Old News

Riconciliazione al gathering di Playback in Asia - Kimberly Creasman, Anche Kayo

April 2006

Da Kimberly Creasman che ha partecipato al recente Gathering di Playback in Asia (ulteriori report su questo evento seguiranno a breve)

Circa una ventina di partecipanti provenienti dalla regione sono stati selezionati per partecipare in una “jam session” ad un ultimo laboratorio nell’ambito del primo gathering di Playback in Asia, tenutosi dal 6 al 9 agosto 2005. Io ho portato con me mio figlio Cameron di otto anni per guardare e “giocare” con me.

Kayo, della giapponese “Playback AZ”, si rivela una conduttrice mirabile nel modo in cui ci inizia attraverso un gioco e comincia a condurre la prima delle storie del pomeriggio. Mi piace il suo stile. Coinvolgente: ci tira dentro e tira fuori le storie con quella sua calda, confidenziale personalità. Dopo poche sculture fluide suggerisce che gli attori si esprimano ciascuno nella sua propria lingua. Alcuni di loro sono attori fantastici e che siano limitati nello sforzo di parlare inglese, non dà a noi la possibilità di vederli risplendere nelle loro potenzialità.

Così facciamo. Una donna di Taiwan porta una storia, con traduzione in inglese, riguardante il saluto, all’aeroporto, al suo bimbo di quattro anni e il rendersi conto che sta crescendo. Un gruppo di attori giapponesi restituisce la storia per noi in giapponese. Una improvvisazione sottile, abile e commovente. Tutti noi la comprendiamo perché abbiamo ascoltato quella dolce storia appena qualche minuto prima.

Di seguito un gruppo cinese di Hong Kong, Singapore e Cina si prepara per rappresentare una nuova storia. Useranno un misto di mandarino e cantonese. Un partecipante filippino, Edward, decide di condividere una storia che, dice, ha tenuto in serbo per due anni. Era rimasto in attesa del momento giusto per condividerla e ora sente che questo è arrivato.

Il gruppo comincia a sentirsi un po’ a disagio quando lui racconta del suo progetto di partecipare al gathering internazionale di Playback tenutosi in Giappone due anni fa. Ci racconta delle parole forti usate dal suo nonno filippino “perché vuoi recarti in quel paese con tutte quelle persone orribili? Perché vuoi spendere il tuo tempo e i tuoi soldi in un paese con i giapponesi?” Lui aveva risposto “Lascia perdere i Giapponesi, nonno. Se voglio continuare a conoscere il Playback devo andare là. Ci andrò giusto per il Playback, non certo per la gente.”

Cameron, mio figlio, ed io siamo i soli non asiatici nella stanza. Ad ogni modo io ho vissuto in Asia per sette anni. Questo è un tempo sufficiente per sapere che l’odio e il razzismo nei confronti dei giapponesi è pervasivo in questa regione. I soldati giapponesi inflissero orrori inenarrabili durante la seconda guerra mondiale; occupazioni, uccisioni di massa, torture. Molti della generazione che ebbero esperienza di tutto questo sono ancora viventi e hanno condiviso il loro invendicato rancore con quelli di noi che sono venuti dopo.

Detto questo, Edward continua la sua storia. Questa va a finire diversamente da com’era iniziata. Si trasforma in una storia di “angeli” giapponesi che lo avevano aiutato quando si era trovato da solo alla stazione ferroviaria avendo perso l’ultimo treno; l’ “angelo” che gli aveva riportato degli effetti personali importanti che aveva inavvertitamente smarrito; l “angelo” che lo aveva accolto alla conference quando infine era arrivato molto tardi la prima notte. Finisce dicendo di aver imparato che i giapponese sono gentili, amichevoli, insomma brave persone. Qualsiasi cosa sia accaduta durante la guerra, è sbagliato avere certi pregiudizi nei confronti dei giapponesi oggigiorno.

Wow. Tutti noi rivolgiamo lo sguardo al gruppo cinese che si è offerto di performare. Se c’è un gruppo che odia i giapponesi, è proprio quello dei cinesi, ma questo gruppo ha realizzato una improvvisazione toccante della storia di Edward. E’ stato un vero peccato che il giapponese seduto accanto a me non potesse comprendere la lingua degli attori mentre la storia si svolgeva. E’ terminata con un abbraccio mentre l’attore che faceva Edward diceva: “mio nonno si è PROPRIO sbagliato”

Gli attori volgono tranquillamente lo sguardo a Edward quando la scena è terminata. E’ la loro offerta a lui. Lasciamo che l’offerta indugi nell’aria per un momento, finché una donna giapponese rompe il silenzio.

”Vorrei condividere un sentimento” dice.

Ci racconta di come i praticanti di playback giapponesi si siano incontrati prima di questa conference ed abbiano anticipato cosa sarebbe potuto accadere nel momento in cui asiatici dei diversi paesi si fossero trovati insieme a condividere storie importanti delle loro esistenze. “Eravamo preparati al fatto che la gente ci odia. Eravamo pronti per le storie che dicono quanto orribili siamo”. Rivela che tra loro avevano parlato migliaia di volte di come avrebbero dovuto essere preparati a vivere il razzismo nei loro confronti. “A dispetto di ciò, questa è la prima volta nell’intero fine settiamana che il tema è saltato fuori e, invece di dirci quanto siamo orribili, ci avete chiamato “angeli”. Siamo davvero così sollevati e grati.”

Vedo alcuni occhi farsi lucidi quando il conduttore chiede al gruppo cinese di rappresentare questo sentimento con una scultura fluida.

Anche Kayo, il conduttore originario, parla.

“Sento anch’io il bisogno di dire qualcosa. La nostra gente ha fatto cose terribili ai vostri paesi durante la guerra. Anche se è stato molti anni fa e anche se non sono state le mie mani a farlo, io voglio chiedere scusa per le cose che i miei antenati hanno fatto nel passato. Voglio dire che sono addolorata per le cose che i giapponesi hanno fatto alla vostra gente nel passato. Mi scuso a nome della mia gente”

Gli attori cinesi sono ancora in piedi. Tutti loro stanno apertamente piangendo mentre restituiscono queste scuse attraverso una scultura fluida.

Sbalorditivo. Sono testimone privilegiata di una sorprendente guarigione emotiva che sta accadendo davanti a me. Non sto piangendo. Sono troppo sbalordita. Sono in uno stato di gioiosa meraviglia. Sono quasi sicura di essere a bocca aperta. Tengo il cuore tra le mani. E’ sul punto di scoppiare. Sto nel mezzo di qualcosa che sa di miracolo.

Gli asiatici sono noti per il loro trattenere i sentimenti all’interno, per la loro riservatezza riguardo a gioie e dolori, raramente mostrando apertamente dispiacere o commozione. Per un certo periodo abbiamo avuto una studentessa giapponese a vivere presso di noi. Diceva che amava il fatto che l’abbracciassimo, visto che non era mai stata abbracciata dai suoi genitori. Un amico cinese una volta mi disse che loro sono come un thermos; freddi fuori ma bollenti dentro. Eppure, questo pomeriggio a Singapore, quando ci sediamo in cerchio per condividere e riflettere su ciò che è appena avvenuto, ci sono molti uomini asiatici di una certa età che apertamente piangono e si abbracciano l’un l’altro.

Molte persone nel cerchio partecipano al gruppo cosa stanno pensando e provando. Una donna pensava di non avere nessun pregiudizio fino a questo pomeriggio, e nel momento in cui si è resa conto che un angolo del suo cuore era pieno d’odio nei confronti dei giapponesi, ecco che questo è scomparso.

Perché non ho lacrime? E’ perché sono così piena di speranza per il futuro. Sto vedendo in presa diretta quanto sia facile costruire ponti di pace e riconciliazione attraverso poche parole pronunciate con autenticità. Decido di condividere questo con il gruppo che ora siede in cerchio.

Siamo tutti di una o due generazioni distanti dalle atrocità della seconda guerra mondiale, eppure siamo impregnati, coscientemente o meno, di un razzismo che abbiamo ereditato dai nostri genitori o dai nostri nonni. Nel momento in cui la nostra generazione impara a riconciliarsi in questo modo, impariamo che possiamo vivere in pace, armonia e autentica amicizia.

Nel mio paese d’origine negli Stati Uniti, le razze che hanno più motivi per serbare rancore nei confronti dei bianchi americani sono i neri americani e gli indiani d’America. Mio figlio adottato, Cameron, che è una mescolanza etnica di queste tre razze, è cresciuto in Asia. Oggi era la testimonianza vivente di quel che abbiamo appena visto e sentito. Eppure, a dispetto di questo, si è girato verso di me nel mezzo di tutte le lacrime intorno a noi e ha detto: “mamma, perché stanno piangendo tutti?”

In cuor suo non può immaginare nessuna ragione per cui questo gruppo possa essere qualcosa di diverso da un gruppo si amici provenienti da diversi paesi che si incontrano per giocare e divertirsi.

QUESTA E’ UNA SPERANZA TANGIBILE. La nostra generazione ha l’opportunità di crescere la prossima generazione con quell’autentico cuore di unità e amore fraterno tra le culture che appartiene a Cameron.

Concludiamo il tempo dedicato al cerchio incespicando dolcemente sui versi di una vecchia canzone recentemente registrata da Vince Gill. Giusto un momento per controllare il testo online. Un modo caldo per ricordare ancora una volta.

Fa che ci sia pace su questa terra fa che sia il momento adesso. E fa che cominci con me. Fa che ci sia pace su questa terra La pace che è scritto debba esserci Con Dio come padre siamo tutti fratelli. Fa che io parli con mio fratello in perfetta armonia. Fa che la pace cominci con me fa che sia il mio voto solenne. Di prendere ogni momento e vivere ogni momento con pace eterna Fa che ci sia pace su questa terra E fa che cominci con me. Translation by Elena Roncoroni

News From Cuba

April 2005

Dear Friends, We have great news from Cuba.

The Sociedad Cultural Jose Marti, an influential and active NGO that manages projects of national scope, now sponsors the Playback community on the island. On March 14th, the day before I left, we signed a formal agreement. Another important NGO, affiliated with the Artists' and Writers' Union of Cuba, has also offered us assistance. Achieving this formal cooperation with organizations so authoritative ensures that Playback has a bright future in Cuba.

Each of the signators (Ileana Musibay for the Sociedad, Milagros Pardo for the Playback community of Cuba, and myself as liaison with the International Playback Theater Network) is now identifying our goals so that we can strengthen and expand the work into the next years. I invite you as an ITPN member to practice with us, to share your experiences with our vibrant and enthusiastic colleagues on the island.

Last February, 2005, the IPTN supported a series of four week-long classes in Havana that were to be presented in collaboration with the National Council of Theater Arts of the Cuban Ministry of Culture. Uncomfortable with the unpredictable nature of a performance, however, that agency decided that Playback does not have a place in traditional Cuban theater. The institutional support they had provided collapsed the week before the February intensive began. No place for classes. Professional actors would not get release time for professional development. How demoralizing!

Then experienced Cuban Playbackers rallied. Several important allies made phone calls. We did present four weeks of classes, and the classes were a great success. Finally, the Sociedad and CIERIC offered their institutional support.

As the project director, I had first visited numerous cultural groups to show them something of Playback and invite those interested to an orientation. At the orientation, they saw the video, “Living with HIV in Cuba” which shows three infected Cubans telling their stories and watching them enacted by a team that had been prepared over three years before that filming. We reviewed the schedule of dates, hours and locations. I answered their questions and then invited them to register for appropriate classes.

The training was free. Cuba is poor, and Cubans even more so. With an expensive and inclusive social project - health care, schools, and cultural institutions-paid for by the government which is the employer of 80% of the population, individuals have very little expendable personal income.

During the first week of February, I taught an “Introduction to Playback Theory and Forms”. Then, Deb of Asheville NC presented 'Finding the Story within the Story' with able assistance from Sharon of her troupe who began each class with yoga. Walter from Florida also worked with us. Rasia, of SaludArte in Montevideo, Uruguay, taught “The Poetry of Conducting” to our more advanced practitioners, those who had already performed publicly in one of the four established groups. Sarah, of Hudson River Playback, worked with the advanced group on “Issues of Company Life”. That last week, we presented four performances. Sarah focused on ways of reviewing the work after a public event so that performers improve and do not feel overwhelmed by difficulties encountered.

The two Playback groups in the capital were strengthened. Three new initiatives have begun to practice with their own stories until they feel their conducting is strong enough to offer public performances. The newly organized Playback Community of Cuba will hold regular meetings, coordinating the activities of the various groups. Milagros Pardo, a founding member of Bienaventurado, one of the Havana companies, works for the Sociedad. She was selected by all of us as the coordinator of the community. One day a week she works on those tasks. Milagros will soon have an email address for the project where you can contact her directly.

All of us in Cuba benefited tremendously from the contributions of those trainers who volunteered to come and share with us. Over the years, we also enjoyed working with Lori, Veronica Needa, Charles, Maria Elena Garaveli and Hannah. The Cubans are tremendously grateful, particularly to those of us who traveled from the US in spite of legislated restrictions on US citizens' spending money in Cuba. I see it as a form of reparation for the harm done by US aggression against the island, the 49 year-old economic blockade and travel restrictions which we believe are a violation of international law and of the US Constitution. Cuba is on the Bush administration's list of terrorist nations.

We will welcome you to participate in Havana during the winter of '06 - as a member of a class or as a teacher. We work in Spanish, and we have a terrific professional interpreter for teachers who use English. I will continue as the contact for IPTN practitioners. So get in touch with me if this project inspires and interests you.

If you are in North America, there is another way that you can help build the Playback community in Cuba. The materials we use are humble, yet are not readily available on the island. For each new initiative to become a company, they will need a package of supplies. Each package should contain three essentials: fifteen pieces of fabric (two-yard lengths of fabric or glittery cloth or scarves); black cotton performance clothing of any style (mostly small and medium) for 12 actors; and a selection of acoustic instruments. Rehearsal clothing and copies of warm-up music are also most welcome. If you and your company or your friends are able to gather the stuff and can package it, let me know ASAP. We have a way of getting it down this July.

You can reach me by email at spmetz@aol.com or by telephone at 718 636 9089. I am at your service.

Though we want to celebrate our accomplishments, we always keep in mind the crazy political situation in which we find ourselves. Please be conscious of all this as you forward this letter to others who would be interested.

La lucha continua. The struggle continues.

Notebook from Cuba

March 2005

Playback Theater made significant advances in Cuba this winter.

We found an institutional sponsor, of critical importance to continuing the work in a centralized, state-supported culture. The Sociedad Cultural Jose Marti, a 10 year- old NGO dedicated, among other objectives, to collaborating on projects aimed at social transformation through community culture, will offer a spiritual and physical home for the Playback Community in Cuba.

Milagros Pardo will coordinate the Playback Community in Cuba. She is a founding member of Bienaventurados, a company that has been working for over a year after an introductory workshop at the National Theater during March 04. The Sociedad will provide her with time to work, a new email account, a site for meetings and workshops, and the authority to invite members of the IPTN to present classes and to participate in conferences and festivals. CIERIC (Centro de Intercambio y Refericia), a new initiative of UNEAC (the Union of Artists and Writers) with similar goals, will also help disseminate Playback techniques. They will publicize the work among professional actors and facilitate their participation.

The institutional support came after the month-long intensive that we presented in Havana during February 05. Five of us from three different companies in the US and Rasia Friedler of SaludArte in Montevideo, Uruguay, spent a week each teaching. Each new teacher arrived on Thursday to observe the last day's session of the previous class and Saturday's performance of that group. We spent Sundays relaxing together and helping our new colleague get oriented. Topics included An Introduction to Theory and Forms, Finding the Story within the Story, The Poetry of Conducting and Issues in Company Life. The IPTN delegation to Cuba 05 trained 23 performers who created three new groups, bringing the number now practicing on the island to seven.

Cuba is a poor country, with among the lowest per capita incomes. Housing, education, health-care and culture are socialized (that is supported and controlled by the national government). Cubans maintain their national autonomy, dignity and sense of humor. Everyone who has visited during the five years of this project has been impressed with the warmth, charm and enthusiasm of our friends there. They are tremendously grateful to those of us from the US who travel at our own expense as a form of reparation for the harm done by US aggression against the island, the 49 year-old economic blockade and travel restrictions which we believe are a violation of international law and of the US Constitution.

You can participate in this project. You can come down and you can send material aid. Now that Milagros can dedicate one day a week to the work, you can get in touch with her directly. She will help you make all the arrangements. There are a number of upcoming events in Havana to which we have been invited. You can participate in Congreso de Cultura y Desorollo sponsored by the Ministry of Culture in June; the Conference 'With All and for the Good of All' sponsored by the Sociedad Jose Marti in collaboration with UNESCO in October; and a seminar on community culture during the late summer that is being organized by CIERIC. In each case, we envision a member of the IPTN presenting a paper on Playback and working with Cuban actors to present a performance. We are receiving so many invitations to present introductory classes now that anyone interested should get in touch with Milagros and tell her when you are available.

Material aid, a package of gear for each of the new initiatives (and there will certainly be several more needed by groups that develop out of next year's Intensive), can be sent down on the caravan organized by Pastors for Peace that will travel across the Mexican border and the Caribbean during July bearing all sorts of stuff from North America. We can send packages addressed to each group % Sociedad Marti. When you make a commitment to gather 15 clothes, black cotton performance clothing for 12 actors and instruments, the nearest caravan committee will make arrangements with you to get it onto one of the vehicles traveling down during June. Warm up clothes and CD's of music are also most welcome.

Several experienced trainers have expressed interest in next winter's Intensive, which will almost certainly occur in Havana during Feb 06. You can spend 10 days with us. We will arrange for other travel opportunities on the island. Combine an act of solidarity with a vacation on a fascinating tropical island during the winter. Join us in bringing Playback to Cuba.

Queridos compañeros

Saludos de su amiga yanqui. Todo normal aquí. Llegué suavemente media noche Martes sin ninguna dificultad con las agentes de inmigración tampoco aduana. Que alivia. Solo Walter de nuestra delegación encuentro un acoso para re entrar. Esperamos solo eso, no persecución.

Connecting to the Heart: A Personal Reflection on the European Gathering - Davina Holmes

March 2006

Last Summer I spent a fabulous four days in Bretagne, on the north-west coast of France, with 57 passionate Playbackers from all over Europe, as well as some representatives from the Asia-Pacific region. The gathering was hosted by Playback Paris, who had also recently started a group in Bretagne, and was facilitated by Yves Postic, Nicole Coquin and Genevieve Lambert.

My journey to this Playback event started in the South of France where I met Andras Zankay from Hungary and we travelled by car across France to the beautiful seaside village of Plougasnou. I had met Andrez 6 years before at the York conference, and although we hadn’t seen each other since then, our friendship was cemented through our Playback connection, our stories, and as with many Playback friends, a depth of honesty which immediately connects to the heart. Our scenic drive was with much anticipation of what lay ahead at Plougasnou. We felt like we were driving to the edge of the world, and got very excited when we saw the sea and knew we were close. The sun was setting as we arrived, and we walked into a busy dining room to cheers of welcome, faces full of smiles and sparkling eyes. I looked across this sea of people and saw many familiar faces from York and from UK and France workshops, who I rushed to hug, as well as many new Playback faces. It felt like I was being welcomed home. I was excited and ready to play!

Following dinner, we all gathered in le chapiteau (a circus tent) which was to become our performance area, where we were welcomed by the local community with traditional Breton songs, musicians and dancing. It did not take long for many of us to join in to learn the traditional Breton rhythms and dances lead by local people from the village. It was then time to meet each other, as we stood forward in a large circle to introduce ourselves. This is always a part which I love as it is the first time one is seen and heard by everyone, and I recognised so many more people that I knew, once I heard them speak and found out where they were from. I also love hearing how Playback has grown and the number of companies which have been sown which I don’t know about. Representatives at the gathering were from France, Germany, the Netherlands, Italy, Greece, Hungary, Russia, Denmark, England, Ireland, Hong Kong, Australia, and New Zealand. Many people were from the same company, with some companies from the Netherlands and Italy bringing their whole company.

Over the 3 days, we feasted on a delicious smorgasbord of workshops and were spoilt for choice. I always find it difficult to choose at Playback events, but I am learning to trust that I will be in the workshop I need to be in, and will always learn something. This was proven when I tried to change from a workshop that did not feel right at the time, and yet within minutes of being there I was singing with tears flowing, as I connected with knowing I was in the right place.

After an intensive first day of learning and meeting so many new people, it was a wonderful treat to go on a boat trip into the harbour, organized by Yves. The wind swept the heaviness of discussion and debate away from our various workshops, and left only wisps of wisdom on our salty smiling faces and gleaming eyes. On the boat, we talked animatedly about our different experiences in the workshops, and our reflections from these. It was during a conversation with Jurgen from Germany, Andrez from Hungary and myself, that I decided it would be great to publicly record some of these reflections, to stimulate further learning and reflection. I suggested the idea of a graffiti wall in the dining room, for people to write their ideas, questions and wonderings about their experiences of the gathering. I also thought it would be good to record to stimulate debate amongst the Playback community through Interplay.

For me, it is in these conversations that I learn so much about what is Playback for me, from sharing my opinions and listening to other perspectives and experiences. I’m sure by reading some of these comments, you will make connections to your own experiences of Playback gatherings, when your heart has been touched and your mind stimulated by questions and wonderings.

Graffiti Wall

Welcome on this EVE-ing, so I am Yves, your welcoming man on this conference.
Playback … thank you that you exist all over the world
It is more important to be authentic than to be realistic Yes, and Vive le Kun Fu interieur!
Merci a tous et Merci Joseph pour l’atelier reves. Bisous
C’est peut etre parce que nous sommes tous si proches et pourtant differents que nous nous aimons tant – Annie
Per chi il playback? Perche il Playback?
Tout le monde dit “I love you” Celine
It makes me happy to be really in contact with people I hardly know. Playback can create that, if actors and conductor are not afraid of emotions, are not afraid to look stupid, are free from prejudices, are enjoying themeselves, are in contact with each other, are authentic. (Wendela) With love and a heart full of gratefulness and inspiration I leave here, thanks, thanks, thanks
In me there are stories of light and shadow
Where but here; can we make mistakes and learn from them. However lets be conscious ( and therefore careful) about criticism and feedback. Spontaneity and creativity taking risks can be so easily and seriously wounded.
Everytime they serve the food, their eyes smile.
Au detour de chaque chemin, Dans le regard de chacun, Il y a le reve et la poesie, Et chaque ver de terre peut devenir une galaxie, C’est pour ca que j’aime Playback, C’est pas dans l’air du temps Yolande
I feel connected to the sea, I feel grounded to the earth, I feel at one with the world. Thank you for loving me, holding me and listening to my stories Sinead Moloney
Breath Art – Playback – 4th Dimension – K.J.S
What a nice idea that anxious dreams should be played very big, in extremes you can only imagine from your dreams (Gerben after Joseph’s workshop).
D’etre recu si chaleureuse et pouvoir communiquer par le Playback avec le village Breton sur un plan tres human, on a enui beaucoup
Playback = finding my roots = coming home = here and now, ici and maintenant
Il n’y a pas de MUR dans Playback mais c’est un songe eveille. “Come my Lord and in our flight, tell me how it came this night, that I sleeping here was found, with these mortals on the ground” A nous revoir et play again, Catherine
Playback needs rituals. But how far can you stretch them? Can we improvise with rituals in a performance? Wim
That was the best Playback meeting I have ever participated in, Big Thanks, Jozsef Paradi, Hungary
Sur scene, quand il faut faire un choix visuel: faut-il privilegier le narateur ou le public? Caroline Jusqu’ou peux s’etenohe Playback Theatre sans perdre son identite – peut-il etre un are-therapie? Et s’annoncer comme tel? Caroline Taking the “Motif” from music theory for musical fluids was important for me. Peter Authentic not realistic, Connecting not teaching.
Thank you deeply from my heart for so wonderful heart lessons that I got here, and for the ‘delicate warmth’ that I enjoyed, Congratulations, Love Petros
This has been three days of story, body, languages, noise, the most delicious food served by the wonderful Postic family and friends, in a house of colour and mosaic, a hay-smelling tent, surrounded by the blue Breton sky, the sea, and the green of grass and pine. Genial!
I love you. Jean Claude (With a picture of a snail)
Playback gatherings are great mirrors for our Playback work; to celebrate what we know to be Playback … but sometimes we don’t like what we see in the mirror…. or we are too critical of it … we must keep loving ourselves despite our scars, wrinkles, different eyes and the light from which Playback has shone in our lives, through our many mirrors. (Davina)
The above comment I wrote on the wall towards the end of the gathering. It was following a performance the night before with Robyn Weir, Veronica Needa, Heather Robb, Yves Postic and Sinead Maloney – a group of experienced Playbackers who were keen to play and perform together. We shared the evening performance with another experienced company Draad, from Holland. Our Playback work was very different, and I found myself being very precious about my style of Playback compared with theirs. I know that the juxtaposition of both styles stimulated much discussion amongst people afterwards, regarding common rituals and artistic intentions.
Such conversations I see as the core to Playback gatherings, to enable us to affirm our own practice yet also be challenged and inspired by others. Talking with Keesjan, a member of Draad about our own ways of learning and performing Playback, helped me to appreciate the different ways in which Playback is continually evolving throughout the world. I suggested our performance style was the classic car of Playback, compared with the contemporary racing car of Draad, and can see a place and a need for both in the world of Playback. Our conversation helped me clarify my own practice and appreciate my classic training from Bev Hosking in New Zealand, but to remain open to new ways of doing Playback, and allow my practice evolve. It also made me conscious of how critical I can be about what I believe to be good Playback, at the expense of really appreciating difference. My belief is there is no ONE way to do it, but there needs to be some common threads.
So much depends on how and where the light of Playback has shone in our lives, from which angle or perspective we have been introduced to it. I am always amazed at how different mirrors give me different perspectives on myself, depending on where the light is shining from and where it is being reflected. I really enjoy going to Playback gatherings to help shine new light on my practice and passion for it. As I said, for me Playback friendships have a depth of honesty which immediately connects to the heart, and so my hope is that through these gatherings we will continue to share deeply and honestly with others to connect to the heart of what Playback is, why we do it, and what we receive in return.
Merci Beaucoup Playback Paris for a truly wonderful gathering filled with love, laughter, learning and delicious food to nourish our bodies minds and spirits. May this dream that was realized by Yves and his dynamic company, inspire many more to follow.

In celebration of the life and work of Francis Batten.

January 2006

Francis was born in Bath, Somerset on 12th January 1940. He died on Tuesday 17th January 2006 in Auckland. New Zealand. The breadth and depth of his creative magnitude are appreciated around the globe. In 2005 he received a Lifetime Achievement Award from the British Psychodrama Association in recognition of the extensive contribution he has made in the fields of psychodrama, sociodrama, playback theatre and creative community theatre around the world. He died wearing his purple Community Playback Company t-shirt.

Towards the end of his life he was confronted and challenged by health issues to which he responded with courage, great dignity and grace. Francis was energised by the extent of healing wishes that he received from around the world. He deeply appreciated the love and support offered and shared. Though he was not able to respond as fully as he would have liked, he greatly enjoyed feeling connected and loved.

Francis will be honoured and celebrated by his family and friends on Sunday 22nd January, by and on the water of Auckland Harbour. Further celebration of his life is planned in the UK later in the year.

Your Country is Calling - Umesh PN

December 2004

Umesh talks about the idea of a monthly charity performance.

Ask not what your country can do for you, ask what you can do for your country, said an American president once, and truer words were never spoken. In this day and age of instant communication and gratification, we hardly ever spare a thought for anyone else, and the country is but a vague and fuzzy image to us, a faded tri-color trying to make its presence felt in the maze of grab-your-money-and-get-out-quick philosophy. This mode of knee-jerk living has caused us a lot of misery, but still the Piper is playing, you know, and the river wants more victims. Our streams of consciousness are becoming narrower by the day, and we are not aware of any societal needs any more. However every age throws up its own set of positive people who want to connect and bridge the gap, and practitioners of Playback Theatre are aiming to just that.

Playback Theatre is a theatre of the community and aims to reflect and voice the common man’s thought and experiences. It provides a fabulously responsive forum for people of diverse backgrounds to meet and share their points-of- view. It caters to the societal need of having to connect with others, the need for sharing and the need to be a Voice.

Robert Kiyosaki, the great finance guru, once said the way to bridge the Great Divide between the rich and the poor is to get the rich to see how the poor live and get the poor to see how the rich work. The Playback Theatre Company aims to span the divide and channel the flow from the rich to the needy, the Voice and the Mute, the haves to the have-nots.

Starting August 15th, every Second Saturday there will be performances dedicated to the Nation- NGOs, old age homes, orphanages, charitable organizations and people who want to find a voice to have their say. This process of having a charity performance has been a low-key affair for the past three months. Every one who graduates a Playback Theatre workshop will be part of the performing process. So every month it is a set of new faces, lit with enthusiasm and the drive to make a difference, who will perform along with those who have taken Playback Theatre as a full time cause. The river of the movement is constantly being injected with fresh clean water. The river is constantly growing. If you are an NGO/charitable organization wanting a performance let us know and we’ll be there to Listen and Reflect. As for you, the individual who wants to contribute, your Country is Calling…

The Playback Theatre Comapny. Bangalore, India Home205@vsnl.com

Greetings to you from Singapore, Asia - Agnes Law

December 2004

As a playback enthusiast, I look forward to every opportunity to connect with playbackers from around the world. Opportunities such as attending the School in New Zealand; New York as well as conferences in Japan and the like are always unforgettable. These often give me new hope and strengthen my passion in doing Playback as I immerse myself in learning playback and doing performances with other playbackers.

Year 2005, to me, appears to be a time of bonding and connections. I have read several notices of playback gatherings from different countries in the coming year. Perhaps I should term it as playback ‘fever’.

It is, thus, my pleasure to invite you to join us in our Asian Playback Gathering which will take place from 5th August to 9th August 2005 in Singapore. If you are a playbacker in Asia or have been involved/are currently doing playback work in Asia, we would like to invite you to our sunny island for a time of connection and exchanges. We are also looking for workshop facilitators and forum speakers who would like to share about their interest and/or area of playback work in Asia. Please write to me at agneslaw@fycs.org regarding your interest or any enquiries. Further details will be posted soon.

Blessings, Agnes Law. Tapestry Playback Theatre, Singapore

Playback Theatre Jam hosted by True Story Theater, Arlington, Massachusetts

October, 2004

Notes by Lorraine (with a few edits by Christopher, Jen, and Juliette)

Twenty-one Playback Theatre troupe members or practitioners from Vermont, Seattle, Baltimore, New York, Rhode Island and Massachusetts got together to exchange ideas, workshop and give a public performance. A few people arrived Friday night to hang out and get to know each other and a few others stayed Sunday morning and talked more, but Saturday was our big (twelve-hour!) day for workshops, idea exchange, culminating in a performance entitled "Love Knots."

Members from different troupes led hour-long skill building sessions (described below), which focused on: sociometry, gesture and physical animation, bringing the positive and negative together, cross-cultural issues, and freeing the voice.

Jen Kristel, from Vermont, led us in a few sociometric exercises. Sociometry is often used to help look at and support group process- True Story Theater uses "sociometry" on retreats or when beginning work with a new group to break the ice so the group can quickly learn about itself. Jen had us create an imaginary geographical map putting our bodies on the map. It gave us a quick sense of who belonged to which Playback group, how big the groups were and how far we lived from each other. Next, Christopher had us stand on a line that represented a continuum from one to twenty plus years of experience doing Playback. Christopher called out other categories of experience - comfort with singing, comfort with dancing - and we re-arranged ourselves on the spectrum from very comfortable to scared stiff. The first workshop was on gesture and physical animation, led by Bryce Butler from Baltimore. In Bryce's first exercise, we worked in pairs - one person active, the other witnessing. The active person communicated a short personal story with gestures only, and with the possibility of sound. The next challenge was for the active person to boil the story down to only three gestures, ending with a single gesture to convey the essence of the story. Some witnesses gave feedback. As a group we discussed variations to explore - literal pantomime contrasted with abstract; a tableau gesture that represents one moment in contrast to a fluid gesture that combines two or more moments from a story; striking a pose contrasted with a moving gesture; and small gestures contrasted with full body expressions. Bryce also encouraged us to use sound to intensify the meaning of the gesture. We changed partners to practice a modification with a teller and actor. The teller told a story, the actor played back the story physically - first in an open way, next boiling it down to three gestures, then finally giving one gesture to represent the whole story. Many thanks to Bryce for challenging our ability to physically convey information and feeling, and to increase our skill at finding the essence of a story. Randy Mulder from Village Playback in New York brought his experience as a drama therapist to bear in our next workshop session. To promote trust, depth and connection as we listen and enact stories, Randy finds it helpful to provide some rehearsal time where troupe members can get in touch with their own stories about performing. It's useful to contact the positive and negative voices we carry around (not always consciously) inside. We each took a piece of paper and drew a line horizontally across the middle. Along this line we placed, in chronological order, those experiences we felt were important to our development as performers and artists, giving particular attention to early experiences. Above the line we placed positive experiences, and below the line, negative experiences. Randy also gave us lots of room to interpret the exercise as we wanted. Several people said they hadn't thought about these events for a long time. One person remarked how none of her experiences in the arts were negative. Others said particular events carried both positive and negative feelings or consequences.

Next, we told stories based on what we'd written and they were played back in pairs. Randy added an interesting twist - whereas usually a pair plays back the feelings of one teller, Randy had the pair play back the feelings of two tellers. One teller gave a positive experience while the other teller recounted a negative experience. One person in the pair did a physical and vocal "essence" of the positive experience, while the other person in the pair gave the essence of the negative experience. Randy's workshop ended with a further expansion of this technique. A member of True Story, Jonathan, told a story from his childhood that had both positive and negative components and was significant in his development as a performer. Randy selected three people to play this story back in a special way. The three began by standing side-by-side. Randy asked the person in the middle to introduce herself as though she were Jonathan introducing himself to the troupe for the first time, as a new member. In concert with this, the person to the right would represent Jonathan's negative experience reported in his story while the person on the right would represent the positive side of the experience. We were encouraged to sometimes use the option of having the protagonist shift between talking to the audience ("Hello, I'm Jonathan.") to talking directly to one of his internal selves ("Shut-up, you!" Or "I'm so glad you're here - you're wonderful.") This exercise opened up the possibility of playing different aspects of the same person simultaneously, using more than one person to play the teller. This technique was echoed to some extent during our performance that evening. In playing back one story, we represented the teller's mother and father. The mother and father stayed alongside the protagonist the entire time, sometimes speaking and playing out the protagonist's imagination.

After lunch we were treated by Jen Kristel to a slide show about her Playback work in Bangladesh. The slides showed scenes from a training she conducted in this country beset with obvious poverty. In her talk, Jen gave us her strong impressions of participants who were eager and grateful learners, and of the many cultural differences she dealt with. For example, she found the women she worked with very quiet and subdued in their vocal expressions of personal emotion. Bangladeshi culture is influenced by highly stylized and developed theatrical art forms that express emotion and story, but, traditionally, there is less attention given to individual or personal expressiveness. Also, gender roles are quite resticted along cultural norms-In general, it seemed people were psychologically oriented toward group norms more than to the individual experience. So, asking people to tell individual stories and report their feelings was out of the ordinary. With practice, however, it became increasingly welcome and fun. Also, because touching was normally taboo between men and women, Jen found it helpful to label or otherwise bracket ways of making physical contact. For example, toward the end of the training, she could ask a man for "an American hug" or people could touch each other with the understanding as trust of the process, and of each other, through sociometry, playback theatre and other dramatic exercises, had helped to break down some of the barriers. It was Jen's intention to suggest possibilities to assist this group in finding their own cultural version of Playback which she assumes and desires for it to take on a Bengali style of its own.

Next, in our jam-packed day, Maria from True Story Theater led a workshop on singing and vocal expression. We started in a circle, all contributing to a steady a cappella-and-clap beat with the words "Playback Jam" as the base phrase. With that going, we added a call and response, individuals singing out where they were born. After this warm-up we formed two lines facing each other - a continuum from the bass to the soprano. Maria, at the head of the lines, sang out a musical phrase which we repeated two at a time, using the pitch that felt most securely in our comfort zone. The phrase traveled up the line, as though up a keyboard.

Next, we closed our eyes as Maria said an emotional phrase - such as "That was awesome!" or "I'm sorry." We took a moment to let the words and emotion resonate within our bodies and minds and then vocalized the sound or phrase which bubbled up in us. We further practiced sounding from a non-judgmental "authentic" place by sitting in a circle, focussing inward, and responding vocally, three people at a time, when Maria sounded a gong. Maria pointed out that earlier in the day some of us said we were scared of vocalizing and that now everyone seemed pretty much on equal and relaxed footing. Maria emphasized the importance of letting your own responsive voice come through rather than making your voice conform to some ideal. In concluding this part of the day, we all stood together in a circle, making long resonant, satisfying, beautiful tones together, producing both familiar and strange harmonies. Towards the end of our workshop day, we held a discussion identifying things we'd like to investigate further. Of particular interest were: How to be quick and concise while also conveying depth and subtlety; more ideas for openings and closings; and conducting skills. We reminded ourselves of the importance of stillness and listening. In the little time we had left, we ran through some structures for openings and closings, notably "Walkabout," "Accumulation," "Ask Me a Question," and "Once Upon a Time." Sometimes troupes will begin or end with a song. It was wonderful to meet new Playbackers. It's great to share a vocabulary, share the intention of doing Playback well, and to share ideas, methods and experiences. All of the work we did brought us to a deeper level of connection.

We gave a public performance with the theme "Love Knots, - those that bond us, those that bind us." We found people a little reticent to share current stories, perhaps because it was such a small audience with more performers than audience members. They were mostly comfortable sharing stories about childhood - love for a pet, crush on a classmate. One of our own troop members told a story about divorce. We practiced a new beginning and a new closing. It was powerful to see so many people on stage at the same time.

Our group felt incredibly energized by being together for this Playback Jam and are eagerly looking forward to doing it again!

Head of the Meadow: a teller's reflection - Elise Gold

February 2004

For months I had been haunted with the image of nearly losing my precious daughter to the powerful ocean waters at Head of the Meadow Beach on Cape Cod. My obsessions with the event and how I failed to be there in my role of mother made it hard to live with myself. Where was Maya who was playing in the sand under foot a moment ago? Where was I when she needed me most? I was not successful in protecting my almost three year old girl. Though it probably was only a matter of seconds, time took on a different element. The seconds felt as if they were drawn out, lasting an eternity. In the end, Maya was safe. A woman noticed Maya going under water and her husband, the man in the red fleece jacket ran in to rescue her. He walked out of the water with Maya in his arms, raging at her irresponsible parents. Maya was quite shaken. I wrapped my little girl in a towel and together, we lay down on the sand breathing deeply.

Life took on another meaning. Though I was extremely grateful that the story ultimately had a “happy” ending, I didn’t recover so easily. At night I was sleepless and days found me fragile. I could barely speak about it with anyone, as I found it impossible to accept myself. How would others judge me? I lived in shame.

Somewhere inside of me, I knew that my story had to be told. I’ve been a Playback Theatre enthusiast for decades. Hudson River Playback Theatre was the proper venue. I had not told a story at a Playback show for seven years, but this night, I was driven to do so. There was a modest crowd. I knew that whoever was in the audience was meant to be there. I was not warmed up to tell the first story of the night. The theme of that particular evening had to do with the “helping role”. Though the man in the red fleece served as a helper, the story was not about him. My hand rose for the second story, but someone else’s hand was much more obvious to the conductor, Jo Salas, than mine. Finally, the teller of the last story of the evening was about to be selected. This was it. I was chosen.

Tears started rolling before I was able to get out one word. With Jo’s sensitive guidance, we made it through the interview stage, of hearing my story. In this moment of sharing, I felt that healing had begun. I remember taking much time in choosing each of the actors. When my story of that daunting afternoon at Head of the Meadow was played back, I felt that again that time slowed down. The actors masterfully captured the essence through metaphor, motion, and music. I was watching the scene and I was in it at the same time. While witnessing others re-enacting the drama, I did not feel quite as critical of myself. Layers of shame began to peel. My awareness of not being able to be in control began to filter in.

The scene ended, but the evening did not. I went back to my seat; my husband embraced me and told me that there was not a dry eye in the house. I felt as if I were in an altered state. And this is where the healing really took shape. One by one, audience members came up to me to share their stories. A father recalled losing his toddler for a moment at Disney World. An aunt shared of a time that her nephew ran out of a department store onto a crowded street. The “teller’s actor” nearly lost her son to powerful ocean riptides (unbeknownst to me as I was choosing the actors). Another mom knew Head of the Meadow well, and empathized. A cancer survivor related how he too has come to realize what little control of life he has.

Yes, telling my story was a turning point. Witnessing the enactment was indeed cathartic. But it was in the connecting with others that for me, magic happened. Yes, my story is unique, but we all share many similar experiences and emotions. To realize that I am not alone was such a gift! Playback Theatre is an incredibly powerful tool. It is a true expression of using the arts as a healing modality in community. I sleep much better now, I feel more positive about myself while awake. I am accepting my strengths and limitations as mother; therefore, my relationship to my children and life in general is shifting. I offer deep appreciation to Hudson River Playback Theatre for being available in helping me along my path and as a source of bringing community together.

A tribute to the playback theatre community worldwide - Ann Hale

September 2004

I am writing to congratulate the Playback Theater community worldwide for their phenomenal success in generating interest in their form of non-scripted theater and improvisational work with communities. If you "google" the internet and type in Psychodrama you get 126,000 possible entries. If you type in Playback Theater you get 418,000 hits. Their newsletter Interplay is online and offers translations in German and Japanese for many of the articles. Playback Theater companies show up all over the globe. It is exciting to think of the beginnings with Jonathan Fox and the Original Playback Theater company which had their first performances in Beacon, NY and then Poughkeepsie. Now the School of Playback Theater operates from New Paltz, NY with classes taught in a number of countries.

I believe part of their success is their emphasis on a practice which captures the essence of a person or groups story in a very respectful way and then offers an aesthetic and artistic response, elevating and uniting people in a place where the heart matters most. Psychodrama does this as well however we can get consumed with "fixing people" or looking for what is missing, or being therapeutic. Playback trusts in the strengths of communities to share their wisdom, to heal with stories, and accept offers from unlikely places.

In 2005 Playback Theater will celebrate 30 years. I salute all of you, and especially Jonathan Fox and Jo Salas.