Schneider, Wolfgang (Hrsg. für die ASSITEJ BRD):
ASSITEJ Annual 2000/2001.
Yearbook of Theatre for Children and Young People
Frankfurt (Main): ASSITEJ 2000. 160 Seiten
ISBN 3-930759-16-0

Who is ASSITEJ? What does it do? Since when? Questions which are always being asked to the representatives of theatre for children and young people all over the world. Organized in five sections - a preface, an introduction with two programmatic pieces, a main chapter with contributions on the most important subjects regarding children's and young peoples theatre, a documentary part summarising history of and literature on ASSITEJ, at least addresses and other informations - his annual will give the answers.
Auch die älteren Jahrgänge dieser Publikation können noch über die Geschäftsstelle der ASSITEJ Bundesrepublik Deutschland bezogen werden.

Children are the Central Focus
ZATCYP - The Organisation, its Philosophy and the Strategy for Southern Africa
By Tisa Chifunyse
The Aims

To put children and young people in focus in creating, commenting, informing, entertaining and educating through a popular medium, the issue that they themselves experience.

Creating: Here the concept of putting children in focus is spelt out more specifically. The constitution encourages those working with children and young people to empower children to be creative. The idea is not for the instructor to create and then get the children and young people to perform his or her ideas but rather to find ways to give them a chance to come up with performances and ideas and then to assist them to improve on them.
Commenting: It is also not the idea to decide on what to comment or what message, meaning or script the children should communicate. These once again should express as far as possible their ideas. Adults who get children to say their own ideas and then direct them to cry tears etc. are not fulfilling the aims of ZATCYP. ZATCYP would see this as exploitation of children – the children are not being developed. Instead they are just being used.
Informing: Though it is obvious that in this regard the adult will play a major role, it is also important to remember that information needs to be relevant to children and in their interest. They need to play an active role in choosing, collecting, rehearsing and communicating information.
Entertaining: Here again the interests of the child should be primary. How they entertain through performance, who, where and in what conditions need to have the child in focus. For instance, entertaining adults in environments where there is drinking and the danger of drunken behaviour is obviously not to be encouraged.
Educating: Children and young people should once again not be used as tools. They should be empowered to play a major role in the creative process and adults working with them should ensure that not only do their performances educate audiences but that also the performers themselves are educated or benefit from the educational process. The performers should be able to contribute to the educational process and hence they should be able to discuss and talk about what they are doing.
They themselves experience: When working with children and young people, what they perform should be something they can relate to, something that they experience themselves or something that is within their world, so to speak. Using them to perform material that they cannot relate to, that is alien, that is far-fetched is another form of exploitation. How will they be the focus or how will they participate in the process of creation and performance if they have no experiential understanding of the material? This does not mean that we should not encourage children to widen their experience but this should be done in such a way that they can relate it to their own experience.