Schneider, Wolfgang (Hrsg. für die ASSITEJ BRD):
Theatre for the World´s Children and Young People.
Yearbook of Theatre for Children and Young People. ASSITEJ Annual
Frankfurt (Main): ASSITEJ 2003. 135 Seiten
ISBN 3-930759-23-3

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.

Ivica Simic
Having technology or not having it - this is what determines our life nowadays, and resistance to the will of the technological civilization can very easily start a new genealogical sequence of guilt that only a new Deus ex machina will be able to put an end to. Is that really so? Am I not boyishly naive and don't I still think, like Miranda, " how brave mankind is" and that there is still hope for it? Hasn't the guilt been committed a long time ago and are we not exactly nowadays at the end of the sequence of tragic guilt, with the tragic escalating in all of its gory manifestations? Were all the tragic events at the end of the last century in my country not only a mild anticipation of the horrors that marked the beginning of the 21st century in New York, continued in Israel, and have escalated in Iraq? Who is going to put an end to this sequence of bloodsheds, draw the sword out of the rock and establish a thousand-year-long peace? A Deus ex machina?

Can theatre for children and young audience ignore the social reality and continue to build up magic illusions provided by modern technology? Does technology in theatre for children and young audience serve only to produce visual and acoustic wonders, by means of which we, adults, wrap the children up in an illusion of joyful growing up, as we keep on fostering a romantic attitude towards our own childhood and unsuccessfully protect the children from our own genealogical guilt?

Prospero, Ariel and...

The director Prospero in The Tempest by W. Shakespeare invokes disobedient spirits with whose help he will " call forth the mutinous winds" , " give fire to the dread rattling thunder" and " 'twixt the green sea and the azur'd vault set roaring war" . Aren't these disobedient spirits technology itself that every now and then becomes disobedient and, like Ariel, seeks to escape the will of man and to join the elements, thus uniting with God, moreover, becoming God? But Prospero uses his helpers only in order to carry out his intent. They are his tools, and his skill does not exhaust itself in the effects with which he will fascinate Miranda and Ferdinand. He makes use of his technology in order to achieve another goal, and after that he releases it because he does not need it any more. He uses technology in order to create illusion, but the illusion is not an end in itself - it serves to achieve the other part of the secret of the theatrical act: catharsis, enlightenment, cognition.

Technology in theatre makes performing wonders possible. As technology changes, it is also the sensitivity of the day that changes, and with it the appearance of theatre as well. The technological revolution brought about new forms in artistic production, as it also used to do in the past. The process that has been going on ever since the creation of theatre is not some special kind of phenomenon that deserves special attention. Technology is merely the base of theatrical production that makes artistic superstructure possible.