Toolkit_Final

Safeguarding

Linguistic

Diversity

A Handbook for Theatres

Performing in Regional and

Minority Languages

Safeguarding

Linguistic

Diversity

A Handbook for Theatres

Performing in Regional and

Minority Languages

3

Table of Content

A Map of all phōnē Theatre Partners and their Languages

What is phōnē?

Regional and Minority Languages in phōnē and their Theatres

Yiddish and Teatrul Evreiesc de Stat (RO)

Frisian and Tryater (NL)

Breton and Teatr Piba (FR)

Galician and Centro Dramático Galego (ES)

Irish and Fíbín (IE)

Ladin and Stadttheater Bruneck (IT)

Kven and Kvääniteatteri (NO)

Sorbian and Deutsch-Sorbisches Volkstheater Bautzen (DE)

Empowerment of Artists

Writers and their Plays

King of the Klezmers by Daniel Galay

Fanfare by Wessel de Vries

Bastard by Christophe Le Menn

Calígula by Iaco Rigo

Hercy – On the Far Side of the Moon by Lubina Hajduk-Veljkovićowa

The Grey Man by Philip Doherty

Let the Little Children Come to Me by Inger Birkelund

Acts and Prophecies by Xacio Baño & Tamara Canosa

6

8

12

14

16

18

20

22

24

26

28

30

32

36

40

44

48

52

56

60

Community Theatre Directors about their Projects

The Perfect Passover Dinner - Liat Farris Twaina

Untracked Trail - Mona Caroff

The Last Word - Romke Gabe Draaijer

The Club of the Secret Sorbs - Georg Genoux

The Heart in the Mouth - Rafael Rey Domech

The Tree of Words - Brendan Murray

Wonders - Nadia Rungger

Annijoki - Sara Lindbach

A Week of Community Theatre in South Tyrol

Conference in Bautzen (DE)

Indigenous Cultures in Theatre and their Political Challenges

Loko Lipscomp – Hawaain

Maitland Schnaars – Noongar

Rebecca Duncan – Squamish

Kusunda – a virtual reality experience

Evaluation of phōnē

Network for World's Languages in Danger

Imprint

Partners of phōnē

70

72

74

76

78

80

82

84

86

88

94

98

100

102

104

106

112

114

115

I Hear You in My Dreams – Documentary by Murk-Jaep van der Schaaf

65

Writers Residencies - Experiences of Exchanges

66

4 5

6 7

What

is

phōnē? *

phōnē [fс'ni] – Ancient Greek for Voice

c

This book serves as a hybrid handbook

presenting the main results of the phōnē

project.

phōnē, a three-year collaboration (June

2022 – March 2025) co-funded by the

European Union, brought together eight

European theatres working in Regional

and Minority Languages (RML). At various

stages, phōnē connected professional

theatre makers and community members

across linguistic and cultural boundaries

in creative processes.

The publication of

phōnē's project

achievements

represents an

important contribution

to safeguarding

linguistic

diversity in Europe.

UNESCO identifies

five degrees of language

endangerment, primarily based

on the intergenerational transmission

of language—one of the key indicators of

linguistic vitality (UNESCO, 2003). Globally,

at least 43% of spoken languages are

currently endangered, highlighting the

urgent need for preservation efforts.

Over the past 200 years, the history of

many minority languages has been marked

by suppression. With the rise of nation-states,

these languages have frequently

been discriminated against, restricted,

and even banned, while their speakers

have often been silenced.

"phōnē gives endangered

languages a voice, a stage,

and a platform."

Regions where Regional and Minority

Languages are spoken tend to be bilingual,

but the proportion of bilingual

speakers varies significantly. The higher

the proportion of speakers, the more

stable the language remains.

All project partners share a common

challenge: their languages are classified

as endangered according to UNESCO’s

World Atlas of Languages in Danger.

phōnē marks the first major

international collaboration

between

theatres working in

Regional and Minority

Languages.

The project has

actively contributed

to the revitalisation

of endangered RMLs by

providing them with a voice, a

stage, and a platform for exchange.

To ensure the survival of endangered

languages and their cultural expressions,

it is crucial to successfully pass them on

to future generations. The project focuses

on bridging generations, targeting both

young people—whose connection to

RMLs may not yet be firmly established—and

elderly speakers, who serve

as key bearers of linguistic and cultural

heritage. Through intergenerational collaboration,

young people, together with

their parents’ or grandparents’ generation

and RML-speaking communities, have

8 9

developed creative forms of expression.

Under the leitmotif Tradition in Modernity,

they tell the stories of their communities—ensuring

that these languages and

cultures remain vibrant and alive.

Our 8 partner theatres from Norway

(Kven, Kvääniteatteri), Germany (Sorbian,

DSVTh Bautzen), the Netherlands

(Frisian, Tryater), Ireland (Irish, Fíbín),

France (Breton, Teatr Piba), Spain (Galician,

CDG), Italy (Ladin, Stadttheater

Bruneck) and Romania (Yiddish, TES)

worked artistically for, with and about

their communities in their RMLs for

three years.

They were supported by our two university

partners, who contributed their specialised

expertise. The Institute for Sorbian

Studies at the University of Leipzig (DE)

supported direct translations between

minority languages, enhancing linguistic

diversity.

The Research Centre for Arts &

Society at the University of

Groningen (NL) evaluated

the project's artistic

research. Using creativity

as a catalyst for social

change, they foster interdisciplinary

collaboration

between researchers,

artists, and social partners,

reinforcing theatre’s

transformative power in

multilingual contexts.

All partner theatres worked for the

communities: Professional playwrights

were invited to write eight contemporary

plays, which led to professional

productions staged at each theatre. The

playwrights shared their knowledge in

workshops and residencies whilst also

learning new methods of biographical

and documentary writing.

During the International Theatre Nights,

two excerpts from these productions traveled

to a partner theatre, allowing three

RMLs to be heard in one single evening.

With and about the communities:

At the same time eight intergenerational

Community Theatre productions with

non-professional actors were developed

at each partner theatre and opened up

new formats, venues (site specific) and

digital media (podcasts & vodcasts – see

https://rml-theatre-voices.eu).

The major multilingual co-creation

Together at the creative week in the small

Ladin-speaking village in South Tyrol

(IT) was one of the highlights

of our project. Forty

non-professional

and professional

Community Theatre

enthusiasts,

aged between 10

and 74, gathered

from across Europe

to collaborate and explore

the importance of

Community Theatre work

and its potential for revitalising

"Theatre is a vital

force in protecting

linguistic and

cultural diversity."

and protecting languages through theatrical

expression.

Another project highlight was the conference

held in Bautzen (DE) in June 2023.

Over 15 languages from around the world

resonated on stage, accompanied by an

array of thought-provoking discussions.

Topics ranged from indigenous cultures

in theatre and their political challenges

to the diverse landscape of Regional and

Minority Language (RML) theatre in

Europe.

One of the most significant outcomes of

the conference was the establishment of

a global theatre network for endangered

languages, addressing a long-standing gap

in the theatrical landscape. Participants

engaged in workshops on themes such

as tradition vs. modernity, minority vs.

majority cultures, and the relationship

between language, culture, and landscape.

These discussions laid the foundation for

a sustainable platform advocating for

RML theatre worldwide.

So far, there is no national or international

lobby for theatres working in their

Regional and Minority Languages. The

network for RML theatres will provide a

much-needed platform for collaboration,

visibility, advocacy, cultural exchange,

and language preservation, with clear

action points guiding its development and

impact.

Through this initiative, we celebrate

artistic innovation, foster intercultural

dialogue, and strengthen the role of theatre

as a vital force in protecting linguistic

and cultural diversity across Europe and

beyond.

This book invites readers on a journey to

explore the power of storytelling across

languages and borders, showcasing the efforts

of artists to revitalise their languages

through creativity in theatre.

10 11

CITY: Bucharest (RO)

NUMBER OF SPEAKERS: Unknown

THEATRE: Teatrul Evreiesc de Stat

Yiddish proverb

» Az der vurem zitst in

khreyn, meynt er az es iz

keyn zisers nishtu«

When a worm sits in horseradish, it thinks there's nothing sweeter

THE LANGUAGE: Yiddish means “Jewish” in the language itself. For centuries, it

had various names, but “Yiddish” became standard in the mid-19th century as Jewish

immigrants arrived in England and later in the U.S. Before the Holocaust, Yiddish was

the main Jewish vernacular, connecting Jews worldwide. Its press spanned continents,

keeping communities informed. Despite the war’s devastation, Yiddish remains an

international language, mainly spoken today by Hasidim and Haredim, with up to one

million speakers in the U.S., Canada, Europe, and Israel.

Yiddish is, above all, a paradigmatic Jewish language - an insider’s way to communicate

about everyday life. Since speaking to or about God was reserved for Hebrew, Yiddish

became the voice of the people. It is sarcastic yet joyful, dark yet full of vigour, always

pervaded by hope. In Yiddish, survivor stories carry both pathos and faith in the future,

with humour triumphing over hardship. Spoken across Europe, it absorbed words from

every area of Jewish life, making it a language of resilience, unity, and history.

Marienbad by Sholem Aleichem, directed by Andrei Munteanu

TEATRUL EVREIESC DE STAT (TES)

in Bucharest carries on the legacy of the

first professional Jewish theatre in the

world. The institution preserves and

celebrates the Yiddish cultural heritage

and language, a profound symbol of

identity and community for the Jewish

people. The TES building, located in the

heart of the former Jewish quarter in

Bucharest, was inaugurated in its current

form in 1954. Over the decades, TES

has sustained its activity and has staged

more than 200 premieres and gained

international recognition through tours

across the United States, Canada, Israel,

Russia, Switzerland, France, Greece, and

Germany. Additionally, it has organised

and hosted several festivals, including

the first International Festival of Yiddish

Culture in Europe (2003). As a cultural

landmark both in Romania and internationally,

TES continues to preserve

Yiddish theatre through performances

and global tours.

12

13

CITY: Leeuwarden (NL)

SPEAKERS: 400.000

THEATRE: Tryater

Frisian proverb

» It is mei sizzen net te dwaan«

You don’t achieve anything by just talking about it

The Tryater company in Leeuwarden, Friesland

THE LANGUAGE: The Frisian language

is used by around 400.000 speakers.

It’s the second national language of The

Netherlands and therefore the speakers

have the right to use it also in several

official occasions. In primary schools in

Friesland the language is taught, mostly

orally and many times also in writing.

Yet, most Frisians use it mostly as a spoken

language and find it hard to write or

even read it.

Culturally, the language situation is quite

healthy: there’s an official dictionary,

there’s a popular TV and radio station

broadcasting only in the Frisian language,

a lot of Frisian books are published every

year and the language can be heard all

year round in several theatre plays, be

it amateur of professional like those of

Tryater. There are several funds to help

produce outings in Frisian. In general

however, the use of Dutch seems to be

automatically dominant.

TRYATER is a multilingual theatre company in the Netherlands. The Frisian language

has an evident place in our productions. We put on approximately 235 performances a

year for some 23.000 children, youth and adults.

We produce large and small-scale on-location theatre in places where communities

come together: from open-air swimming pools to schools and squares. The community

is our source, our fellow player, and our mirror. We bring together different people

and perspectives, regardless of generation, culture and social background. Hereby, we

create new, powerful stories that connect people.

Our artistic team is diverse. We continually create space for talent in order to ensure

that there is a new generation of Frisian or Frisian speaking theatre creators. We do

this through our own talent development programmes and through collaborations

with fellow organisations.

Founded in 1965, Tryater has a rich history in providing theatre in Friesland. Our

operational management aims to create a sustainable future. Our scope is bigger than

just Friesland. From our unique regional position, we go out into the world.

14 15

Breton proverb

CITY: Brest (FR)

SPEAKERS: 105.000

THEATRE: Teatr Piba

» Da bep labous e gan,

da bep pobl he yezh«

To all birds theirs songs, to all people their language

TEATR PIBA is a company founded in 2009, based in Brest (Brittany – France). Its

creation is the result of a series of encounters and collaborations among artists whose

intersecting paths and shared experiences led them to a common desire: to create composite,

multilingual - in Breton in French, in French Sign Language etc., contemporary,

and travel-inspired works. Here, time is taken to explore and construct narratives

through empiricism: Teatr Piba aims to embody a ‘theatre of experiences’.

The company is committed to artistic and theatrical creation, placing great importance

on the writing of the least heard voices: marginalised languages, the margins, and

consequently, the question of ‘diversities’ in creation. By making multilingualism a

poetic writing challenge as well as a technological one, the company seeks to continually

reinvent a space conducive to fruitful encounters between artists and audiences.

Since its inception, Teatr Piba has focused on developing transnational and/or transdisciplinary

cooperation projects, advocating for long-term engagement, meandering,

decentralisation, and alternatives. It is therefore quite natural that the company has

joined the European phōnē project.

Merch Yr Eog, 2016,

Teatr Piba - Theatr Genedlaethol Cymru

THE LANGUAGE: The Breton language,

a Celtic language spoken primarily in

Brittany, is a fundamental element of the

cultural identity of this region. According

to the latest data, the number of

Breton speakers is approximately 105.000

today.

The Breton language underwent a major

decline during the 20th century, largely

as a result of linguistic assimilation

policies, globalisation and the domination

of French. However, revitalisation

efforts have been undertaken, particularly

through bilingual education, culture

and media in Breton. Breton language

immersion schools are attracting more

and more families who want to pass on

this language to their children.

Cultural initiatives, including theatrical

productions, also help to promote the

language. Despite the challenges, the

Breton language is regaining a place in

modern society, supported by a new

generation of learners and activists.

16 17

CITY: Santiago de Compostela (ES)

SPEAKERS: 2.000.000

THEATRE: Centro Dramático Galego

As oito da tarde cando morren as nais author: Avelina Pérez, director: Marta Pazos

Galician proverb

» O falar non ten cancelas«

Talking has no gates: saying has no brake

THE LANGUAGE: Galician is a Romance language—closely related to others such as

Portuguese, Spanish, Catalan, Italian, French, and Romanian—that originated in the

northwest of the Iberian Peninsula around 2,000 years ago and continues to be, today,

the language of a large part of Galicia’s population.

Of the approximately 2.800.000 registered inhabitants of Galicia, around 2.000.000 are

able to use Galician regularly. Likewise, the presence of Galician extends across the

entire territory, with no areas where it is not spoken.

Galician, along with Spanish, is the official language of Galicia and is present in all

areas of society. Although it is in a relatively strong position compared to other minority

languages, the commitment of society as a whole is essential for its preservation

and transmission.

THE CENTRO DRAMÁTICO GALEGO

(CDG) is the public theatre company of

Galicia, created in 1984 with the aim of

promoting and revitalising the Galician

theatre scene. As part of the Xunta de

Galicia (Galician government), its work

focuses on the production, dissemination,

and preservation of theatrical heritage,

always emphasising quality and artistic

innovation.

Its main headquarter is located at the

Salón Teatro in Santiago de Compostela,

from where it promotes large-scale theatrical

productions, based on both classical

works and contemporary texts, from

Galician and universal authors. Additionally,

the CDG works closely with companies,

playwrights, and professionals

in the sector, fostering co-productions,

training programs, and initiatives that

seek to bring theatre closer to society.

Throughout its history, it has established

itself as a key reference in the Galician

theatre scene, bringing its productions

to stages both within and outside the

region. Its commitment to the Galician

language and cultural identity is reflected

in each of its creations, ensuring diverse,

accessible, and high-quality theatre. With

this commitment, the CDG continues to

expand its impact, promoting new forms

of theatrical expression and strengthening

its connection with the audience.

18 19

Irish proverb

» Ná díol do chearc lá fliuch«

Don't sell your hen on a wet day

CITY: Galway (IE)

SPEAKERS: 70.000

THEATRE: Fíbín

FÍBÍN Fíbín was one of Ireland’s most dynamic and innovative theatre companies,

renowned for its distinctive style and dedication to Irish culture, particularly through

the Irish language. Founded in 2003, it engaged younger audiences by blending traditional

storytelling with cutting-edge visuals, making Irish-language theatre widely

accessible.

Celebrated for its creativity and high-quality productions, Fíbín toured extensively,

performing at festivals and theatres worldwide. Collaborations with events like the

Galway International Arts Festival and involvement in educational outreach programs

cemented its reputation as a leading force in Irish theatre.

Known for its bold use of puppetry, masks, multimedia, and vibrant visuals, Fíbín’s

performances were as visually stunning as they were emotionally engaging. By redefining

Irish-language theatre, the company inspired a new generation to connect with

Irish culture in a fresh and contemporary way.

Despite its success, Fíbín was forced to close in December 2024 after 21 years due to a

lack of government support. Its legacy remains a testament to innovation, inclusivity,

and the power of storytelling.

An Toraíocht, 2018, an epic tale from the Fenian cycle in Irish Mythology

THE LANGUAGE: "Irish is my first

language - the foundation of my education,

my thoughts, and my relationships.

It's the language I speak with my parents,

my community, and now my children. In

our increasingly connected world, Irish

is our sanctuary - the language we retreat

to, create in, and dream in. As the world

grows smaller, what makes us distinct

becomes more precious. The old saying

captures this perfectly: "ar scáth a chéile

a mhairimid" - we live in each other's

shadows. Our language binds us together,

now more than ever." Darach Ó Tuairisg

Today, Irish faces both challenge and

hope. While daily speakers in Ireland

number only around 70.000, with most

concentrated in Gaeltacht regions, there's

growing interest in urban areas. Gaelscoileanna

(Irish-medium schools) are

increasing, with over 45.000 students now

attending. Yet the language remains vulnerable,

classified as "definitely endangered"

by UNESCO. Still, each new speaker

carries forward an unbroken chain of

culture and a connection to our history

stretching back millennia.

20 21

CITY: Brunico – Bruneck (IT)

SPEAKERS: 30.000

THEATRE: Stadttheater Bruneck

Ladin proverb

» Cöstes döes cosses ne vën

nia plü derevers: la parora

dita y la saíta trata«

These two things are irretrievable: the spoken word and the shot arrow

THE LANGUAGE: The phōnē project introduced Ladin as a living minority language

and the Ladin people as cultural contributors to a broad audience in Bruneck and

across Europe. This helped establish Ladin as socially accepted in an international

cultural context. Equally important was the hands-on experience of using the language,

both in the professional production of Calígula by Iaco Rigo and the amateur play

Morvëies by Nadia Rungger.

Today, around 30.000 Ladins live in the Dolomite valleys (South Tyrol, Trentino, and

Belluno/Veneto), speaking the oldest language in the Alps, which evolved from Vulgar

Latin and has been used since Roman times. However, the region lacks a uniform

school system and political cohesion, limiting opportunities for cooperation. While

there are active Ladin theatre associations, Ladinia has no professional theatre structure.

This made participation in phōnē especially valuable for us Ladins in South Tyrol.

Building of Stadttheater Bruneck

STADTTHEATER BRUNECK was

founded in 1994 as the "Theater im Pub"

in Bruneck by Klaus Gasperi and other

theatre enthusiasts. Since the 2020/2021

season, three creative minds have been

responsible for the continued success of

the theatre: Christine Lasta as artistic

director, Jan Gasperi, responsible for

technical direction, and Sabine Renzler,

who oversees concerts, children's theatre,

and administrative management.

Each season, 5 to 6 theatre productions

are staged. However, the Stadttheater

also hosts jazz concerts, cabaret evenings,

film screenings, readings, talk events,

and children's theatre performances. All

in-house productions are created with

professional actors, directors, costume

and stage designers. A major focus for the

organisers is the promotion of children's

and youth theatre. Throughout the season,

various theatre workshops are held

for children aged 6 to 14.

The Stadttheater is considered one of

the most renowned stages in South

Tyrol and is frequently invited to guest

performances at prominent theatres in

German-speaking countries. Our productions

have been shown at the Tiroler

Landestheater Innsbruck, Landestheater

Salzburg, Graz stages, Theater Akzent in

Vienna, Waldviertler Hoftheater, Stadttheater

Mödling/Vienna, Tiroler Volksschauspiele

in Telfs, Gostner Hoftheater

in Nuremberg, Theater Die Rampe in

Stuttgart, Sophiensäle in Berlin, House of

German History in Bonn, and more.

22 23

Kven greeting

CITY: Storslett (NO)

SPEAKERS: 2.000–8.000

THEATRE: Kvääniteatteri

» Rauhaa, ja rakkhauta«

Peace and Love

KVÄÄNITEATTERI was founded in 2022 as a theatre dedicated to creating and

promoting Kven performing arts regionally, nationally, and internationally. Our

mission is to use and develop the Kven language, preserve the Kven cultural heritage,

strengthen our minority identity, and engage with minority issues. The main target

audience includes children, youth, and adults in Kven communities across Norway

and the Northern region. The theatre focuses on newly written plays in Kven or with

a Kven cultural foundation.

Kvääniteatteri does not have a permanent theatre building but produces site-specific

performances in diverse settings such as nature, boats, and barns. It operates digitally

and in a decentralised manner, with its base in Nordreisa. Currently, the theatre has

two full-time administrative employees, Frank Jørstad is the theatre director, and

we have two actors on fixed-term contracts. From 2025, five key personnel have been

added to strengthen the organisation. Since its founding, Kvääniteatteri has produced

nine performance productions, and we have actively contributed to discussions

on northern identity and Kven culture. We have had fixed government operating

funding since 2024.

Näkymätön kansa (The Invisible People)

THE LANGUAGE: “Rauhaa, ja rakkhauta”

(Peace and Love). This is how the

elders greeted each other in the Kven

language. Our minority language has existed

as an oral language among the Kven

people in the Nordic region for centuries.

Passed down from generation to generation,

the language has been an important

carrier of culture with its linguistic

richness.

The policy of Norwegianisation caused

significant harm, and today the Kven

people struggle to reclaim their language.

In many places, the youngest native speakers

are in their 60s, while in other areas,

there are only a few older speakers left.

Kvääniteatteri aims to spark the audience's

interest in the language by using Kven

as a stage language. Many Kvens have a

strong desire to hear their language in the

theatre, while most of our audience does

not understand Kven. Our challenge lies

in ensuring that everyone in the audience

understands what is happening on stage

while maintaining the artistic vision in

each production.

24 25

CITY: Bautzen (DE)

SPEAKERS UPPER SORBIAN: 8.500

SPEAKERS LOWER SORBIAN: 1.000

THEATRE: Deutsch-Sorbisches Volkstheater Bautzen

Main building of Deutsch-Sorbisches Volkstheater Bautzen

Sorbian proverb

» Časnik zastanje, ale čas nic«

The clock stops, but time does not

THE LANGUAGE: Sorbian belongs to

the West Slavonic languages and once

had over 164.000 speakers (1858). Lower

Sorbian is mainly spoken in Brandenburg,

Upper Sorbian in Saxony.

Germany collects no official data, but

research by Dr. Ludwig Elle (2000) and

Prof. Nicole Dołowy-Rybińska (2012)

estimates around 1.000 Lower Sorbian

(dolnoserbski) and 8.500 Upper Sorbian

(hornjoserbski) speakers. Numbers continue

to decline due to assimilation, urbanisation,

and shifting linguistic policies.

Despite legal protections under German

and European minority rights frameworks,

Sorbian's survival depends on

intergenerational transmission and societal

use. Institutions like the Domowina,

Sorbian-language education, and media

efforts support revitalisation.

DEUTSCH-SORBISCHES VOILKSTHEATER BAUTZEN (DSVTH) With around

1.000 events, 25 premieres, and a diverse repertoire, the Deutsch-Sorbisches Volkstheater

Bautzen offers a rich theatrical experience. Every year, over 150.000 visitors

enjoy performances in German, Upper Sorbian, and Lower Sorbian, with Sorbian

plays translated into German via headphones. Founded in 1948 as the Sorbian People’s

Theatre, it became the first professional cultural institution of the Sorbs. In 1963, it

merged with the Bautzen Municipal Theatre, forming today’s Deutsch-Sorbisches

Volkstheater. Bautzen itself has over 600 years of theatre history. The theatre operates

two venues: the Bautzener Burgtheater/Dźiwadło na hrodźe (Castle Theatre), built

in 2003, hosts smaller productions, while the main house, restored in 2006, seats 400.

Touring performances bring Sorbian plays and puppet theatre to Upper and Lower

Lusatia . A highlight of the season is the Bautzener Theatersommer, an outdoor theatre

spectacle held in the Ortenburg Castle courtyard each June–August. Today, DSVTh

employs over 120 people, including 22 actors (10 Sorbian) and six puppeteers.

26 27

Empowerment of Artists

Enriching Theatre: How phōnē strengthened

Minority Language Creators

These almost three project years have

been something very special for the eight

theatres working in Regional and Minority

Languages. After all, it was the first

international co-operation on this scale in

this area.

Why is it important to emphasise this?

Because the artists who work in one of

these endangered languages are operating

in a permanent field of tension. They are

representatives of a cultural minority

in their own country and experience (to

varying degrees) little appreciation from

their majority language colleagues. Their

artistic work is less recognised nationally

(or even internationally), invited to

festivals, or represented by the national

media.

This underestimated perception is also

due to geographical reasons, as Regional

and Minority languages were only able to

survive in the peripheries of the respective

countries.

For this reason, the main aim of the

phōnē project was to place the artists of

the RML theatres at the centre of all activities,

fostering a new level of confidence,

collaboration, and creative exchange.

Specifically, phōnē focused on writers,

directors, and directors of Community

Theatres (CT). They should be empowered

to share their innovative approaches

with each other to help revitalise linguistic

and cultural heritage.

The result was a powerful revitalisation

of theatre in Regional and Minority Languages,

with long-lasting effects on both

artists and communities.

COLLABORATIVE LEARNING: WORK

MEETINGS AND RESIDENCIES

One of the defining elements of phōnē

was the structured exchange between

playwrights and CT directors. These work

meetings provided a crucial space for reflection,

mentorship, and inspiration.

Playwrights engaged in artistic residencies,

traveling to partners, where they observed

performances, engaged with local

communities, and absorbed the linguistic

and cultural nuances of another minority

language. This not only enhanced their

writing but also broadened their perspectives

on the shared challenges of minority

language theatre.

This intensive exchange of artists led to

unexpected, great results in international

co-operation.

Some examples:

• Inger Birkelund’s play Let the Little

Children Come to Me became the

first theatre piece ever written in

Kven for her Kvääniteatteri and was

staged by a Frisian author.

• The Breton author Christophe Le

Menn was inspired by the touching

life story of his Norwegian colleague

and incorporated it into his play.

These collaborations only happened

because phōnē provided artists with a

platform.

CT directors similarly benefited from residencies,

where they explored different

methodologies for participatory theatre.

Through masterclasses and moderated

feedback sessions, CT directors refined

their skills in working with amateur

performers of all generations. They

experimented with intergenerational

storytelling, integrating lived experiences

of older community members with

the voices of younger generations. These

collaborations created a unique theatrical

language that resonated deeply with

audiences.

IMPACT ON THEATRES

AND ARTISTS

The exchange fostered by phōnē has a lasting

impact on the participating theatres.

Artistic directors reported a renewed

sense of purpose and confidence in producing

new work in minority languages.

The visibility gained through international

collaboration helped strengthen their

status within their home regions and

increased audience engagement.

For individual artists, the experience was

transformative.

• Playwrights found themselves

empowered to write more bravely

in their native languages, pushing

the boundaries of traditional theatre

forms.

• CT directors, in turn, developed

new strategies for engaging with

their communities, ensuring that

theatre remains a living, evolving

part of regional and minority

cultures.

The empowerment fostered by phōnē extends

beyond the immediate participants.

The methodologies and insights gained

through this project are now being shared

widely, forming the foundation for

a stronger, more connected network of

minority language theatres across Europe.

By giving voice to artists and communities

in their native languages, phōnē

has demonstrated that theatre is not

just a reflection of cultural identity but

a powerful tool for its preservation and

renewal.

28 29

Writers

and their

Plays

Professional writers were invited to write eight

contemporary plays, which led to professional

productions staged at each theatre. The writers

shared their knowledge in workshops and

residencies while also learning new methods of

biographical and documentary writing.

30 31

Meylekh Haklezmorim

King of the Klezmers by Daniel Galay

ARTISTIC TEAM:

Director: Andrei Munteanu

Set: Ionut Racoreanu,

Costumes: Miruna Balasa,

Ioana Butica,

Sound design: Misha Mendel

Musicians: Mihai Pintenaru,

Flaviu Ludușan

CAST: Marius Călugărița

Viorica Predica, Darius

Daradici, Mircea Drîmbăreanu,

Arabela Neazi, Mihai Prejban,

Luana Stoica, Roxana Guttman,

Cristina Cîrcei, Katia

Pascariu, Natalie Ester, Alina

Tomi, George Remeș, Mircea

Dragoman, Nicolae Călugărița,,

Mihai Ciucă, Dorina Păunescu,

Viorel Manole, Neculai Predica,

Monia Pricopi, Meda

Topîrceanu, Nicolae

Botezatu, Mirela Nicolau,

Veaceslav Grosu, Anka

Levana, Andrei Miercure

OPENING NIGHT:

May 30, 2024, at Teatrul

Evreiesc de Stat (TES) in

Bucharest (RO)

Daniel was born in Buenos Aires in 1945.

He began writing poetry and short stories

in Yiddish and Spanish at an early age and

received a prize from the Jewish World

Congress in 1960 for his story Okser Nar.

He lives in Israel and writes poetry, plays

and texts for musical theatre mostly in

Yiddish, as well as libretti for operas. In

1978, his spectacle Sunburst Wheels, based

on his own texts and music, was presented

in Chicago.

At the Acre Theatre Festival (1987), one of

his plays Hamekubalisimos, was performed

in Hebrew and in Spanish.

In 1990, he was co-founder and member of

the editorial board of the Yiddish literary

magazine Naye Vegn. In 1997 he received

the Shayber Literary Prize, which honours

the prose, poetry and dramaturgy of a new

generation of Yiddish writers.

He published 10 books, mainly theatre

plays, children’s literature and essays.

Four of his chamber operas (libretto and

music) have been performed in Israel and

Germany. He wrote around 25 short plays

in Yiddish and organised public readings

of these works. His articles on Yiddish

intonation have appeared in academic

books, and he is the author of a handbook

on this subject.

Galay is also a well-known composer whose

symphonies and chamber music have

been played in many countries.

Opening night, final applause

SUMMARY OF THE PLAY: Between here and there…between today and yesterday…

a cruel war has been raging in the world of the Klezmers, between two completely

uneven forces. On one hand the gifted clarinet player: Yoshke, King of the Klezmers,

and opposed to him: the clarinet player Fayvel the intriguer who stands at the head of

a group of unsuccessful tone-deaf Klezmers. At a time when Esterke, Yoshke’s wife, is

returning home from the post office with sacks full of invitations for performances,

Fayvl and his group are going stir crazy at their headquarters from being idle. Yoshke

is expressing his hopes to Esterke that one day they will have a child and then their

happiness will be complete.

As a sign of good will Yoshke agrees for Fayvel to substitute him in one of his shows.

Fayvel, however, regards this as a degrading act. Fayvel tears up the invitation in front

of his players. This is "casus beli" for him and he declares a war extinction against

Yoshke. One day Fayvel bursts into the office of the Major. He exposes his plan which

deals with empty halls, since the audiences are not attending them. This is a problem

from which his band and also the city suffers. According to the plan, a most variegated

audience will be transported by bus, will be given free meals and a fee of cash will

be included for every participant in this ostentatious project. Along term contract is

signed between the Major and Fayvel, for performances based on “bus-meal-cash”.

32

33

Act one, Scene 1, English

ershter aktw, stsene 1, Idish

In Feivel’s “Headquarter”. Feivel’s band is

playing a military overture.

The musicians are standing around a canvas

doll, which stands in for their rival, the musician

Yoshke. They punch the doll and kick it

around like a football.

All: Down with Yoshke! A plague on

him! Get sick and drop dead! Stinker! To

hell with Yoshke!

(Here and there, we hear wrong notes and the

musicians lose the beat. But the musical ritual

against their opponent continues to the end.)

Feivel: Bravo, comrades! Excellent!

You’ve got that fighting spirit we all

need. I’m proud of the overture and the

good healthy kicks you gave Yoshke.

Unfortunately, our situation is going

butter-side down.

Fiddler: We know…

scene photo

Trombone: … You hardly hear the words

“Feivel’s Band”...

Feivel: (Angry) What?

Trombone: …People just laugh.

in fayvls "general shtab". fayvls kapelye shpilt

a militerishe overtur.

di muzikers shteyen arum a layvntene popke,

vos shtelt far zey for dem konkurent, dem

klezmer yoshke. zey izdiekevn zikh bekoyekh

in der lialke un gybn ir kopes vy in a

fustbolshpi.

ale: oys yoshke! a kholere! krenken zolstu!

a sof tsu dir, shtinker! tsum tayvl, yoshke!

(do un dort hert men falshe tener un nit

tomid trefn arayn di muzikers in takt... nor

der klezmerisher ritual kegn zeyer oponent

geyt on bizn sof.)

fayvl: bravo, khevre! oysgetseykhnt! a

kemferisher gayst, vos mir ale

noytikn zikh haynt .shtolts bin

ikh mit der overtur un gezunte

kopes vos ir hot yoshken arayngehakt

... nor der matsev, layder,

geyt mit der puter arop...

"fayvls kapelye…"

fayvl: (angry) nu, iz vos?…

trombon: …lakht men. gants poshet.

trumeyter: … oft mol veynt men oykh…

fayvl: (irritated) ver iz ober shuldik?

shuldik iz nisht kayn

anderer...nor undzer "yoshkele",

"meylekh haklezmorim".

ale: dos "ben-yokhidl", der menuvl!… a

rikh in zayn tatns tatn arayn!

(di klezmorim banayen zeyer izdiekeven zikh

kegn der lyalke "yoshke".)

Viorica Predica (Esther) and Marius Calugarita (Yoshke)

Feivel: Well you might.

Trumpet: … And they cry, too.

fidler: mir veysn es.

Accordion: We’re up the creek.

Feivel: Right.

Trumpet: We haven’t had a gig in

months…

Feivel: It’s true.

Feivel: (Angry) And who’s to blame?

None other than our little “Yoshkele”,

so-called “King of the Klezmers”.

All: The "privileged", the ugly one!... that

lousy blackguard! The Devil take him!

(The musicians continue their cruel football

play with the doll of "Yoshke".)

Translation: Michael Shapiro

fayvl: ir megt nokh a mol visn.

akordeon: tif in dr'erd ligt men.

fayvl: rikhtik.

trumeyter: khadoshim nit aroysgetrotn ...

fayvl: emes.

trombon: ...koym hert men dem nomen

34

35

Scene photo with

the marching band

Fanfare

by Wessel de Vries

ARTISTIC TEAM:

Conceptor and Director:

Tatiana Pratley

Direction: Aukje Schaafsma

Final Direction: Sjoeke-Marije

Wallendal

Music: Laurens van

der Meulen

Dramaturgy: Maarten Bos

Costumes: Hanne Pierrot,

Mathilde van der Hoop

Scenography:

Afke Manshanden

CAST: Brecht Wassenaar, Joop

Wittermans,

Rop Verheijen, Eva Meijering,

Lourens van den Akker,

Nynke Heeg,

Rixt Siderius (stage),

Klaske Smid (stage),

Oane Marten van der Veen

(stage) and the marching band

with 50 musicians from several

Frisian fanfares

OPENING NIGHT:

May 31, 2024, presented by

Tryater at Easterlittens,

Fryslan (NL)

Wessel (* Leeuwarden, 1994) is a Dutch-

Frisian playwright. He studied History

at the University of Amsterdam and

Writing for Performance at the School of

Arts Utrecht. Since 2017 he wrote several

plays for the Frisian theatre company

Tryater such as the camping ground performance

Part Time Paradise (2019), and

Underwater (2022) about the melting tradition

of ice skating in Friesland. Plays by

Wessel are fanciful and humorous, poetic

and banal at the same time, sometimes

based on historical events but always with

a present day importance.

Next to his work for Tryater Wessel is

working for several Dutch theatre company’s.

For Theatergroep De Jonge Honden

from Zwolle he wrote a book adaptation

of the famous Dutch novel Winter in Wartime

(2020) and The Spaghetti Riot (2021)

about Italian guest workers coming to the

Netherlands in the 1960s. For TG Goed

Gezelschap from Amsterdam Wessel wrote

Pianotunes (2022) about art theft during

World War II.

When not writing plays Wessel is directing

and performing himself like in Dining

with Dictators (2022) with Theatergroep

De Jonge Honden. He also writes movie

screenplays like Three people find a car

(2015) and works as a teacher and writing

coach at (for example) NHL Stenden University,

Meeuw Jonge Theatermakers and

Schrijversvakschool Amsterdam.

SUMMARY OF THE PLAY: Fanfare is a play about a Frisian fanfare. In times of increasing

individuality, when people are withdrawing more and more from community involvement,

there is a small Frisian village where 35 people still come to fanfare rehearsals

every Tuesday evening. While making music together, they forget their everyday worries

because they are immersed in something bigger than themselves: The fanfare is always

on. There is Carmen, who plays the saxophone: After her divorce, it's very difficult for

her as a single mum to find time for the fanfare, but she doesn't want to stop because

Tuesday evening is the only night of the week when she does something for herself. There's

Wieke, the fanfare's first female drummer: when she hits the drums, everyone

can see her anger, but nobody knows what she's angry about. There is Vincent, a communicative

trumpet player: He is new in the village and has joined the fanfare to meet

people and make new friends, but this turns out to be more difficult than he thought.

There are Femke and Marieke, two 16-year-old girls who play bugel: They wonder if they

will stay in the fanfare forever. There's Rinse, a seventy-year-old euphonium player who

leaves the fanfare because he feels he's getting old.

Fanfare is about the little stories of all these different fanfare members. But it's also a

bigger story about a collective and a community. Will the community be strong enough

to future-proof the fanfare? To overcome differences of opinion and indifference?

Fanfare is a heart-warming and poetic story about people who leave their private islands

of sorrow to do something they really love: making music together. Once a week, they all

try to dissolve their personal problems in a perfect harmony of trumpets and trombones,

saxophones and euphoniums. As long as they keep trying, the fanfare will go on.

36 37

Scene 2.9. English

Scene 2.9. Frysk

John-Douwe wants to come in. Rinse is

blocking his way

John-Douwe: Rinse, I…

absolutely right.

Rinse: And I know it's difficult.

You care a lot for Carmen.

John-Douwe wol deryn komme. Rinse stiet

foar him.

John-Douwe: Rinse, ik-

hielendal gelyk!

Rinse: En ik wit ek wol dat it lestich is. Do

hâldst in soad fan Carmen…

Rinse: You shouldn't be here, John-Douwe.

John-Douwe: Rinse, I need help. I don't

know what to do. I'm like a glass of water

tipping over, Rinse.

A glass of water. The glass tips over, the

water spills out And I don't know how to

stop it.

Everything’s getting wet.

John-Douwe: Yes, a lot, really a lot.

Oh, I love Carmen so much!

Rinse: But your relationship is over, and

you need to accept that!

And you need to stay away from Carmen.

John-Douwe: Damn it! Sailboat! Sailboat!

Sailboat!

Rinse: Do moatst hjir net komme, John-

Douwe.

John-Douwe: Rinse, ik ha help noadich. Ik

wit net wat ik moat. Ik bin in glês wetter

dat omfalt Rinse.

It glês falt om. It wetter klotst derút. En

ik wit net hoe’t ik it tsjinhâlde moat, alles

wurdt wiet.

John-Douwe: Ja in hiel soad. Echt in hiel

soad. Ooo ik hâld safolle fan Carmen.

Rinse: Mar dyn relaasje is no klear en

dat moatst akseptearje! En do moatst by

Carmen út ‘e buert bliuwe .

John-Douwe: Harejasses! Sylboat! Sylboat!

Sylboat!

Rinse: Well, sit down for a moment then.

Rinse: Huh? What? Sailboat?

Rinse: No, gean mar even sitten dan.

Rinse: He? Wat? Sylboat?

John-Douwe: I'm so scared, Rinse. Scare

that they'll take Björn and Isa away from

me. That I'll never see them again. I've

been looking for them all evening. But I

can't find them. I know I'm a loser and an

asshole. But I love my kids so much. And

Björn and Isa never… They’ve never…

I'm a good father, aren’t I, Rinse?

Rinse:You're a good father, John-Douwe.

But you’re not in control of yourself.

John-Douwe: I’m not in control of

myself.

Rinse: You can't react like this every time

something goes wrong.

John-Douwe: You're right, you're

John-Douwe: That woman, the family

coach, Marja, she said: When you're

angry, look for harmony within yourself.

Think of an image that brings you peace.

Rinse: A sailboat?

John-Douwe: Yes, a sailboat! On the

water! Doesn't it look beautiful and peaceful?

No engine noise.

Just a sail in the wind. Carrying you away.

That's harmony, isn’t it?

Rinse: You need to go now, John-Douwe.

Rehearsal’s almost over. And it's best if

Carmen doesn't see you here. Go home.

Get some rest.

silence

Tomorrow is another day.

Translation: Tori Kelly

John-Douwe: Ik bin sa bang Rinse. Dat

se Björn en Isa by my weihelje. Dat ik se

noait mear sjen sil Ik bin al de hiele jûn

oan it sykjen. Mar ik kin se net fine . Ja, ik

wit ek wol dat ik in loser bin en in kloatsek.

Mar ik hâld sa’n ferskrikkelik soad fan

myn bern. En Björn en Isa ha noait--

Se ha toch noait-. Ik bin toch in goeie heit,

hey Rinse?

Rinse: Do bist in goeie heit, John-Douwe.

Mar do hast dysels net yn ‘e macht.

John-Douwe: Ik ha mysels net yn ‘e macht!

Rinse: Do kinst net alle kearen dat er wat

mis giet, sa reagearje!

John-Douwe: Do hast gelyk, do hast

John-Douwe: Ja dat wiif, dy gesinscoach,

Marja. Dy sei: As’t lilk wurdst, moatst

sykje nei harmony yn dysels-- Tink oan in

byld dêr’st rêstich fan wurdst.

Rinse: In sylboat?

John-Douwe: Ja in sylboat! Op it wetter!

Dat sjocht der toch moai en rêstich út?

Gjin motoren-bende.

Gewoan, in seil yn ‘e wyn Dy meifiere litte

Da’s harmony Toch?

Rinse: Do moatst no mar gean, John-Douwe.

Want de repetysje is hast klear. En it is

echt better as Carmen dy net wer sjocht.

Moatst mar nei hûs gean. Lekker sliepe.

stilte

Moarn is der wer in dei.

38

39

Christophe Le Menn

Bastard

by Christophe Le Menn

ARTISTIC TEAM:

Director:

Thomas Cloarec

Writing and performance:

Christophe Le Menn

Musical creation:

Tom Leclerc and

Christophe Le Menn

Set design:

Nadège Renard

Sound engineer:

Gwenole Peaudecerf

Stage manager:

Gaidig Bleinhant

Lighting design:

Stéphane Le Bel

OPENING NIGHT:

November 28, 2024

presented by Teatr Piba in

Nantes, Brittany (FR)

Krismenn (Christophe Le Menn) blazed

his own trail. A child of Gwerz and Kan

ha diskan (traditional Breton music), he

converted to writing rap in Breton and

made this language sound like

no one had ever done before. After performing

on stage with his acoustic

instruments looped in real time or accompanied

by human beatbox world

champion Alem, Krismenn released his

first album in 2017, mixing rap and

vocals, electronic music, field recording

and instruments. As an actor and dubbing

artist, he has lent his voice to many

films and animated films in Breton.

Since 2019 he has been collaborating with

Teatr Piba as an actor and musician for

the art-science project Donvor, an immersive

experience that shakes him up and

in turn makes him want to write for the

theatre. In 2021, he begins an immersion

writing work with people with Alzheimer’s

disease in collaboration with Teatr

Pipa and the Tréguier Hospital Center.

SUMMARY OF THE PLAY: Christophe, a collector of Breton songs, regularly visits a

retirement home in Brittany in the hope of being able to record traditional stories or

songs. But the declining use of the Breton language and the lack of singing leave him

with only fragments of tales: Roger, the sailor with the frozen feet; Claire, a former

hippie and Louise, who is fascinated by owls. Then, he meets Claude, who sings without

words and tells nonsensical stories. One day Claude reveals: "I don’t have a father."

Christophe, who has always claimed to have had a happy childhood, responds: "Neither

do I." This bond forces him to confront a long-hidden family secret: the mystery of his

father, Emka, a stranger with whom he shares nothing. In his search for answers, Christophe

asks the single mothers in the home, but is met with silence. However, a table

decorated for Christmas points in an unexpected direction - to the North Pole.

Lost in a snowstorm, Christophe finds refuge in a cabin with adventurers, including

Inger, a Sami-Kven hunter with an owl bone belt, to whom he feels drawn to. Inger’s

story of being rejected for having a child out of wedlock and her joyful experiences as a

mother and grandmother shed light on Christophe's own questions about his mother.

The storm subsides and the group returns to the village. Christophe listens to his phone

messages and learns that Mona, the mother of his unknown father, has died. Inger

convinces Christophe to go back. Back in Brittany, Christophe meets Emka’s brother,

who invites him to visit Mona’s house. This place, decorated with sculpted owls, is loaded

with a past that Christophe gradually uncovers. In this house-cave, Christophe finds

parallels between Mona’s life as a musician and volunteer in an orphanage, and his own

quest for songs and encounters with the elderly. Christophe understands that this search

finds meaning in absence, and he transforms his inner void into a new space.

40 41

Scene 5, Act 1, English

Senenn 5, Akt 1, Brezhoneg

I don't have a father.

I grew up with no father.

Not having a father is a bit like

not having a microwave oven.

It's weird for other people,

For me,

No dad, that's normal.

M eus ket tad ebet

Kresket on gant tad ebet

Bezañ hep tad

a zo un tamm evel

Bezañ hep four microonde.

Iskis eo evit an dud all,

Evidon, bezañ hep tad, a zo normal.

katekiz,

A oa an hini gentañ e-mesk he familh o

chom hep krediñ e Doue

Hi hag a oa bet rediet d’am badeziñ,

He doa respontet dezhi:

« Non, tu sais mémé, moi je suis comme la

vierge Marie. Il est arrivé là comme ça... »

It's the others who ask questions.

"My dad's a policeman and what does

yours do?"

"Why don't you have a dad?"

It was the others who kept telling me:

"How can you be a real man if you don't

have a dad?"

"How can you be a good father if you've

had no example?"

When it came to writing my father's

name,

I didn't know what to do at school.

At first, I left the box blank,

And then I ended up adding 'unknown'.

When I was born, my great-grandmother

asked my mother:

"Chantal, this little boy does have a father,

doesn't he?"

Chantal, who, despite years of catechism

lessons,

was the first in the family to stop believing,

the one who was forced to baptize me,

scene photo

replied:

"No, you know Grandma, I'm like the

Virgin Mary.

He got there just like that..."

Afterwards, she didn’t mention it.

She didn't mention it to me.

My grandparents never told me about it.

For me, it was normal.

I had a happy childhood,

Full of love.

I didn't miss a thing.

Translation: Talwyn Baudu

Ar re all a vez o sevel goulennoù.

« Mon père il est policier et le tiens il fait

quoi ? »

« Pourquoi t’as pas de père ? »

Ar re all a vez o randoniñ

« Comment veux tu être un vrai homme si

t’as pas de papa ? »

« Comment veux tu être un bon père si

t’as pas eu d’exemple ? »

Pa veze ret skrivañ anv ma zad,

‘Ba’r skol ne ouien ket petra ober,

Ne m’oa respont ebet da reiñ d’ar goulennse

da gentañ

Ha benn-fin e skriven « inconnu ».

Pa oan ganet he doa goullet ma Mammguñv

gant ma mamm :

« Mais quand même Chantal ce petit il a

bien un père ? »

Ma mamm, daoust d’he bloavezhioù

Ha goude

N’eus ket komzet eus se ken.

N’eus ket komzet eus se ganin,

N’o deus ket ma zud-kozh komzet eus se

ganin.

Evidon-me e oa normal,

Ur vugaleaj kaer am eus bevet

Leun a garantez

N’eus ket manket mann ebet din.

Christophe Le Menn

42 43

Calígula

By Iaco Rigo

ARTISTIC TEAM:

Director: Viktoria

Obermarzoner

Set & Costume design: Ursula

Tavella

Music: Maria Craffonara

Choreography: Sabrina

Fraternali

Light: Jan Gasperi

Simultaneous Translation:

Bernadett Schneider

CAST: Sabrina Fraternali,

Hanenn Huber, Lisa Laner,

Mirko Costa

OPENING NIGHT:

March 22, 2024

at Stadttheater Bruneck (IT)

Iaco, born in 1968 in Bruneck, is a journalist,

writer, and singer-songwriter in

the Dolomites. His literary works include

novels, stories, poetry, and plays and are

published primarily in Ladin. Occasionally

he is translating from Italian and

German.

His plays were performed by professional

and lay theatre companies, such as the

play Die Rechtfertigung in German (2005

Stadttheater Bruneck), the multilingual

music drama Iadô chël côl – Hinterm Hügel

– Dietro la collina (2008 with guest actors),

the musical cuntra löm (2011, youth

project) and the popular operetta La

zingaindra (2018, Teater La Pli and guest

actors and musicians). His most recent

project Fiat Lux was a collaborative sacral

audio-visual installation on the Liturgy

of the Hours (2022, Neustift, South Tyrol,

Italy).

Besides his own work as a writer, he is

also involved in the Ladin art association

EPL and the Ladin association of singersongwriters

UCL, which are important

voices in the Ladin cultural scene. They

organize art exhibitions, a triennial poetry

prize, and song contests.

scene photo

SUMMARY OF THE PLAY: The play is set in an ordinary family. The parents, Sofia

(a professor at a scientific high school) and André (a journalist), have a daughter,

Silvia, who is in her first year at high school. The routine of their daily life is disturbed

by several events:

Silvia asks for a pet, and a Beo bird (also known as an Indian blackbird) arrives at

the house. At the same time, Silvia's best friend is in her first romantic relationship

and neglects her friendship with Silvia. Sofia is having a secret affair with one of her

students.… Now Calígula, the Beo, is picking up more and more words and phrases,

imitating the three family members. He demands more and more attention and care,

interrupting conversations in the house, phone calls, and is even interfering in family

arguments. After a while, Calígula knows more about the family members than anyone

else, he knows everyone's secrets, and he knows how to use them to get more attention.

His behavior makes him a real member of the family - until the truth comes out: André

and Silvia learn that scientific experiments are being carried out on Calígula, who

is programmable through a chip implanted in his head and that he has the absolute

knowledge of humanity at his disposal. However, there are only two people in possession

of the app that controls the bird and its knowledge: Sofia and Franz, a computer

science student and Sophia's lover. For Silvia there is no doubt: the artificial manipulation

of Calígula goes too far. She now feels compassion and love for him and decides

to separate her "human bird" from this crazy world and to flee with him: At the end

she says "to freedom! - but it is probably a freedom that no longer exists!

44 45

Scene 10, English

Scena 10, Ladin

Only Silvia and the cage with the huge bird

are left in the room; the bird is silent as if he

is stunned

Silvia: Calígula, what happened to your

happy song? Poor bird! You don't imitate

people anymore, remember: globetrotter,

globetrotter... shut up, shut up…? Oh

how you got on our nerves! And then you

entertained me when I needed someone,

but I was too proud to tell you that. I was

ashamed to admit that a little bird is capable

of comforting me. That would have

been an insult to an intelligent person:

receiving comfort from a bird! And now?

I don't know what to do...

Calígula (makes a subtle noise in the cage,

moves its feathers, then recites): Silvia, do

you still remember that time of your

short life when beauty shone in your

laughing and shy eyes, and you approached

the flower of youth in happiness

and sorrow?

Silvia: Calígula, Calígula! You are alive

and recite Giacomo Leopardi?! Incredible!

Calígula: Let me out of this prison, Silvia,

I beg you! I love you, and you and I could

be together forever.

Silvia: Calígula, I know your love is dangerous

in the freedom I give you.

scene photo

(she opens the cage, it gets dark, after a while

it gets light again)

The room is empty and the cage is open and

empty, Sofia comes home.

Sofia (takes out the cell phone and calls the

student, her lover, speaks quietly): I got home

safely, thank you for this great evening. I

love you very much, I want to be with you

forever!

Sofia sees that the cage is empty, but she

doesn't worry about anything anymore, she

sits down.

After a while she picks up her cell phone again

and looks at Calígula's app.

Sofia: Oh, shit! The app no longer

responds, Calígula is gone and his cell is

down!

Te stöa él ma plü Silvia y la gabia con le gran

vicel lëite co stá chît desche al foss amatí

Silvia: Calígula, olá é pa to cianté ligherzin?

Püre vicel! Te ne smates gnanca plü

la jont, te recordeste: globetrotter, globetrotter…

scuta chíta, scuta chíta… desche

te nes jês söi nerf! Porchël te orênse pa

bun: avisa deache te nes jês söi nerf. Y

spo mo fajêste compagnia, avisa canche i

adorâ compagnia, ma che i ne orea nia dé

pro che en picio vicel, desche t’ês laota,

m’ess consolé. Ci ofenjiun por na porsona

umana: ciafé consolaziun da en vicel! Y

sën pa? I ne sá nia ci che i dess fá…

Calígula (fej en picio vers da vicel te gabia,

raugna, se mosciöda y scassa la plöma, spo

rezitëiel): Silvia, te recôrdeste ciamó chël

tomp de töa cörta vita mortala, canche te

tü edli ridonc y spâi slominâ la belëza, y

tö, tla felizité y tal festide, te avijinâs al

florimont dla jonëza?

Silvia: Calígula, Calígula! Te vires, y mo

rezitëies Leopardi?! Nia da crëie!

Calígula: Láscemo fora de cösta porjun,

Silvia, i te prëii! I t’ó bun, y tö y iu podun

sté adöm por dagnora.

Silvia: Calígula, i sá che to amur é prigorus

tla liberté che i te dá… (ara daür sö

la gabia, te chël vëgnel scür, y do mez minut

vëgnel endô de)

La stöa é öta y la gabia é daverta y öta, al

röa a ciasa Sofia.

Sofia (tól ca le fonin y chërda sö le studënt,

so amant, baia adascusc): I sun roada bun

a ciasa, iolan de cösta bela sëra. I t’ó dër

bun, y oress sté dagnora pa te!

Sofia á odü che la gabia é öta, ara ne se

crüzia nia plü, ara se sonta jö

Do da en pez tal chît, tólera endô ca le telefonn

y ciara söla app de Calígula.

Sofia: Ah, porzelana! La app ne fej plü

nia, Calígula é demez y n’á nia plü rëi con

me!

scene photo

46 47

Na tamnym boku měsačka

- Hercy

On the Far Side of the Moon - Hercy

by Lubina Hajduk-Veljkovićowa

ARTISTIC TEAM:

Director: Lutz Hillmann

Set & Costume design:

Miroslaw Nowotny

Music: Tasso Schille

Video: Miroslaw Nowotny

Dramaturgy: Madleńka Scholze

Simultaneous Translation:

Bernadett Schneider

CAST: Tadej (HERCY Band):

Mirko Brankatschk

Józef (HERCY Band):

Jurij Schiemann

Korla (HERCY Band):

István Kobjela

Syman (HERCY Band):

Thomas Ziesch

Marian (HERCY Band):

Torsten Schlosser

Janka: Anna-Maria

Brankatschk

Božena: Julia Klingner

OPENING NIGHT:

February 10, 2024 at Deutsch-

Sorbisches Volkstheater

Bautzen, Lusatia (DE)

Lubina, born 1976 in Bautzen, now lives

in Leipzig. She studied Sorbian studies

and history. She writes mainly prose for

adults and children, but also radio plays,

song lyrics and plays. She also works as a

translator. Since 1998 she has published

mainly in Upper Sorbian, sometimes together

with her husband Dušan. Her last

book for adults was her crime novel Módre

buny (Blue Beans, Domowina Publishing

House, Bautzen 2017), her latest book

for children Chaos w konjencu (Chaos in

the Horse Stable, Domowina Publishing

House, Bautzen 2022). Since 2021, she

and her son Branko have been publishing

their own children’s books under the

Veles Publishing label in many Slavic and

other languages.

scene photo

SUMMARY OF THE PLAY: The end of the 1960s: The Beatles and The Rolling

Stones conquer the world, in Poland everyone knows the beat band Czerwone Gitary.

In the Czech Republic, the Prague Spring was violently suppressed and the world

watched the first moon landing. And in Lusatia, four young Sorbs full of

dreams came together and wanted to become famous with their beat music. Hercy.

In the midst of the space race, they developed completely new songs that inspired the

Sorbian youth.They dreamed of music and success, of love and freedom. But the GDR

had its own rules and they soon came up against the first limits. They had to fight for

the right to perform, for better technical support, for every word of their strictly monitored

songs. But when love intervened, one of them was drafted into the army and

the band manager tried to flee the socialist bloc and was arrested, the group fell apart

under the difficulties of the times. What remained were the memories of a wonderful

beginning. And songs like ‘Moja luba holčka’ (My dear girl).

48 49

Scene 11, English

Scena 11, Serbski

Father: With the graduate from high

school out into the world. Study and

breathe in the new spirit. You can choose

for yourselves what you want to do.

Korla: (flustered) I'm supposed to report

to the military district command for a

physical. In two weeks. That means I have

to join the army in the fall. But who will

take care of everything at home then?

And what about my studies? And what

about the Hercy?

Marian: (helping his father carry the fridge)

But... how... already!? That's not possible!

We have two important performances

coming up in the fall! You know that.

Berlin!

Korla: A year and a half in the army!

What a waste of time!

Marian: (to Korla's father) Is that the great

freedom that awaits us?

Father: (holding the fridge alone) Come on,

give me a hand.

Korla: (confused) A year and a half in the

army...

(all three carry together, with pauses)

Father: Sometimes you have to grit your

teeth and go along with it. And see where

you can find your little freedom. You do

music, after all. That's something.

Korla: Next time in Sollschwitz.

(are in the house, setting up the refrigerator)

Korla: The Beatles don't have to join the

army either!

Father: (is silent for a moment) I know. I

don't want you to have to hold a weapon

either. But you can't avoid military

service.

(Father takes a large bed sheet and covers the

refrigerator with it, Korla and Marian tie a

large bow around it.)

Father: Be glad that you were even

allowed to graduate from high school. It's

bad enough that you're Catholic. They're

watching us closely.

Korla: And that's why I have to join the

army now?

Marian: At least we won't be sent to Vietnam,

that's much worse. (hugs him briefly)

Nan: Z maturu w zaku won do swěta.

Studować a so noweho ducha nasrěbać.

Móžeće sej sami wupytać, što chceće raz

činić.

Korla: (zmotany) Dyrbju na wokrjesny

woborny komando. Za dwaj tydźenjej. To

rěka, zo dyrbju wot nazymy do wójska.

Ale štó da so potom doma wo wšo stara?

A što budźe z mojim studijom? A što z

Hercow?

Marian: (nosy z nanom chłódźak) Ale …

kak da tomu … nětko hižo!? To njeńdźe!

W nazymje mamy wažnej wustupaj! Wěš

tola. Berlin!

Korla: Połdra lěta wójska! To je zhubjeny

čas!

Marian: (ke Korlinemu nanej) Je to wona

wulka swoboda, kiž na nas čaka?

Nan: (dźerži chłódźak sam) Pójtaj, pomhajtaj

mi raz.

Korla: (zmotany) Połdra lěta wójska …

(wšitcy třo njesu zhromadnje, z přestawkami)

Nan: Druhdy dyrbiš zuby zakusnyć a

sobu činić. A hladać, hdźe swoju mału

swobodu namakaš. Wy tola hudźbu

činiće. To něšto je.

Korla: Přichodny raz w Sulšecach.

scene photo

(su w domje, nastaja chłódźak)

Korla: Beatlesy tež njetrjebaja do wójska!

Nan: (mjelči wokomik) Wěm. Ja tež njecham,

zo dyrbiš bróń do rukow wzać. Ale

słužbje we wójsku so wuwinyć njemóžeš.

(Nan wozmje wulku płachtu a chłódźak z nim

pokryje, Korla a Marian zwjazataj wulku

seklu wokoło njeho z bantom.)

Nan: Budź wjesoły, zo sy scyła maturować

směł. Dosaha hižo, zo sy katolski. Nas

woni dokładnje wobkedźbuja.

Korla: A tohodla dyrbju nětko do wójska?

Marian: Znajmjeńša njetrjebamy do Vietnama,

to je hišće wjele hórje. (wobjima

jeho skrótka)

50

51

An Fear Liath

The Grey Man by Philip Doherty

ARTISTIC TEAM:

Director and adaptation:

Fran Núnez

Actor: Caitríona Ní Dhomhnaill

Performer & Singer: Becky Ní

Éallaithe, Voice Over: Jay Burke,

Puppet: Rafael Rey, Isabel Rei

Pousada, Marcelino de Santiago

(Kukas) Music & Sound effects:

Xosé Lois Romero, Hugo Torres

(buíochas ar leith do / with thanks

to Aliboria, Milladoiro)

Audio Recording Galway: Jay

Burke, Lighting Design: Mike

Byrne Technician: Donnacha

Walsh, Costumes: Bláth Noonan,

Set Builders: Fiachra Davoren,

Gareth Smith, Cloe Scanla,

Choreography: Kristyn Fontanella

Marketing: Isobel Ní Nuanáin,

Photographer: Bruno Pierucci,

Image: Engin, Akyurt Stage

Manager: Aoife Lannon,

Production manager: Frank

Commins, Producer: Pearse

Doherty

OPENING NIGHT: July 25, 2024 at

Claddagh Quay, Galway City -

presented by Fíbín Theatre

Company (IE) as part of Galway

International Arts Festival

In theatre, Philip is a multi-award winning

playwright for both stage and radio.

He has written and directed over sixty

plays in both English and Irish, and was

artistic director of Fíbín sa Taibhdhearc,

the National Irish Language Theatre.

Three of his plays premiered at the Galway

International Arts Festival, most recently

his new Irish language play An Fear

Liath / The Grey Man, in 2025. This was a

co-production between Fíbín sa Taibhdhearc

and Centro Dramático Galego in

Galica. It was part of the inaugural phōnē

network, a European minority language

theatre network. His other productions in

GIAF were Muc Rí, a cyberpunk spectacle,

which premiered to critical acclaim in

2022, and Cogadh na Saoirse at the GIAF in

2021; an open air spectacle presented on

14 stages about the Irish War of Independence.

His play Fiach, a drive-in theatre

show in Connemara, was one of the few

live performance events during Covid in

2020, and was awarded a BBC NI Stewart

Parker Award. At Fíbín, Philip produced

17 world premieres, as well as street spectacles,

live TV broadcasts, radio plays,

and leading the Fíbín team to take the

artistic reins in An Taibhdhearc.

Staged advertising image

SUMMARY OF THE PLAY: A fishing village is rocked by the inexplicable disappearance

of a family owned trawler at sea. Joan, the eldest daughter, returns home but gets

caught up in a web of deceit, superstition and murder.

A late night spectacle on the pier with deep woven allusions to Irish mythology and

Greek tragedy; a story that walks between two worlds, this world and the next. An open

air spectacle on the pier, a story that walks between two worlds, giving voice to a country

unmoored by grudges, thwarted dreams, and self-medication.

Story: One by one, the dead bodies of her three brothers wash ashore. A sense of doom

descends on the village. Rumours and secrets are unearthed to try and explain the unexplainable.

Whispers of murder/ suicide prevent the brothers from getting a sacred burial.

Joan becomes entangled in a net of strange conspiracies. With the most mystifying of

disappearances, a theory emerges that the sea is getting its revenge. Could The Grey

Man, a symbolic mythological creature of the sea, used to explain drowned fishermen, be

part of this inexplicable series of tragedies?

Themes: The Grey Man is set in the heart of a working class Irish coastal village with a

fictional name. It will be a powerful and emotional look at identity, economy, humanity,

and nature. It will try to explain the supernatural, as well as uncover a corrupt society.

It will give voice to the aches and frustrations that animate a country unmoored by

displacement and thwarted dreams. Like nature, language is an organic thing. Irish, an

endangered language on the edge of Europe, will be used to express the condition of a

people faced with their own mortality.

52 53

Part 5, English

Cuid 5, Gaeilge

Women of the See

One by one...

the brothers emerged from the big blue...

The brothers left the world in the same

sequence

that they arrived into it...

First it was the eldest... Tom...

No cry to mark his departure...

Found conked on the sand like he was

after a good night out...

The sigh of the waves hushing him asleep

forever...

Next came Richard, found wrangled in

the sea weed...

scene photo

Like he was kidnapped, and tied up by

the green claws of the sea...

The last brother, Harold,

was found on a beach beyond the parish...

His eyeballs eaten clean out of his head

by gulls...

His wedding band stripped by thieves...

But still no sign of Old Duffy...

Time ticked by as time knows so well

how to do...

Days spread like cancer into weeks...

Old Duffy was still out there...

And a rotten stench started to emanate

from the brothers’ bodies.

Ceann ar cheann...

Tháinig na deartháireacha

ón an fharraige dorchadas domhain...

D’fhág na deartháireacha an domhain

ar an mbealach céanna a thainig siad

isteach an domhain...

Ar dtús... an buachaill is sine... Tom.

Níl aon caoineadh don a imeacht...

D’aimsigh siad an corp ar an ngaineam

mar a bhí sé ina ndiadh an oíche mór.

An osna na tonnta an-maoth...

ag guí oíche mhaith air...

an t-ámhrán deirneach...

Tar éis sin...

D’aimsigh siad Richard...

bhí sé gafa i ngreim na feamainn.

D’fhuadaigh an farraige é...

bhí sé ceangailte suas ag na crúba glasa

na mara...

Tar éis sin...

D’aimsigh siad an dearthair deirneach ar

an dtrá...

Harold is ainm dé...

Níl aon súil fágtha...

D’ith na faoileáin na súile...

Agus ghoid an gadaí dubh a fáinní bainise...

scene photo

cosúil le hailse...

Bhí Duffy fós amuigh ansin...

Agus tháinig an boladh lofa

óna coirp na deartháireacha.

Ach níl aon comhartha na Duffy...

bhí an clog ag ticáil...

D’fhás laethanta ina seachtainí

54

55

Sallikaa lasten tulla

minun tykö

Let the Little Children Come to Me by Inger Birkelund

ARTISTIC TEAM:

Director: Wessel de Vries

Dramaturg: Teodor Janson

Costume Designer:

Nora Furuholmen

Light Designer:

Hendrik Walter

Composer, vocal: Frida Lydia

Virtanen Hansen

Technician: Karl-Magnus

Malinen

CAST: Ørjan Steinsvik,

Frida Lydia Virtanen

Hansen, Inger Birkelund

OPENING NIGHT:

March 8, 2025

at the National Theatre

(Amfi stage) in Oslo (NO)

Inger Birkelund has performed as storyteller

and actress in various plays and

events, both with her own stories and

as an actress in collaboration with other

performers. She has written theatre

scripts and monologues. Her texts often

have a personal approach and as a common

theme they highlight individuals and

events from her historical and cultural

background Northern Norway.

Inger Birkelund is 59 years old, and has

worked in the fields of education, culture

and tourism. With her company ihana!

she was the initiator of the foundation

of Kvääniteatteri. Today she works as

administrative director and producer for

the national theatre of the kven minority

in Norway - Kvääniteatteri.

Inger Birkelund and Frida Lydia Virtanen Hansen

SUMMARY OF THE PLAY: The woman lies sleepless in bed and sees her soon-tobe

grown-up daughter sleeping next to her. The daughter has just told her that she is

pregnant and is only 18 years old. As the woman wakes up, she thinks back to when she

herself became pregnant for the first time, how abortion was seen as the right choice at

the time, while it was completely out of the question in her family. She thinks back to

the shame of becoming an unwed mother. What was the greatest happiness in life for

her was perceived as a sin by those around her.

The text is about a woman's attachment to and detachment from a northern

fundamentalist religion. Life within, the struggle for secession and the costs of

standing alone on the outside. The text deals with social control, faith, family ties, betrayal,

abuse, love, self-loathing, children, self-realisation and the struggle of women.

Is it possible for her to move on with dignity?

Back to the daughter, she sees her standing in a different reality, but she also must

grow up overnight - and make choices that she has to live with for the rest of her life.

56 57

Scene 3. English

Seeni 3. Kven

Woman: It’s early morning on Easter

Sunday.

New mum: I’m lying in a large double

bed together with my little baby.

She’s three weeks old. The most beautiful

thing in the world. A new mum.

Her father is asleep in another room.

Out of respect for the elders’ wishes. Not

married, so not sharing a bed.

Woman: The room is clean and bright.

The curtains freshly starched.

New mum: It’s quiet inside.

Woman: Quiet outside.

New mum: I breastfeed my tiny, beautiful

and ravenous baby. I realise I need a wee.

Woman: I dread getting up. Encountering

them. His parents. Our first meeting since

the birth. When we arrived for the Easter

holidays last night, the house was quiet.

Everyone had gone to bed. But now they

are probably up. They are preparing for a

preacher’s visit. A religious gathering at

home.

New mum: I can’t wait any longer.

Get dressed, gather all the baby’s things

together. Lift up the warm little bundle.

And go into the living room. To the new

grandparents.

New mum: Good morning.

Grandparents: Mmm.

Woman: They say nothing.

They drink their morning coffee. Black,

hot coffee poured onto the saucer.

Slurping it up, using a sugar cube in the

mouth as a strainer.

Grandfather is reading a hymnbook.

Grandmother just sitting there.

New mum: I’m just going to attend to her

a bit.

Grandparents: Mmm.


I lift the baby up in front of me. I want

to show her to everyone. Grandfather

continues to read. Grandmother looks up,

and with a stiff smile she points to the

dining table.

New mum: She’s grown a lot already.


Grandmother stands up and walks slowly

forward to look at the little girl.

She carefully takes hold of the tiny naked

foot.

Translation: Samtext

vaimo: Se oon varhanen aamu, pääsiäisaamu.

nuori mamma: Mie makkaan isossa tuplasängyssä

minun pikkusen kans.

Kolme viikkoa vanha. Kaunhein mailmassa.

Veres mamma. Hänen pappa nukkuu

toisessa lomassa.

Ko hällä oon respekti niitä vanhoja

kohthaan: Ko ei ole käyny vihilä, niin ei

makkaa samassa sängyssä.

vaimo: Minun loma oon puhas, valosa.

Kartiinit vastasilitetyt.

nuori mamma: Sisälä oon hiljasta.

vaimo: Ulkonaki hiljasta.

nuori mamma: Imetän minun pientä,

ahnetta, ihanaa lasta.

Tunnen, ette mulla oon kusihätä.

vaimo: Pölkään nousta ylös. Kohata

heitä. Hänen vanhiimiita. Se oon ensi

kohtaaminen synnyksen jälkhiin. Ko met

tulima pääsiäisfeeriälle eilen illala, oli

koko huonet vaiti. Kaikki oli menheet

nukkumhaan. Mutta luultavasti het oon

jo nousheet. Ja valmistelevat saarnamiehen

vierailua. Kotiseuroja.

nuori mamma: En pysty oottamhaan

ennää. Panen vaattheet itteni pääle, kok-

koon yhtheen pikkusen kampheet.

Nostan ylös tämän pienen, lämpimän

kapalon. Ja menen tuphaan.

Veresten isovanhiimitten tykö.

nuori mamma: Hyvvää aamua.

isovanhiimet: Mmm.

vaimo: Het ei sano mithään.

Juovat aamukaffia. Mustaa, lämmintä

kaffia jota oon kaajettu teefatile.

Sen het lakkivat ja siivittävät suussa sokkeripalan

lävitte. Äiji lukkee virsikirjaa.

Ämmi tyhä istuu sielä.

nuori mamma: Mie aijoin tyhä vähän

hoitaat häntä.

isovanhiimet: Mmm.

vaimo: Het ei sano mithään.

Mie nostan pikkusen framile. Haluan näyttäät

heile. Äiji jatkaa lukemista. Ämmi

nostaa kattheen, tiukka hymy, osottaa

ruokapöytää.

nuori mamma: Hänhän oon kasunu jo

paljo.

vaimo: Het oon vaiti. Ämmi nousee ja

tullee hithaasti likemäksi kattomhaan

tätä pientä tyärtä. Hän pannee käen varovasti

pienen, alastoman jalan ympäri.

58

59

Os actos e as profecías

Acts and Prophecies by Xacio Baño&Tamara Canosa

ARTISTIC TEAM:

Director: Tamara Canosa

Costumes and

characterization: Montse

Piñeiro and Marta

Ferrer Ucelay

Movement: Rut Balbís

Stage design: José Faro

Lighting: Iván Núñez Casal

and José Faro

Sound: Xosé Lois Romero

CAST: Sergio Abelaira,

Marta Alonso Tejada, Mónica

Camaño, Miguel Canalejo,

Isolda Comesaña, Manuel

Cortés, Antón Coucheiro Cou,

Iván Davila, Raquel Espada,

Xosé Manuel Esperante, Alba

Fernández Cotelo, Sara Ferro,

Atenea García, Miguel

Gendre, Raquel Nogueira Watson,

Alba Recondo, Ana Santos

Maneiro, Lois Soaxe, Jorge

Varandela, Antía Vidal.

OPENING NIGHT:

April 11, 2024 at Centro

Dramático Galego, Santiago de

Compostela, Galicia (ES)

Tamara began her creative career as an

actress. She has worked on dozens of titles

between film, theater and television. In

2020, she founded the cultural company

Rebordelos with Xacio Baño. They

have made cultural projects from cinema

to theatre, also audiobooks or cultural

iniciatives for young audiences. Her work

is focused on underrepresented voices and

personal collective memory.

As director: 2020. Liberto, by Gemma Brió.7

finalist nominations for the Maria Casares

awards. Audience Award at the Mostra de

Teatro in Malpica.

2022 Amantis [selfies, sexting, and other

ways of loving (oneself)], company’s second

show. It was co-written with Xacio Baño.

The play was selected for the Camiño

Escena Norte program and won the Young

Jury Award for Best Youth Show at the

Compostela Cultura 2023 program.

2024. Soños [Dreams] by Fernando Epelde

2024. Acts and Prophecies by Tamara Canosa

and Xacio Baño. Her works have been

featured at the Ribadavia International

Theatre Festival, the Cangas International

Festival of Comic and Festive Theatre, and

the Outono Teatro International Festival.

As an actress, she has received the Mestre

Mateo Award for Best Female Leading

Performance in Film, as well as the Ciudad

de Palencia Award for Best Female Leading

Performance in Theatre.

Xasio Baño (1983) studied film at the

University of León. He produces, writes

and directs several films that have been

presented at numerous national and

international festivals such as Locarno,

Viennale, Clermont Ferrand, Telluride

Film Festival, Mar de el Plata, New Directors/New

Films, Festival de Lanas Palmas,

Festival Málaga, Slamdance, Alcine, Busan

Int. Short Film Festival, Shnit, Aspen

Shortfest, etc.

He was chosen by VARIETY magazine

as one of the ten rising stars of Spanish

cinema. He participated in the Ikusmira

Berriak artistic residency at Tabakalera in

Donostia.

Trote, his first feature-length fiction film

produced by Frida Films was very well

received on the festival circuit, having its

world premiere at the Locarno festival.

It then travelled to festivals such as San

Sebastián, Nantes, Lanzarote, Alternativa,

etc.

He also works as a film teacher within the

Cinema en curs initiative. He also works as

a film editor for other audiovisual works.

He is co-author of the theathre plays Amantis

and Acts and Prophecies.

He is a member of the European Film

Academy, the Spanish Film Academy and

the Galician Audiovisual Academy. He

currently creates and develops projects

from the cultural company Rebordelos.

60 61

Scene 23, Act 4, English

Breakfast with the kids

Technician and beginner with two frontal

lights on.

Technician: I’m sure there is something

you do right. You talk and people listen

to you.

Scene photo

SUMMARY OF THE PLAY: Two sisters. The older one, Alba, does not speak.

Luz is the name of the younger one. She moves forward with the determination of a

thirsty animal that has heard the call of a river.They communicate with each other in

an invented language that no one else understands.

Acts and Prophecies creates a universe around a talent show as a space to talk about

family, expectations and life decisions marked by the search for success.

In the play, the doors of a talent show, its ecosystem and its machinery, open up for us

to think about what we kill, abandon or betray to follow our personal path.

The world of talent shows, television programs that combine reality shows and talent

contests, contains many vital gaps with the potential to show the points of friction

between life and dreams, between a desired, dreamed, idealized life, and the present.

The need to be, to show off, to win, to succeed. The urgencies of life, care, difficulties,

etc. But in the glare of television we also find an invitation to celebrate. An invitation

to laugh and shine and to keep going even if the ground opens up beneath our feet.

Translation: Margarita Díaz

Technician: Working light!

Beginner: There is nothing done.

Technician: There are only a few of us

here. Almost everyone went home. Let's

see if we can get pace and finish early.

Beginner: We’ll finish really late, boss...

Why don't we leave it for tomorrow?

Technician: They're going to be performing

a children's play here tomorrow.

We need to go fast and unpack everything.

I want to go home soon and have breakfast

with the kids.

Beginner: Napoleon had a jacket with

102 buttons. 102. In wars, when there was

a bloody awful attack, he always said to

the one who used to dress him: "Dress me

slowly. Haste makes waste."

Technician: Have you ever thought about

entering a contest like this one?

Beginner: Me? I was always the last

chosen one when we played basketball or

prison ball in school. I avoid confronting

global rejection and public ridicule. I'd

rather manage my shit at home.

Beginner: You sure? I don't see it myself.

Also, the first thing those people would

ask me is to speak normally. I've been

told about it. What's that about normal

talk? I don’t know any other way to

speak!

They keep working.

Beginner: Can you imagine me taking

part? And if everything goes well and I

get to the final? (...) And my whole family

is in the audience cheering. There's also

my grandmother, who died a long time

ago... But I’m there. And the prize of the

contest is not about making money, or

a future, or becoming the new Ana Kiro

(famous Galician singer). The contest is

about getting another chance. Another

chance to do something you didn't do in

time. Like spending more hours with my

grandmother...

Or do something you don't do because

you're into other things that seem more

important to you.

Or something you just don't know how

to do. (...)

We're 20 in the final. Wishing.

Let it be me.

Let it be to me.

62

63

Escena 23, Acto 4, Galego

Almorzar cos nenos

Técnico e a que empeza baixan con dous

frontais acesos.

Técnico: Luz de traballo!

A que empeza: Está todo por facer.

Técnico: Quedamos poucos. Xa marchou

case todo o mundo para a casa. A ver se

lle damos ritmo e rematamos cedo.

A que empeza: Vannos dar as mil, xefe…

Por que non o deixamos para mañá?

Técnico: Mañá van representar aquí unha

obra teatral infantil.

Hai que ir rápido e desmontalo todo.

Quero volver pronto para a casa e almorzar

cos nenos.

A que empeza: Napoleón tiña unha chaqueta

con 102 botóns. 102. Nas guerras,

cando había una ataque da hostia, sempre

lle dicía ao que o vestía: “Vísteme amodo

que teño présa.”

Técnico: Ti non pensaches nunca en

presentarte a un concursos destes?

A que empeza: Eu? Sempre era a última

escollida cando xogabamos ao baloncesto

ou ao brilé no cole. Paso de enfrontarme

ao rexeitamento mundial e ao escarnio

público. Prefiro xestionar as miñas merdas

na casa.

Técnico: Algo saberás facer ben. Ti falas

e aténdeseche.

A que empeza: Dis ti? Non me vexo. Ademais,

o primeiro que me van pedir eses

é que fale normal. Que xa mo din por aí.

Que é iso de falar normal? Que non me

nace falar doutro xeito!

Seguen a traballar.

A que empeza: Imaxinas que me presento?

E me vai ben e chego á final? (...)

E teño a toda a miña familia no público

animando. Tamén está miña avoa, que vai

boa que morreu… Pero está. E o premio

do concurso non vai de gañar cartos, nin

un futuro, nin de converterte na nova

Ana Kiro. Vai de ter outra oportunidade.

Outra oportunidade de facer algo que

non fixeches a tempo. Como pasar máis

horas con miña avoa…

Ou facer algo que non fas porque estás

a outras cousas que che parecen máis

importantes.

Ou algo que, simplemente, non sabes

como facer. (...)

Somos 20 na final. Desexando.

Que sexa eu.

Que sexa a min.

Yn myn dreamen

hear ik dy

I Hear You in My Dreams

MURK-JAEP VAN DER SCHAAF

(Leeuwarden, 1985), documentary filmmaker,

editor and freelance director.

I was educated at the Utrecht School of

the Arts and graduated in 2007 in Audio-

VisualMedia, specializing in documentary

directing.

Since 2006 I have been working full time

on my own productions and commissioned

by various clients including national

and regional broadcasters, cultural institutions

and companies.

My passion and love lie with the craft

of documentary film and television

series. Stories in which content and form

balance and reinforce each other. Made

with integrity and crafted to perfection.

A process in which I enjoy working

with a talented network of researchers,

cameramen, editors, designers and sound

designers, among others.

I have broad interests, but my documentary

work is mainly characterised by

continuous research into identity and

how people try to get a grip on their past,

present and future.

SUMMARY OF THE FILM: For the FryslânDOK film, documentary maker Murk-

Jaep van der Schaaf traveled to Leeuwarden, Brest and Storslett in 2024. The film

follows theatre makers from three theatre companies that work in a small language:

Tryater from Friesland, Teatr Piba from Brittany and Kvääniteatteri from Northern

Norway.

Together with theatre makers Wessel de Vries, Christophe Le Menn and Inger Birkelund,

he explored their landscapes, their languages and their work. Van der Schaaf

also followed their mutual exchanges, creative processes and especially their growing

shared love for language and environment.

64 65

Writers Residencies

Experiences of Exchanges

Inger Birkelund spent one week with Christophe

Le Menn, Wessel de Vries in Galway (IE), visiting

Philip Doherty in August 2023

Lubina Hajduk-Veljkovićowa

visited Iaco Rigo in South Tyrol (IT)

in September 2024

»In St. Vigil - La Plan in Ladin

- the Ladin language is still

very much present. I was touched

when I heard a group of

boys on bicycles passing by

on the street speaking Ladin.

I feel the same way in Lusatia,

because it is no longer a

matter of course.«

»The professional benefit in Galway was great for my

writing process. We had long conversations about

culture, minority challenges, languages - and about

our various writing processes. I realised that what I

thought was unique about my culture and upbringing,

was not so different from the culture of the others. The

similarities were greater than the differences… I thank

Wessel, Christophe and Philip for including me in

their writing group. Through the collaboration, I have

developed as a person and writer. In addition, it

has been incredible fun!.«

Daniel Galay visited Lubina Hajduk-Veljkovićowa

in Leipzig (DE) in October 2023

»One project that we started to develop, is about an exchange of

translating stories of children. That means that my book The fight

of the barbers would be translated to Sorbian, and one of Lubina's

stories for children will be translated to Yiddish.

It was also a great pleasure for me to meet Lubina in Leipzig and to

get impressed by the city of J.S. Bach and Felix Mendelssohn, who I

admire and who have been part of my life since my childhood.«

Wessel de Vries spent residencies in Storslett (NO),

Brest (FR) and Galway (IE) in 2023

»It was really helpful that I could talk to both Inger and Christophe

about the struggles that I experienced during the writing process. The

residencies with Inger had a really special outcome for me, because

Inger asked me to direct her play and help her finish it.«

66 67

Iaco Rigo visited Daniel Galay

in Tel Aviv (IL) in April 2024

»Since I make music

myself, specially composing

and performing

chansons in my native

Ladin language, I was

inspired by Daniel, who

is a great composer and

master of Klezmer music,

to include musical

interludes in my

stage play.«

Christophe Le Menn about his stay in

Storslett (NO), visiting Inger Birkelund in

February 2023

»Despite our different backgrounds, we

discovered many similarities, especially

regarding our experiences with societal

taboos. This trip deeply influenced

my theatrical work, integrating elements

such as northern lights hunting,

night-time skiing in the polar forest,

and information found in the Tromsø

Polar Museum. These experiences

provided invaluable insights into

the local culture, which are now

integral parts of my play.«

Philip Doherty about his residency in

Brittany (FR), meeting Christophe Le Menn and

Wessel de Vries in April 2024

»My play focuses on the mysterious

disappearance of a fishing boat. While

in Brittany I encountered fishermen,

who told me stories about the disappearance

of a fishing boat that was

pulled down into the water, killing everyone

on board. The rumour, which the

government tried to cover up,

was that a submarine got caught in its

nets and pulled it down to its demise.

Thisincident stayed with me and I

connected with it so much that it became

a crucial part of the plot of my play.«

Tamara Canosa and Rafael Rey Domech spent a week in Brest (FR)

in May 2024, visiting Teatr Piba and Christophe Le Menn

»During the residency, we felt a strong cultural connection

with Brittany, rooted in our shared Celtic heritage, culture, and

geographic proximity. The residency also gave us the opportunity to

connect with local artists. One connection was with Juan Escala, a

puppeteer based in Brest. Inspired by his work, we invited him to

perform at the Galicreques International puppet festival in Santiago de

Compostela. I share this to highlight the growing network of

contacts and collaborations made possible by the phōnē project.«

68 69

Community

Theatre

Projects

presented by

their

Directors

Eight intergenerational Community Theatre

productions with non-professional actors

were developed at each partner theatre and

opened up new formats.

70 71

Yiddish

»Cina perfectă de Pesah«

The Perfect Passover Dinner

LIAT FARRIS TWAINA Bringing Yiddish

to life and giving it a voice was the

biggest goal of our Community Theatre

work. The language, nearly lost due to the

Holocaust, holds deep significance for me

as a third-generation Holocaust survivor.

Performing in Yiddish was an incredible

challenge, but our ensemble fell in love

with its music, culture, and history.

Beyond that, our theatre project was about

connection. It wasn’t

just about putting on

a performance—it

was about creating

a space where students

could express

themselves freely.

Many were dealing with

academic, family, and social

pressures, and this project became

a safe place to explore personal topics in

an artistic way, expressing their thoughts,

ideas, and emotions on stage. Through

theatre games, group activities, and deep

conversations, the students learned to

trust each other and to find their voices.

They tackled complex themes like family

conflicts and self-honesty. Watching their

confidence grow was inspiring. This project

was more than a production—it was

a space for self-expression and belonging,

"The Yiddish songs

were a bridge to

history, identity,

where they could speak and be heard

without fear of judgment.

Yiddish, an endangered language with a

rich cultural history, was at the core of

this project. For most students, it was unfamiliar,

but it quickly became a powerful

tool for storytelling. Through songs and

dialogue, they didn’t just learn the

language—they connected

with its emotional and

cultural significance.

Music played a huge

role, helping students

engage with Yiddish

in a natural, deeply

moving way. The Yiddish

songs they performed weren’t

just words on a page; they were a bridge

to history, identity, and emotion. Even

though the actors weren’t fluent, their

dedication to learning and performing in

Yiddish was incredible. They brought new

energy to a language at risk of disappearing.

This project proved that community

theatre can revitalise language and

preserve cultural traditions.

and emotion."

SUMMARY OF THE PLAY: Our community theatre project at the Jewish State

Theater brought together students from grades 8 to 11, many of whom had never acted

before. What began with three participants grew into a dedicated ensemble of 13

over eight months. Together, we crafted and wrote a play rooted in Yiddish themes,

centered around the Passover meal—a time when family members gather. The play

integrated authentic cultural ceremonies and Yiddish songs from before World War

II, exploring themes of perfectionism, family pressures, addiction, betrayal, and resilience.

Through improvisation and group activities, students found their voices and

shaped the heart of the story.

A key part of this project was introducing Yiddish. For most, it was their first encounter

with the language. Learning Yiddish songs and lines brought the language to

life—not just as words but as a connection to cultural heritage. This project was more

than a play, it was a journey of self-discovery, teamwork, and personal growth. The

students didn’t just become actors; they became more confident, resilient, and bonded

as a group.

A third generation to Holocaust Survivors

72 73

Breton

»Roud Diroud«

Untracked Trail

MONA CAROFF The notion of the

laboratory was for me the essential point

of this Community Theatre work. How do

we want our language to exist and give a

glimpse of our culture in this great playground

of Community Theatre work? How

can we work together when we don't know

each other? How do we make theatre? No

matter what your theatrical experience or

level of Breton is. The starting point for

Roud Diroud is the

question of transmission.

Can I

draw the contours

of what has been

passed on to me?

And the imprint I will

leave behind me?

On this basis, 7 people responded

to the call. We met up and looked for

answers in our stories, through improvisations,

reflections and writing.

Between these periods of group research, I

was able to discover at the CDG in Galicia

and at the Tryater in Leeuwarden, their

relationship with language, bits of their

culture and their theatrical work. This had

an obvious influence on Roud Diroud.

All that time spent researching to create

a common story, in Breton, was invaluable.

Language is an intimate thing, and

"Language is an

intimate thing."

the history of our language, a forbidden

Breton language, is full of unique

links to it. Bringing them together in

a community project means creating

a common ground and bringing our

innermost selves to life.

Community Theatre is an opportunity

for speakers to meet up, work together

and use language in new contexts to tell

stories that are more or less close

to our own realities. It's an

opportunity to talk about

our relationships with our

languages and cultures,

in direct or indirect ways.

It's also a chance to play,

laugh and feel emotions, and to

share them in Breton. It seems to me

that telling new stories, specific to our

contemporary times, is necessary for our

languages.There are so many different

branches to the theatre, and each person

and each project can express themselves

in them, that the more of them there are,

the more our imagination will unfold in

and through language.

That's how we keep them current, and

therefore alive.

Roud Diroud team

SUMMARY OF THE PLAY: 2080. Humanity is overwhelmed by a mass of objects

and images that it doesn't know what to do with. Four years ago, a crazy idea was born:

To open Mirdi Ar Roud, the world's first Trace Museum ! Since then, under the direction

of Chantal Bonna, a team of knowledgable people has been searching through the

multitude of objects and images inherited from our ancestors, to find the most important

traces to safeguard for the future of human beings.

The show begins with the inauguration of this Museum of Traces. The audience is introduced

as mayors, prefects, elected representatives of the world government, the World

Traces Office team, etc.

Once the inauguration banner has been cut, the audience is led on a tour of the treasures

preserved in the museum. Each member of the knowledgable team, introduces an object:

the last stone of the edifice in which this Museum of Trace now stands, a mobile phone

charger that was once a social link, a diving mask that guaranteed a different way of life,

a bottle of life-giving water, a pie dish filled with delicious memories, a dice game for

replaying choices and destinies.

The tour continues with the question: Which essential traces would you, audience, like

to leave behind for future generations? For the knowledgable team, a Breton dance, a

song or a poem in Breton are then performed, to remind us of the need not to forget

them, for the future of human beings.

74 75

Frisian

»It lêste wurd«

The Last Word

ROMKE GABE DRAJJER For me the

most important thing about my Community

Theatre work is to research the

theme with the group and to make them

co-creators as well. So that they come

with ideas, thoughts, scenes, music; all

kinds of input. Together we can transform

this input to something bigger,

more theatrical, and we put

the puzzle together. The

participants must

have the feeling, or

the knowing, that

its really from

them what they

are making, even

if they don’t see

the endproduct.

I’m just there to

give them the feeling

that it’s coming to a good

end, guide them to gather information

and create scenens, put it all into a form

and bring it together on a level they

didn’t know they would or could be

performing.

Everyone is a professional in my Community

Theatre work. I think besides the

communal research, the end product has

also a certain artistic/professional level,

because I believe when the performance

"Everyone is a

professional in my Community

Theatre work."

is awesome, beyond expectations of what

‘Communtiy Theatre’ at first thought can

be, and people grow above themselves,

the experience can be more impactful. I

love it when that happens, and with It lêste

wurd we got there quite well and

we really became a group. After

almost a year we had already

two drinks together: I never

had that with a group in

my working career.

Community Theatre helps

revitalise endangered

languages by keeping them

actively used, shared, and

alive. Co-sharing and working

with the language strengthens

participants' connection while learning

from each other’s perspectives.

Theatre encourages reflection on language’s

personal meaning and how others perceive

it. This exchange deepens understanding,

making the language more relevant.

Through storytelling and performance,

language becomes more than words—it is

felt, experienced, and passed on.

SUMMARY OF THE PLAY: As part of the European minority language project

phōnē, Romke Gabe Draaijer creates this unique and modern-day performance for

Tryater, together with a group of seven people who speak a Frisian regional language

or a language variant. Over the course of ten rehearsals, the group worked towards

a humorous yet philosophical enactment: It lêste wurd (The Last Word), in which we

witness the final farewell to the Frisian language. In a museum setting, the dialects

and minor languages of the province symbolically bury Frisian, the Netherlands’

second national language.

This extraordinary experiment is developed with input from experts in Frisian linguistics

and brought to life through the creative efforts of passionate amateurs. A performance

driven by love for the language, It lêste wurd is both a reflection on linguistic

heritage and a thought-provoking exploration of its future.

A scene of It lêste wurd

76 77

Sorbian

»Klub potajnych Serbow «

The Club of the Secret Sorbs

GEORG GENOUX Talking about Community

Theatre and protecting minority

languages isn't necessarily my focus—perhaps

because I don’t belong to a minority

and love working in different languages.

But these aspects can be connected.

My main theatre work is with people in

crisis regions or facing major personal

crises, particularly young people. On one

hand, I enjoy immersing myself in the

challenges, excitement,

and humour of growing

up. On the other, I

know from personal

experience how meaningful

theatre can be in

processing and overcoming

crises.

I’m interested in theatre that offers

those who have never engaged in artistic

projects, or who feel excluded from

culture, the chance to "try out" theatre.

Through theatre and art, I aim to foster

dialogue between people who might

otherwise never speak to each other. My

work is rooted in the social foundations

of living in a foreign place: language,

communication, and the opportunity to

express fears, hopes, and experiences in

a safe, open space—creating community

through play.

"Theatre makes people

From 20 years of experience working with

young people, particularly those from Slavic

and Middle Eastern backgrounds, I’ve

found that nothing connects them more

than music. Music heals—it allows people

to sing their trauma out. Making music

together can be a powerful, boundarybreaking

experience.

Through theatre, I want people to stop

seeing themselves as victims and

start seeing themselves as

heroes of their own

story.

In this context,

revitalising and

protecting a language

through Community

Theatre can be a healing

process, especially when language is a

crucial part of identity. For the Sorbian

people, who live in deep fear of rising

right-wing tendencies in Saxony and the

loss of their identity, theatre provided

a beautiful opportunity to express their

love and hope for their language. Through

music, they created songs in their own

language alongside musician Yuriy

Gurzhy, reclaiming and celebrating their

heritage.

heroes of their

own biography."

Applause at the opening night

SUMMARY OF THE PLAY: In a distant future—the year 2422—a dark force has seized

power in Saxony, terrorising the people, who are now only allowed to be Aryan-

German. All other languages, rites, and traditions are banned. Anyone who rebels is

turned to stone by a spirit.

So, do the new rulers control all of Saxony? All of Saxony? No—because a group of

young Sorbian people, led by a magician, is secretly preparing an uprising to save their

Sorbian world. The spirits of the seven Sorbian kings suddenly become their allies.

Kurdish and Ukrainian youths also appear, seeking to understand the young Sorbs and

become part of them. This raises important questions: How can one become Sorbian?

What defines a Sorbian identity?

The production explores love for one's customs, legends, dances, and songs, while also

delving into growing up, identity, and meaning in an increasingly complex and threatening

world. At the same time, it takes a self-deprecating and humorous look at how

people transform in this strange reality, despite the looming darkness. What happens

if my origins disappear? What remains of me? What new parts of myself do I discover?

Director Georg Genoux developed this theatre production with young people from

Bautzen and the surrounding area who have Sorbian roots, addressing the disappearance

of their nation and traditions in Saxony.

78 79

Galician

»O Corazón Na Boca«

The Heart In The Mouth

RAFAEL REY DOMECH Community

Theatre was the discovery that changed

my company’s line of work. Thanks to the

project "O corazón na boca", a co-production

with the Galician Dramatic Center

within the European project phōnē, my

company has not stopped creating and

accompanying community projects in

Galicia and beyond our borders.

We are in a constant search about

the importance of theatre and

performing art today. In

a world of screens, stress,

Community Theatre allows the creation

and development of the community,

giving the opportunity for personal

development and growth of each of its

components and the group as a collective

entity, our language is also a community,

and needs development and encounter

to stay alive, create

in our language

and be able to

share stories,

and overstimulation, we

it keeps it in

seek meeting points where "Community

our culture

the community can join,

share, dialogue, and express

Theatre is a tool

for connection and

and therefore

present in us.

their concerns. We

In the creative

expression."

do not want to miss the

process of the show

phenomenon where we express

ourselves live, sharing

the same space, connecting

and breathing our stories,

emotions, and desires in the hall of

a theatre, the square of a town, or a sociocultural

center.

We find in Community Theatre this

place, where theatre is a useful tool for

we meet people who

have learned the language

or improved their level

thanks to meeting and creating

together in Galician.

The theatre is still alive, it is still necessary

and it is a great opportunity to

make community and claim our language,

concerns and our sensitivity.

our society and generates an open door

for everyone to discover the freedom of

scenic expression.

Scene photo of Adela fulfilling her dream of singing in Eurovision with all her friends

SUMMARY OF THE PLAY: What does dreaming mean? What does it imply?

What does it mean to dream in the age of 16? And in the age of 83?

What are the dreams of those children we once were?

Which trains do we not catch? Which are yet to be taken?

A cast of 14 people from 18 to 80 years old will put their heart in their mouth and,

with bravery of the one who dreams aloud, we will be invited to a journey through

dreams.

The impossible, the fulfilled, the forgotten, the missed… All this dreams from the Galician

theatre community, its language and history.

The theatre is full of dreams, impossible dreams and dreams that seemed to be fulfilled,

dreams that are still pending and will never be fulfilled, dreams that we give up, dreams

of the past and present. In O Corazón Na Boca the dreams of the protagonists will be

presented to us on stage in the form of characters and will tell us about the dreams in

the different stages of life. Because we too, like the theatre, are full of dreams.

An investigation by NAUTA into the community of FEGATEA, which for a year has

been developing an intergenerational show of collective creation, celebrating Galician

theatre, language, and 40 years of history.

80 81

Irish

»Crann na bhFocla «

The Tree of Words

"The children

became ‘Guardians

of Gaeilge’."

BRENDAN MURRAY The most important

thing for my Community Theatre

work was the engagement with the younger

cast members. The enthusiasm and

willingness to express themselves was laudable

and uplifting. I believe that engagement

with theatrics, through workshops

and rehearsals, gave them a great sense of

purpose and worth. The children in each

area are native speakers, in the main, and

are very aware that they

speak a language that

is very much marginalised.

Through the encouragement

of the

actors, designer, and

director, the language

they speak naturally was

elevated and given an importance

they might not readily get in everyday

life or schooling. Then, to be afforded the

opportunity to express this newfound

purpose and understanding of the almost

privileged position they are in as Irish

speakers definitely gave them a sense

of pride and a deeper understanding of

what it means to be an Irish speaker. This

mood was worked into the play as they

became ‘Guardians of Gaeilge’.

The potential for revitalising/protecting

the language through Community

Theatre work was apparent early in the

process. From the initial engagement between

the adult actors and the children,

when the whole European dimension of

the play was discussed, focus was rapidly

given to the language and its vitality.

Each child was encouraged to gather old

Irish sayings from older family members

and was eager to present them as

part of the performance. This

enhanced a sense of pride in

the knowledge that these

sayings were unique in

some way to them, their

family, and their community.

Artistic expression is a

powerful forum for exploring

language and customs. Each is inextricably

linked, and theatre especially

offers great potential for understanding

and appreciating this cultural intersection.

By taking the language out of the

everyday and putting it into what could

be considered, in and of itself, a framed,

performative ‘role,’ enormous potential

for revitalisation organically occurs in a

positive and safe environment.

SUMMARY OF THE PLAY: Our community plays – there was one in Connemara

and one in Mayo – each explored the richness of the Irish language in each region and

put them into a playful, modern context. Are the old Irish sayings still relevant; do

they resonant in today’s world? The actors and director worked with local schoolchildren

and put together games, dances and songs that were incorporated into a devised

script. All then took part in the play with local musicians providing a score.

The main character in each was the Wise Woman – an ancient Irish trope used to

impart knowledge and wisdom. She bemoaned the loss of the Irish language whilst

reciting some prime examples of poetry and song. She was interrupted by a Joker type

character that contradicted here and brought the children in to show her how the

language was still thriving amongst the younger generation. Through the Sean Fhocail

(Old Sayings) and the songs and dances they had worked on with the actors, they

showed the Wise Woman how alive it is.

The Wise Woman was eventually convinced of the potential in the youths to preserve

the language and the play finished in a joyous celebration.

Introduction to Crann na bhFocail in Conamara

82 83

Ladin

»Morvëies «

Wonders

NADIA RUNGGER Many things were

important to me in my Community

Theatre work. The group, the encounters

between people, the different generations,

the Ladin language and the different

Ladin idioms that were involved in

the community theatre. Dealing with

ourselves, our reality and our

different perspectives and

dreams, our process in

this journey. An important

aspect is also the

curiosity that helps us

to approach each other.

And also as a writer,

stories and poetry are

always essential to me.

It was important to me

together to create a space

where we can try things out

and exchange ideas, where we can

learn, where we can be creative.

From my perspective, Community

Theatre is very important for minority

languages for several reasons. It is a way

of coming together, talking to each other,

meeting each other and sharing emotions

and experiences, also between generations.

If we as a group open ourselves

up to these encounters, many things are

possible. By speaking our language with

each other, we also share our thoughts

about the minority language. Topics such

as language and culture can come up, as

well as political and geographical

aspects, but we can

also discuss individual

words and their

use, look closely,

experience their

sound and rhythm.

We can learn new

words from each

other, and in this

way, we also get to

know our language and

ourselves anew - it's a

process. I think translations

are important for better visibility

and to make the language accessible to

others. Ladin translations in the various

idioms can also be interesting. And finally,

there is the stage, which gives us the

opportunity to share our language, our

process, the thoughts and the questions,

our passion with others.

"Community Theatre

is a way of sharing

emotions and experiences,

also between generations."

After the last performance of Morvëies in the Stadttheater Bruneck, 31.05.2024.

From left to right: Susy Mutschlechner, Maria Margareth Pedevilla, Silvana Pitscheider,

Julie Mühlmann, Milena Obwegs, Marta Cristofolini.

SUMMARY OF THE PLAY: The suitcase no longer knows whom it belongs to. The

birds that live in our house are not from here and we sometimes break in the snow

when we walk. A thought matures in us: What if we could change something? But how

do we do that? We shift and new realities emerge. How do we live and how do we go

home? We experience moments, it can be a dream, a journey on the train, we look

out of the window while the landscape blurs and thoughts grow inside us. Language

is essential, words can lead us from one thought to the next through their sound and

associations. Questions that seem simple at first glance turn out to be essential. A

woman returns home, but the feeling of being at home does not arise. Someone asks

what time it is. And someone is looking for the right constellation, moving all the

objects in the surroundings. It is a poetic coexistence of finding and losing: Finding

ourselves in the midst of a crowd, in our routine, on the other hand losing the thread,

our luggage, or losing our orientation. Together we go on a search and find tamejuns y

morvëies – which is Ladin and means wheat bran and wonders, marvels. Morvëies also

means astonishment, surprise and beauty.

84 85

Kven

»Annijoki «

SARA LINDBACH The most important

aspect for us throughout the Community

Theatre play was fostering engagement

and collaboration within the community

while highlighting local history, language,

and Kven culture.

We were particularly inspired by the

enthusiasm of the participants, especially

the children and youth, and were impressed

by the strong support

from the village.

We valued the

sense of collective

creation,

emphasising

that theater is

something built

together. The

positive reception of

Annijoki reinforced

our belief in the power

of storytelling to strengthen

cultural identity and community spirit.

"Performing in a

We think Community Theatre is a

powerful tool for language revitalisation,

promoting active use and strengthening

cultural identity. By incorporating dialogues,

songs and storytelling, we were able

to create an engaging space for linguistic

practice.

heritage language builds

pride and visibility."

The theatre project also fostered intergenerational

learning, allowing elders

to pass down knowledge to younger

participants. We learned that performing

in a heritage language builds pride and

increases visibility, encouraging broader

use in daily life.

The theatre projects generated

scripts and recordings,

contributing to

language documentation

and education.

We also found that

theatre attracts

children and young

people, giving us the

opportunity to make Kven

language learning more fun and

relevant.

Through collaboration, we think Community

Theatre strengthens collective

commitment to language preservation,

giving us hope for its survival for future

generations.

SUMMARY OF THE PLAY: On June 1, 2024, the outdoor walking play Annijoki premiered

in Vestre Jakobselv. Organized by Kvääniteatteri and featuring local children

and youth, the project aimed to engage the community in theater while celebrating

Kven culture. As part of the EU project phōnē, Giving Minority Languages a Voice, Annijoki

presented five scenes at various locations, guiding the audience through the village.

The script was based on real historical events from local archives and books, with

fictionalised dialogue. The performance concluded with a concert by the local band

Linstampan at Jakobselvkaia, where guests enjoyed coffee and traditional snacks.

Despite some sound challenges due to wind and voice projection, the play was a

success, drawing around 100 in the audience. The community response was overwhelmingly

positive, with many hoping for Annijoki to become an annual event. The

project also sparked interest in more theatre opportunities for children in the village.

Sara Maria Maliniemi Lindbach represented Kvääniteatteri as director and project

manager in the play. Actor Ørjan Steinsvik, also representing Kvääniteatteri, was codirector

and participated as a professional actor.

Scene photo: The schoolteacher instructs the pupils on how to behave when they receive guests –

and most importantly, they must show that they can speak Norwegian, not Kven.

86 87

Group photo of all Community Theatre artists

A Week of

Theatre in

Community

South Tyrol

88 89

Community Theatre group experimenting with movement;

Outdoorstage and rehearsal space in La Pli

From June 30 to July 7, 2024, 40 non-professional

and professional Community

Theatre enthusiasts, aged between 10

and 74, gathered from across Europe to

collaborate under the guidance of experienced

British director Andrew Siddall

in South Tyrol.

Set against the breathtaking backdrop of

the Dolomites, the Ladin-speaking village

of La Pli became the stage for their

creativity. Together with the community

theatre directors from eight different

minority languages and countries, a play

titled Together was crafted, inspired by

the themes of language and communication.

With all participants speaking eight

Regional and Minority Languages, the

project explored fundamental questions:

How do we move around with our

languages?

What do we have in common that we

experienced through our culture, our

language and our view on creation and

how do we want to make theatre?

The idea of Community Theatre that

is created by and for a community,

involving non-professional actors and

local participants, allies with the whole

concept of phōnē to make theatre for,

with and about communities of the RML

speakers. For some participants, this

was an entirely new concept. However,

through hands-on experience and discussions,

they began to see how it connects

with everyday life, human interactions

and cultural heritage. Rather than

focusing on traditional narratives, they

explored theatre as a form of participatory

storytelling—one that strengthens

bonds within a community and gives

people a voice.

Throughout the week, participants

opened doors to new stories and emotions,

sharing them on stage in playful

interactions. Voices and sounds traveled

from one person to another, bridging

cultures and perspectives. They greeted

each other in their native tongues as well

as in the languages of their peers. On

stage, every language had equal value,

creating a unique and intense sense of

connection.

Collaboration was at the heart of this

week. Participants engaged in workshops,

discussions, and practical theatre

Andrew Siddall, Community

Theatre expert at a rehearsal

90 91

Rafael Rey Domech (CT Director, Galicia)

beautifully summarised the experience:

“The best memories are the people,

the exchange, the art, the differences,

the attention and kindness, the open

hearts, the collaborative work, the project

itself, the joy, the stunning landscape,

the food and drinks, and above all, the

warmth of the people.”

Final performance Together

exercises. They experimented in different

groups with various storytelling techniques,

mythological stories, movement,

puppetry and singing songs that reflected

their rituals and cultures. Improvisation

was also used to explore themes relevant

to their communities. An important

aspect was the shape of the landscapes

each participant came from, as well as

the distinctive features of each Regional

and Minority Language area. They also

created small performances reflecting

on social and cultural topics and built

miniature landscapes to share with the

audience. The process was highly interactive,

allowing everyone to contribute

their unique perspectives and skills.

"It was an enriching experience, especially

for the young professionals who took

part. Many had different backgrounds

and expertise, which made the exchange

of knowledge particularly valuable. They

worked together, shared perspectives,

and learned from each other’s approaches

to theatre, language, and community

engagement," said Andrew Siddall.

This experience fostered a deep sense of

unity, curiosity, and gratitude. Trying

out foreign words, embracing linguistic

diversity, and communicating without

barriers forged stronger connections

between participants. The impact of this

exchange will resonate in all their languages

and future activities.

The collaboration left a lasting impression

on everyone involved. "Participants

gained not only artistic and storytelling

skills but also a deeper understanding of

how to create sustainable and engaging

projects. They learned how to structure

their work, secure funding, and build

networks to support independent initiatives.

Additionally, the diversity of languages

and cultural backgrounds among

the participants created a unique sense

of togetherness. The differences were not

barriers but rather sources of inspiration,

allowing everyone to connect on a

deeper level and appreciate the power

of storytelling across cultures. Many left

with a renewed sense of purpose and

motivation to continue using theatre as

a means of community engagement and

cultural preservation," reflected Siddall.

Project Documentary by Carlos Gallardo

https://www.youtube.com/watch?v=3XsXExDpdFY

92 93

A Celebration of

Regional and Minority

Language Theatre

From June 30 to July 3, 2023, the Deutsch-

Sorbisches Volkstheater in Bautzen

hosted a groundbreaking international

conference dedicated to Regional and

Minority Language (RML) theatre. Over

three days, theatre makers, academics,

and activists from around the world came

together to share experiences, challenges,

and aspirations for the future of multilingual

theatre.

The conference opened with a powerful

theatrical performance featuring over

Conference in Bautzen (DE)

15 languages from around the world,

creating an emotional and immersive

moment for the 120 attendees. Probably

never before in history have so many

different regional, minority, or indigenous

languages been heard in one room.

Representatives from indigenous and

minority communities sang songs, recited

poems, and even taught dances. In these

moments on stage, togetherness was at

the heart of this multilingual theatrical

opening. We heard languages such as

Noongar from Australia, Hawaiian from

the USA, and the languages of Coastal

Salish and Squamish spoken by artists

from Canada, along with

several European RML

groups speaking their

languages on stage.

Following this special

opening, various

Karaim musician

Michael Kulieczenko

themes were explored in short

lectures. One of them focused

on the diversity of RML Theatre

across Europe, featuring seven

different keynotes. Additionally,

non-European guests shared

insights into indigenous cultures in

theatre and the political challenges

they face.

• Hanna Pilecka and Michal Kuliczenko

discussed the Karaim

language in Poland. With only

about 100 members, the Karaim

community preserves its cultural

identity through theatre, publishing,

and performances. Inspired by the

conference, they announced plans

for a musical adaptation of a Karaim

legend from Crimea.

• Despite the rich cultural diversity of

Roma communities, Roma theatre

remains largely unknown. Márton

Illés from Independent Theatre

Hungary discussed European Roma

theatre, highlighting seven years of

research that has documented these

theatres, supported their growth,

and helped establish a network to

ensure their survival.

• Tomasz Wicherkiewicz from the

University of Poznań provided

an overview of RML Theatre in

Poland. Despite Poland’s official

monolingual, status, many minority

communities actively preserve their

linguistic heritage through theatre.

The presentation included case

Working in groups

on the network idea

studies on Wymysiöeryś in Wilamowice,

Kashubian in Pomerania, and

Lithuanian in the Suvalkija region.

• Mia Fors and Erling Frederiksson

from Tornionlaakson Teatteri

discussed the evolution of Meänkieli

theatre in Sweden. What began as

an amateur group has grown into a

professional institution advocating

for the Torne Valley people. Despite

a history of persecution that disrupted

the transmission of their native

language, Tornionlaakson Teatteri

now strives to revive Meänkieli

through theatre, incorporating both

Swedish and Meänkieli on stage

to preserve cultural identity and

history.

• Marking its 20th anniversary, Cia

Sargantana - represented by Jordi

Pérez - discussed Catalan theatre’s

dedication to sustaining slow, deep,

and meaningful artistic expression.

This commitment persists despite

global trends that favour fast-paced

and superficial media.

94

95

• Prof. Werner from the University

of Leipzig (DE) discussed Sorbian

language preservation. Once spoken

by 150,000 people, Sorbian now faces

the threat of extinction despite legal

protection. Revitalisation efforts

are focused on education and media

initiatives, but maintaining intergenerational

transmission remains essential

to the survival of the culture.

• The theme of linguistic imperialism

and the systemic exclusion of

minority languages highlighted how

policies favouring dominant languages

lead to social marginalisation and

cultural erosion. Prof. Carsten Sinner

(University of Leipzig) discussed

these impacts in detail.

INDIGENOUS CULTURES IN

THEATRE AND THEIR POLITICAL

CHALLENGES (SEE PAGE 98-105)

We were delighted to have invited not

only European theatre artists but also

performers from around the world. The

presence of First Nations artists highlighted

the intersection of language,

culture, and political struggle, offering

profound insights into the socio-political

significance of language in theatre.

Hawaiian language theatre (Eric Johnson

& Loko Lipscomp, Honolulu Theatre for

Youth, Hawaii): While primarily performing

in English, the company integrates

Hawaiian, Pidgin, Japanese, and American

Sign Language into its productions,

reflecting Hawaii's multicultural identity.

*A traditional 'ōlelo no' eau

(proverb), i ka 'ōlelo ke ola,

i ka 'ōlelo ka make, "in the

language is life, in the language is

death," speaks to the power of

language, as words have the

ability to heal or destroy.

Noongar language theatre (Maitland

Schnaars, Yirra Yaakin Theatre Company,

Australia): Yirra Yaakin Theatre

Company addresses the historical

suppression of Indigenous languages by

fostering cultural pride and revitalising

Noongar through theatre workshops for

both First Nations and non-Indigenous

children.

Coastal Salish and Squamish artists

(Columpa Bobb & Rebecca Duncan,

Canada): Both artists shared personal

stories of political suppression and their

lifelong commitment to revitalising their

ancestral languages.

Kusunda: Speak to Awaken

An interactive virtual reality experience

during the conference, Kusunda, showcased

the journey of an indigenous Kusunda

shaman and his granddaughter as they

navigate language loss and revitalisation.

This powerful project illustrated

the challenges and possibilities of reclaiming

sleeping languages.

EVALUATING THE PROJECT’S IM-

PACT (SEE PAGE 106-111)

The Research Centre for Arts & Society

at the University of Groningen

(NL) conducted an interim evaluation,

analysing the artistic and social impact of

the project. Interviews with participants

provided valuable insights into theatre’s

role in preserving linguistic diversity.

This book contains extracts from their

findings and offers a glimpse into the

methodology and early results of their

research.

FIRST THEATRE NETWORK OF

WORLD'S LANGUAGES IN DANGER

(SEE PAGE 112-113)

One of the most significant outcomes

of the conference was the formation

Interim project

evaluation

of a global theatre network for endangered

languages. Participants engaged in

workshops on themes such as tradition

vs. modernity, minority vs. majority

cultures, and the relationship between

language, culture, and landscape. These

discussions laid the foundation for a

sustainable platform advocating for RML

theatre worldwide.

The conference in Bautzen was not just

an academic gathering but a historic

moment in the movement to preserve

and promote minority languages through

theatre. By fostering collaboration, raising

awareness, and establishing a formal

network, the event marked a crucial step

toward ensuring the survival of linguistic

and cultural diversity in the performing

arts worldwide.

*Quote: The American Indian Quarterly 28.1&2 (2004)

86-91, Hā, Mana, Leo (Breath, Spirit, Voice) Kanaka

Maoli Empowerment through Literature by Ku'ualoha

Ho'omanawanui

96 97

Hawaiian language

ANNIE LOKOMAIKA`I LIPSCOMB is a multidisciplinary

artist, born and raised in the islands of Hawaiʻi.

With a background in hula, performance, and creative

writing, she has spent years sharing the richness of

Hawai’i with communities across the globe. Lokomaikaʻi

is currently a member of Honolulu Theatre for Youth’s

resident ensemble.

Hawaiian proverb

» I ka 'ōlelo ke ola,

i ka 'ōlelo ka make«

In the language is life, in the language is death

THE LANGUAGE: Hawaiian is a Polynesian language spoken on all of the inhabited

islands of Hawaii with only minor dialectical differences between them. In the

nineteenth century, Hawaiian became a written language and was the language of the

Hawaiian government in public offices, courts and schools. In 1898 under the rule of

the United State English became the official language in Hawaii. In recent times, much

has transpired to rekindle the use of Hawaiian. In 1978, Hawaiian was re-established

as an official language of the state of Hawaii. In 1987, government schools began using

Hawaiian at selected sites and in now the number of Hawaiian speakers is growing

steadily. To date, Hawaiian is the most widely studied Native American language and

is the only Native American language that is used officially by a state government.

scene photo of the production Makani

MY SPECIAL MOMENT FROM THE CONFERENCE: Intertwined like foliage in

a garland, the sound of languages encircled each other, and each one of us,

winding down the ancient pathways of Bautzen. We met for the first time,

as participants, as people. But I could not help but wonder if some of these

languages were perhaps meeting for the first time. Languages still voiced.

Still leaving trails of warm breath through the air. And having survived

against all odds, having faced countless and constant threats, having been

marked for eradication and erasure–had these voices ever heard one another

before? Perhaps only in a recording, an echoing game of telephone

through paper cups connected by string? A lost fragment of song? But had

these voices heard one another, danced round each other in conversational

ritual and play, breathed into one another face to face? Perhaps. Perhaps

not. But now we can say, in our own languages, and in the languages of

others, with certainty–yes, they have. We heard them with our own ears.

98

99

Noongar

Noongar language

THE LANGUAGE: Noongar language is spoken by the fourteen First Nations Tribal

Groups in the South West of Western Australia. There is one language but a number of

slightly different dialects. Due to past Government policies and practices which banned

the speaking of Noongar, the language became endangered. Since the banning of those

policies and practices, those who have managed to keep the language alive are now able

to teach and pass the language on to a new generation. There is now a renaissance in

Noongar language in the South West of Western Australia.

Maitland Schnaars is a leading Indigenous contemporary

theatre artist in Western Australia. He trained at

WAAPA and earned a BA in Contemporary Performance

from Edith Cowan University.

Co-founder of international theatre company Corazon

de Vaca, Maitland has performed and co-created

productions in Spain and Australia. He has worked with

independent theatre companies and performed with Yirra

Yaakin Theatre Company, Black Swan State Theatre

Company, Queensland Theatre Company, and Griffin

Theatre. His directing experience includes Assistant and

Associate Director roles for WAYTCO’s Beside (Perth

Festival 2021). In 2022, he toured nationally with Bell

Shakespeare’s Comedy of Errors.

Maitland collaborates across dance, multimedia, and

music, including time with Wadumban Noongar Dance

Group. He won the Performing Arts WA Best Actor

award in 2016 and is currently Artistic Director of Yirra

Yaakin Theatre Company.

So Long Suckers is an absurdist piece of theatre exploring drugs, alcohol and heroes. It was a creation

between Noongar, Bunaba (Pilbara region of Western Australia) and White artists.

Nyn

Sit

Djinang

Watch

Yoowart Waangk

No talking

Dwangk-kaaditj

Listen

Kaaditj

Understand

MY SPECIAL MOMENT FROM THE CONFERENCE: The Bautzen conference

was an incredible and enlightening experience. Connecting with other companies

and artists that make work in regional minority and first nations

work was very empowering. It proved that the work Yirra Yaakin has and is

doing in continuing to make work in Noongar language is the right way to

go. With regards to any special moments, for me the entire conference was

a special moment.

100

101

Skwxwu7mesh

Snichim »

Squamish Language

Squamish proverb

Ha7lh stélmexw

kwelh tiná7 chet«

We come from good people

TSITSAYXEMAAT REBECCA DUNCAN is of

Squamish and Musqueam descent of the Coast Salish

Peoples. Rebecca has devoted her life to preserve the

Squamish Language, Salish weaving and Cultural

teachings that have been handed down to her from her

late Papa and his Papa and so on and so on since the

beginning of time.

Rebecca specializes in cultural activities including

Language Games (TPR), Traditional Song & Dance,

Traditional Cooking, Weaving, Traditional Health &

Wellness, Indigenous History and Storytelling .

Rebecca has performed worldwide promoting Language

and Culture, representing Coast Salish people

and practicing protocols with Song and Dance sharing

history with storytelling and weaving workshops to

empower our people.

No matter where you are from, it is so important to

know your history, your culture, and your ties to the

land.

Rebecca Duncan on Squamish land storytelling and performing

THE LANGUAGE: Our language comes from the land, the waters and the mountains.

It is rhythmic and harmonious to our lands and waters and is very specific to our

points of topic. Our language identifies us as Skwxwu7mesh Peoples and has everything

in it’s bones to protect us and guide us to be better human beings in this world we

are forever grateful. It’s our true way of communicating to our Creator, when we’re in

prayer, ceremony or conversing with the animal kingdom.

MY SPECIAL MOMENT FROM THE CONFERENCE: What I remember the

most from Bautzen conference is how we are all in the same situation, no

matter where we are from, we’re all trying to revitalize our languages, bringing

awareness along with the importance of our cultures and how they go

hand in hand together, bringing us closer connections to our territories and

to our ancestors. We must never forget them or the teachings they fought

for to preserve for us. I always thought us Indigenous peoples were the only

ones suffering from those atrocities but learned that even the indigenous of

Europe are suffering as well!

102

103

Kusunda - speak

to awaken - a virtual

reality experience

about language

SYNOPSIS: Every two weeks a language falls asleep. Most languages at threat belong

to indigenous communities such as Kusunda in Nepal. The Kusunda language has

been categorised by linguists as a language isolate, meaning it’s unrelated to any other

language family of the world. Due to their nomadic way of life, the Kusunda call themselves

“Kings of the Forest.” Currently there are only about 150 people in Nepal who

identify as Kusunda.

Lil Bahadur, lost his mother tongue when he gave up his hunter gatherer lifestyle to

settle in the village. “When my parents died I had no one left to speak my mother tongue

with. Slowly the language started fading away. I started speaking another Nepali

language with people in the village. That’s how it happened,” he says with a sense of

resignation.

Lil’s granddaughter Hima, a bright teenager detached from her grandfather’s huntergatherer

identity, represents a modern Kusunda identity and is taking on the challenge

to revive her mother tongue. “I haven’t lived in the forests and I don’t want to! I’m

studying hard to become a teacher. But I am proud of my heritage and culture. I’ll do

whatever I can to preserve it and I’m confident of being successful.”

scene of the VR film Kusunda

official

poster of the

VR film

The VR installation at the conference

in Bautzen is named Kusanda, after the

dormant language of Nepal.

This voice-driven, interactive virtual

reality experience explores what causes a

language to fall asleep and what it takes

to awaken one. All conference participants

had the opportunity to engage

with this immersive VR experience.

Serving as a bridge between virtual reality

and real life, the installation extends

the visitor's journey beyond the headset.

It invites people to experience the story

both collectively and individually.

Designed to capture the multi-sensory

essence of the forest encountered in the

VR experience, the installation brings

this environment to life through a fusion

of textile, natural, and digital elements.

Co-created by shaman Lil Bahadur and

his granddaughter Hima, this intergenerational

story invites you to support the

revitalization of their mother tongue.

104 105

Evaluation of

Thematic narratives

In individual interviews and during imaginative dialogue sessions, artistic directors,

writers and Community Theatre directors shared various stories related to thematic

connections to their Regional or Minority Language. Themes that were discussed were,

among others, ‘body’, ‘power and ‘landscape’.

RML & BODY: The body language in some RMLs showed a very physical culture. Body

language is also often strongly connected to the environment in which people live.

The research on phōnē is conducted by two artistic researchers from the Research

Centre for Arts & Society, Groningen (NL), Nathalie Beekman and Frederik Bennema.

It aligns with the phōnē cycle learn-share-evaluate and develop creatively together. The method

used is artistic research—an emergence-oriented, open, relational, and process-focused

approach (Coumans, 2023). This combines qualitative and performative research (Østern

et al., 2021), where qualitative research gathers representative stories, while performative

research consciously applies and evaluates its effects.

Active participation of artistic researchers enabled a temporary learning community

of Community Theatre directors, artistic directors, and writers to reflect and evaluate

throughout the project. This process helped generate insights that enriched the creative

work.

A multimodal approach was used for evaluation. The process evaluation involved

individual online interviews (semi-structured and open) and imaginative dialogues in

live group sessions, incorporating aesthetic and sensory elements (Boven, 2024). These

explored thematic narratives related to Regional Minority Languages (RML) and the

creative journeys of Community Theatre directors (CT).

The post evaluation included individual and group interviews, a final imaginative group

dialogue, and online questionnaires. CT directors reflected on the value of their participation

and final performances, while artistic directors, leading the companies, assessed

the collaboration between the theatre companies and future projects.

Inaugural project meeting in Tromsø (NO), June 2022

Ladin artistic director:

“The language has a lot of Italian (body) language; lots of

gesticulations, really ‘a lived language’… it is like theatre, they cry out,

they cry and say: we are loud people, too loud. ”

Kven artistic director:

“Even in a small space you’re moving like you’re outside.

You hold things like you’re outside, working.”

106 107

RML & POWER Most of the languages have a long history of being oppressed by the

official national language.

Breton Community Theatre director:

“Due to the oppression there is a lot of shame for speaking Breton

in the generation of the grandparents, who didn’t teach their children

Breton. (Sign from 40s/50s:) “Défense de cracher par terre et de parler

Breton.” (transl.:”It is forbidden to spit on the floor and to speak Breton”).

Irish artistic director:

“Our educational system did an awful lot of harm to our language

because the way it was taught in school, it was taught as a subject.

It wasn't taught as a language.”


“There are a lot of words talking about nature and it's really poetic.

We have a lot of rocks and each one has a name. We have for

instance a name for a specific kind of rock that is just under the

limit of the water. Then you can't see him. These rocks are very

dangerous.”

Yiddish writer:

“Yiddish is spoken in all kinds of countries, all have different

landscapes. The words ‘Wald’ (forest) and ‘Schnee’ (snow) refer to

the landscape that we had for thousands of years in Europe.”

Different creative journeys in making

theatre within the context of phōnē

The creative journeys involved making theatre that deals with the existential questions

in daily life, creating theatre in a small community based on real stories and thorough

research, and making theatre for the future.

Ladin Community Theatre director:

Artistic directors meeting in Bruneck (IT), July 2024

RML & LANDSCAPE All languages have words that are strongly connected to the landscape.

Galician Community Theatre director:

“Galicia is a place where there are a lot of different bays, and so

it's like God came with some scissors and started cutting the earth.” We

have 40 words to say 'rain' with the different shapes that the rain has.”

“For me it’s the most important thing to show other possibilities

of working with the language. So to show what you can do with

Ladin, as you can do it with each language, you can reflect on

deep topics that all of us reflect on during our life. How we live.

How we move, how we think about things.”

Kven Community Theatre director:

“I'm gathering a lot of information, and I have a huge pile of

books that I'm reading. Everything from geographic history to other

things that have happened. And I've also been in contact with the

local archive. I have a lot of old texts, some stories and some old

newspapers from 100 years ago.”

108

109


“Most of the time the subjects in Breton theatre are quite old,

and artistically too, it's quite old theatre.”... “It was really important

for this project to speak in Breton about the subjects, more than

only the Breton language. Because we were talking about what

we must transmit (to the next generations).”

Community Theatre directors:

The value of participating and their

performance

Participation in the production generated pride in the actors, and their performance

led to a strong, emotional connection with the audience and among the public.

Sorbian community director talking about the actors:

“You're a hero of your story already and I hope and believe for them it was

good. And about the public: I think for a lot of Sorbians in the audience,

that they heard that other people spoke in public about their feelings

and sharing it was also good and personal for them. I think it was a good

experience.”

Community Theatre directors meeting in Galway (IE), March 2023

Artistic- & Community Theatre directors:

Insights from the collaborative process

The collaborative process involved international theatre nights, meetings, conferences,

and intensive weeks, which led to valuable effects in terms of instilling pride in RML

communities and strengthening their sense of belonging.

Galician community director:

“The play was really, really good because it was honest; people

speaking about life in a honest, face to face way…the first

day…the audience was laughing all the time…crying all the time…one

moment the audience stood up and began to dance. So for the next two

plays, we fixed that the actors danced with the audience in the end.

There is a moment that we speak about the dreams that we have….some

things that you want to do but you don't do because you're afraid of

them…so stand up and do it….after the show the audience said to them

(the actors): the play is awesome. They grew…”

Galician artistic director:

“I think the International Nights were an opportunity to build local pride

by welcoming other languages and cultures into our theatres.”

Frisian artistic director:

“…I immediately felt that I am not alone, which in my own

country can be uncommon. It feels like the exchange has

strengthened our sense of belonging in our own country

but even more in a European context."

110

111

Network for World's

Languages in Danger

The loss of a language means not only the

loss of a basic element of communication,

but also of a complete system of knowledge

developed over time. The disappearance

of a language also means the loss of a

unique, unrecoverable universe associated

with a particular environment. It means

the loss of diversity and a loss of identity.

So far, there is no national or international

lobby for theatres working in this field,

comparable to the International Theater

Institute (ITI), Opera Connection or Assitej,

the network of children's and youth

theaters. We want to use the UNESCO

Decade of Indigenous Languages to establish

a global theatre network that combines

regional, minorized and indigenous

organisations and artists.

We aim to collaborate with different

forms of marginalised languages: Regional

– Minorized – Indigenous. And will call

them from now on: RMI languages.

Theatre can make an active contribution

to the revival of threatened RMI languages.

To keep threatened languages alive, theatre

is one of the most appropriate media because

it provides a space for language, but

also because it uses non-linguistic forms

of communication. In this way, theatre in

particular makes it easier for people who

do not yet have a secure knowledge of the

RMI language to get started.

An international theatre network provides

a platform for collaboration, visibility,

advocacy, cultural exchange, and language

preservation. The action points for the

future work will be:

1. Collaboration and Exchange: The international

network provides a platform for

sharing experiences, ideas, and best practices.

The partners can get inspired and

learn from each other in order to increase

their empowerment.

This can include co-productions as well

as the staging of larger network festivals

(every three or four years).

2. Visibility and Recognition: RMI language

theatres often face challenges in terms

UNESCO Atlas of World's Languages in Danger

"Languages are carriers of our cultures, collective memory

and values. They are an essential part of our identities and a building

block of our diversity and living heritage."

of visibility and recognition and resources.

By forming an international network,

these theatres can amplify their voices and

increase their visibility on a national and

on a global scale. Global presence – local

action. Possible areas are a common social

media channel, streaming of theatre performances

or own formats, recommend

each other and their work. Particular

importance is given to the development of

a common data base of network theatres

(languages, theatres, artists, performance

venues, plays, methods, etc.).

3. Cultural Exchange and Understanding:

Theatres within the network can engage

in cultural exchange programs, residency

programmes, masterclasses, workshops

etc. in different countries or regions. This

also includes the exchange of theatre

texts and entire productions as well as

sustainable producing. This exchange promotes

cross-cultural understanding and

appreciation of the diverse linguistic and

artistic traditions represented within the

network. It allows audiences from different

linguistic backgrounds to experience

and learn about other cultures. Assistive

technology for translation can be tested

and shared in the network.

At the conference

in Bautzen (DE)

4. Preservation and Revitalisation: Theatre

serves as a powerful tool for language

promotion, as it brings the language to life

and reinforces its use within their communities.

Language-related productions and

accompanying educational programmes

can be supportive activities. One focus is

on offers for and with children and young

people including international youth

encounters.

A dialogue with older generations of

speakers (outgoing generation) can not

only serve to preserve the language, but

can lead to and support intergenerational

community programmes.

5. Policy Advocacy and Awareness:

The network can serve as a platform for

political Lobby work and draw attention

to the importance of minorized languages

in the cultural, social and political spheres.

With their collective voice, theatres can

engage with policy makers, governments

and international organisations. The network

will influence language policy, secure

funding for joint projects and so raise

awareness of the common issues.

112 113

IMPRINT

Leading Organisation: Stichting Fryske Toaniel Stifting Tryater, The Netherlands

Publisher: Elisa Braun

Editor: Odette Bereska, Elisa Braun, Dirk Neldner

Layout & Design: PrimaWunderle, www.primawunderle.de

Proof Reading: Dawn Patricia Robinson

Printed at Drucktechnik Bisping & Odenthal GmbH (DE)

Pictures:

p. 6-7 freepic, p. 11 phōnē, p. 13, 33 -35, 73 Oana Monica Nae, p. 15 Ruben van Vliet

p. 17 Kirsten McTernan, p. 19, 62 Miramemira , p. 21 Fíbín , p. 23 Ivan Bortondello

p. 25 Jørn Holm, p. 27 Gabriele Suschke, p. 37 Lucas Kemper, p. 41-43 Sébastien Durand,

p. 45-47 Silbersalz, p. 49-51 Roman Koryzna, p. 53 Bruno Pierucci, p. 54, 94-97, 107-111

Elisa Braun, p. 55 Emilija Jefremova, p. 57 Ola Solvang, p. 66-69 private, p. 75 Mona Caroff,

p. 77 Tryater, p. 79 Thespis, p. 81 Lorenzo Negueruela, p. 83 Darach O’Tuairisg,

p. 85 Stadttheater Bruneck, Jan Gasperi, p. 87 Kvääniteatteri, p. 88-93 Carlos Gallardo,

p. 98-99 Makani, p. 101 Simon Pynt, p. 103 Rebecca Duncan, p. 104-105 Kusunda

phōnē was a European project Co-funded by the European Union (2022-2025)

The views expressed in this publication are only the views of the authors.

The Commission cannot be held responsible for any use, which may be made of the

information contained therein.

DEUTSCH-SORBISCHES

VOLKSTHEATER BAUTZEN |

SORBIAN | DE

https://theater-bautzen.de

TEATR PIBA | BRETON | FR

https://teatrpiba.bzh

KVÄÄNITEATTERI |

KVEN | NO

https://kvaaniteatteri.no

STADTTHEATER BRUNECK |

LADIN | IT

https://stadttheater.eu

TRYATER | FRISIAN | NL

https://tryater.nl

CENTRO DRAMÁTICO GALE-

GO | GALICIAN | ES

https://centrodramatico.xunta.

gal/cdg

FÍBÍN | IRISH | IE

https://fibin.ie

RESEARCH CENTRE FOR

ARTS & SOCIETY | UNIVER-

SITY GRONINGEN | NL

https://rug.nl/research/icog/

research/research-centres/artsinsociety

Contact: Elisa Braun – info@rml-theatre.eu

TEATRUL EVREIESC DE STAT

| YIDDISH | RO

https://teatrul-evreiesc.com.ro

INSTITUTE FOR SORBIAN

STUDIES | UNIVERSITY OF

LEIPZIG | DE

https://philol.uni-leipzig.de/sorabistik

https://phone.rml-theatre.eu

https://rml-theatre-voices.eu

ISBN 978-3-00-082162-2

114

115

ISBN 978-3-00-082162-2

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