer 2005 through Europe. That remarkable production was the link between the two funding periods of Magic-Net. Direct after the production had its opening in Zurich, Switzerland, the new Magic Net started with the IV. Annual Meeting in Palmela, Portugal.
Magic-Net is supported by the European Commission under the programme Culture 2000
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