workshops


Contributors from across the UK and Europe will be joining us to offer four different long workshops in the afternoons of the two main festival days, Tuesday and Wednesday. Each afternoon will offer two parallel workshops, one conversation and one practical, details to be confirmed soon.

(Festival attendees will also have a third option each afternoon, to watch and discuss a matinee show, instead of attending one of the two long workshops.)

Contributors

In addition to the three REACT project partners, contributors to these workshops will include:-

Good Chance builds temporary theatres of hope promoting freedom of expression, creativity and dignity for everyone.  Founded by two British playwrights, Joe Murphy and Joe Robertson, Good Chance established its first temporary theatre space, an 11m geodesic dome, in the heart of the refugee and migrant camp in Calais in September 2015.

Catrin Evans is a theatre director, writer and maker. She is the Artistic Director of Moment’s Peace, and for the last ten years she has been making work with Scotland’s leading theatre companies. Catrin is currently undertaking an AHRC-funded PHD at the University of Glasgow: “The Arts of Integration: Scottish policies of refugee integration and the role of the creative and performing arts.”

PAN Intercultural Arts is a dynamic London-based arts company making theatre with young asylum seekers and refugees, to promote a deeper understanding of our changing cultural identities.

Rewrite is a grassroots participatory arts charity based in Southwark that makes theatre with young people from different cultural, social and economic backgrounds, including young migrants and refugees. Rewrite raise public awareness about issues surrounding refuge and asylum, including wider global issues.

Workshop themes

Two long conversation workshops will consider the following themes:-

Why community theatre? What is the value for refugees and host communities?

  • the artistic content and theatrical style of refugee theatre;
  • the cultural barriers to engagement;
  • issues of ownership, and how to strike a balance between shaping work and enabling natural voice.

Engagement – when, why and how?

Why do people really engage and what is most effective? Making the show is not always the starting point for refugee participants. An opportunity to discuss how theatre improves relationships between host and refugee communities, and to ask what makes a good partnership?