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Foreword

This is the tenth volume of The Open Page, a theatre journal which originally complemented the Magdalena Project's Newsletter, the last issue of which was published in Autumn 1999. The Newsletter gave an opportunity for the sharing of accessible information and documentation, and its function has been replaced by a web site (www.themagdalenaproject.org).

The Open Page was founded in the belief that there needed to be a more substantial space for women theatre practitioners to report on their work and express their thoughts, feelings and analysis of theatre, as a means of building their own memory and a critical perspective within theatre history. As the journal has grown so too has the necessity to document and historicise women's work in theatre: we have to leave behind traces of our work for ourselves and for future generations.

Women's work in theatre has until very recently been poorly documented or neglected. The Open Page does not come from one ideological position through which the choice of what is or is not published is filtered, nor does it insist upon an adherence to theoretical perspectives which can inhibit the expression of a plurality of ideas and experiences. Rather The Open Page seeks to give space to many different voices, some of them dissident, others not, keeping a balance among contributions from experienced authors and scholars, practitioners needing to put their thoughts on paper and first time writers more accustomed to expressing themselves through performance.

The tenth issue of The Open Page has the theme Theatre - Women - Milestones and issue eleven will focus on Theatre - Women - Practice. In collecting articles we have given great importance to international diversity although the choice of printing in one language forces us to confront the problems of translation. As far as possible we have tried to be faithful to the original intention of the texts even if this has meant showing disrespect for English scholarly form or grammar. The gender form chosen by the author for the word actress-actor-female performer has been respected.

We welcome comments and suggestions and information and letters in relation to the eleventh issue, Theatre - Women Practice.

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Editorial

This is the 10th issue of The Open Page. We have reached the original goal we set ourselves - to create something of substance that could leave a trace. We could stop. Yet we know it is exactly now that we must continue. We have reached our milestone, but to make this achievement really meaningful we have to continue. A milestone is visible only when you have moved on. This is clearly indicated by the articles in this issue: milestonesare an integral part of a continuing process, events or experiences which take on a particular meaning only because they are part of a whole life project.

The articles in this issue explore the theme of milestones as marks in a horizontal landscape rather than a vertical one, and recurring images of water, pebbles, landmarks and necklaces remind us of the importance of details and the everyday dimension when women and theatre are combined. Historically we recognise as milestones those events that change our perception of the past and show us a way forward in our own life experience. The founding of and the different stages in the development of the Magdalena Project are certainly milestones for each of us working on the editorial board of The Open Page, and special moments in the life of the Magdalena Project are mentioned in some of the articles.

The theme has inspired most authors to look back at their whole professional lives, to remember how they started and the first theatre experience that left a lasting mark. Many masters and performances are mentioned, creating a theatre landscape that fits into a familiar frame even if coming from countries all over the world. The big change that children bring in a woman's daily and timeless reality, the importance of family and friends, the intimate relationship to rebellion and artistic concerns, help us understand how women in theatre consider milestonesto have different forms and consistencies, sometimes more similar to a river than to a rock. The flowing matter though is just as firm and unshakeable, fearless and strong as a real stone would be, and richer in vulnerability, humanity, curiosity and hope.

Some women of the past represent milestones in theatre history, and some are talked about in this issue, starting with María Escudero, one of the main inspirations for theatre work in Latin America. The Open Page hopes that by collecting different voices it will help create further useful references for the future: a precious assembly of blowing sand grains that have been deposited for a moment to rest on the pages of a journal; a mountain of rough gems shining brightly on the winding road of theatre practice.

Julia Varley
Holstebro, March 2005

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