The Open Page: current issue

This is the ninth 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 The Newsletter gave an opportunity for the sharing of accessible information and documentation, and its function has been replaced by a website (www.themagdalenaproject.org).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 ninth issue of The Open Page has the theme Theatre - Women - Struggle and issue ten will focus on Theatre - Women - Milestones. 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 tenth issue, Women - Theatre -Milestones.

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Editorial

Angelika Göken died soon after I made the interview with her for this issue of The Open Page. The openness and courage of her words are an example for all of us in our everyday struggles. But she died - and death is too real and final to deal with. It transforms struggle into a question of how to continue living despite a reality which is just too harsh. The answer I found for myself is in letting Angelika live on through the interview, allowing her words also to give courage to her family and theatre group so that they continue the work that she was not able to finish.

Different is the reality of the macho culture of Venezuela for Lali Armengol, the cruelty of Pol Pot's government for Em Theay, the shock of her rape for Franca Rame. Despite many articles talking of illness, repression, insurmountable obstacles, unfavourable conditions, insecurities and a feeling of rejection by history, this issue of The Open Page exudes a general attitude of determination, optimism, authority, energy and strength. The authors were encouraged to think of struggle in a constructive and active way and the result points towards an understanding of struggle as being at the very heart of our theatre work as women, be it social, political, cultural, personal or professional.

Talent is very rarely something we can rely on, and many women have built their technique and approach autonomously to find, master, change and renew themselves. Step by step, their paths are filled with hurdles and emptiness, with insurmountable walls and vast deserts, with disagreements and solitude, with the desire and frustration of collective work. The list of professional challenges that need to be surmounted in order to acquire experience, for actors and dancers who struggle with their bodies and voices, for directors who struggle with the ability to concretise their visions, is completed by many articles referring to battles with words, meetings and power. As women practitioners we also struggle to document our work and be more present in theatre history.

In order to continue, we need to find a new meaning in our actions, so as not to repeat ourselves or take shortcuts. We need to make choices which involve challenge and risk, to follow unexplored directions, and to remain faithful to the original motivation although confronting all the necessary dimensions that our theatre activity simultaneously requires.

The eternal struggle is to invent ways of making theatre that will take a position and leave a trace, influence our surroundings and give us the strength to face the future.

Julia Varley
Holstebro, March 2004

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Editorial

Angelika Göken murió poco después de hacerle la entrevista para este número de The Open Page. La apertura y el coraje de sus palabras son un ejemplo para todas en nuestras luchas cotidianas. Pero murió – y la muerte es demasiado real y terminal como para lidiar con ella. La lucha se transforma en una cuestión de continuidad de la vida a pesar de la áspera realidad. La respuesta que encontré para mí fue la de dejar vivir a Angelika en esta entrevista, permitiendo que sus palabras dieran coraje a su familia y a los grupos de teatro, continuando el trabajo que ella no pudo terminar.

Diferente es la realidad de la cultura macho de Venezuela para Lali Armengol, la crueldad del gobierno de Pol Pot para Em Theay, el shock de su violación para Franca Rame. A pesar de la gran cantidad de artículos sobre la enfermedad, la represión, los obstáculos insuperables, las condiciones desfavorables, la inseguridad y un sentimiento de negación por la historia, este número emana una actitud general de determinación, optimismo, autoridad, energía y fuerza. Las autoras fueron animadas a pensar en la lucha de un modo constructivo y activo, y el resultado apunta hacia un entendimiento de la lucha como estar en el verdadero corazón de nuestro trabajo teatral como mujeres, ser social, político, cultural, personal o profesional.

El talento es algo que difícilmente podemos transmitir, muchas mujeres han construido su técnica y acercamiento autónomamente para encontrar, conocer a fondo, cambiar y renovarse a sí mismas. Paso a paso, sus senderos están llenos de obstáculos y vacío, de insuperables muros y vastos desiertos, de desacuerdos y soledad, de deseo y frustración por un trabajo colectivo. La lista de retos profesionales que hay que superar para conquistar la experiencia, para actores y bailarines que luchan con sus cuerpos y sus voces, para directores que luchan para hacer concreta sus visiones, se completa con muchos artículos que hacen referencia a la lucha con palabras, encuentros y poder. Como mujeres que hacemos teatro también luchamos para documentar nuestro trabajo y estar más presentes en la historia del teatro.

Para continuar, necesitamos encontrar un nuevo significado en nuestras acciones, para no repetirnos a nosotras mismas o tomar atajos. Necesitamos hacer elecciones que sean un reto y entrañen riesgo, tomar direcciones inexploradas y mantenernos fieles a la motivación original aunque también nos enfrentemos a las dimensiones necesarias que requiere nuestro trabajo teatral.

La eterna lucha es inventar modos de hacer teatro que lleguen a una posición y dejen huella, que influencien nuestro entorno y nos den la fuerza para mirar al futuro.

Julia Varley
Holstebro, March 2004

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9: Theatre - Women - Struggle

Contents


a journal of women's thoughts, questions and visions for theatre
9: Theatre - Women - Struggle Contents Foreword Editorial (en Español) Maggie Gale (Britain) - ABSENCE AND EVIDENCE Em Theay (Cambodia) - BEYOND THE KILLING FIELDS Estela Leñero Franco (Mexico) - PIONEERING WOMEN IN MEXICAN THEATRE Franca Rame (Italy) - I AM READY Anne Bogart (USA) - RESISTANCE Béatrice Picon-Vallin - Janne Risum (France - Denmark) - MASHA Adelina Ong (Singapore) - AGAINST A BRICK WALL Lali Armengol Argemí (Venezuela) - A PRESENCE IN THE STREETS Nora Amin (Egypt) - THE EYE OF THE BEHOLDER Joanna Sherman / Christina Gelsone (USA) - OUT OF THE BLUE Roxana Pineda (Cuba) - THE PATH OF RESISTANCE Ulla Ryum (Denmark) - THE DANCE OF THE POLAR BEARS Jill Greenhalgh (Britain) - A WORDY WARFARE Margaret Cameron (Australia) - WHAT GULLIVER WALKS HERE? Julia Varley (Britain/Denmark) - IRONED SHEETS Ana Woolf (Argentina) - LOOKING FOR THE ANTIDOTE Geddy Aniksdal (Norway) - MY PRIVILEGE Dawn Albinger (Australia) - THE HEROIN(E) Kathrine Winkelhorn (Denmark) - ARTS AND MONEY Iami Rebouças Freire (Brazil) - THE WORLD OF APPEARANCES Margarita Borja (Spain) - STAGES OF LIFE - LIFE ON STAGE Maysa Zaky (Egypt) - DISAPPEARING IN THEATRE Beatriz Camargo (Colombia) - BREAKING THE MIRROR Pam Woods (Britain) - FALLING AMONG THE NETTLES Rebeca Ralli (Peru) - CONSTRUCTIVE CONSTRICTIONS Angelika Göken (Germany) - PEOPLE WHO MEET AND LOVE top Foreword This is the ninth 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 website (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 ninth issue of The Open Page has the theme Theatre - Women - Struggle and issue ten will focus on Theatre - Women - Milestones. 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 tenth issue, Women - Theatre -Milestones. top Editorial Angelika Göken died soon after I made the interview with her for this issue of The Open Page. The openness and courage of her words are an example for all of us in our everyday struggles. But she died - and death is too real and final to deal with. It transforms struggle into a question of how to continue living despite a reality which is just too harsh. The answer I found for myself is in letting Angelika live on through the interview, allowing her words also to give courage to her family and theatre group so that they continue the work that she was not able to finish. Different is the reality of the macho culture of Venezuela for Lali Armengol, the cruelty of Pol Pot's government for Em Theay, the shock of her rape for Franca Rame. Despite many articles talking of illness, repression, insurmountable obstacles, unfavourable conditions, insecurities and a feeling of rejection by history, this issue of The Open Page exudes a general attitude of determination, optimism, authority, energy and strength. The authors were encouraged to think of struggle in a constructive and active way and the result points towards an understanding of struggle as being at the very heart of our theatre work as women, be it social, political, cultural, personal or professional. Talent is very rarely something we can rely on, and many women have built their technique and approach autonomously to find, master, change and renew themselves. Step by step, their paths are filled with hurdles and emptiness, with insurmountable walls and vast deserts, with disagreements and solitude, with the desire and frustration of collective work. The list of professional challenges that need to be surmounted in order to acquire experience, for actors and dancers who struggle with their bodies and voices, for directors who struggle with the ability to concretise their visions, is completed by many articles referring to battles with words, meetings and power. As women practitioners we also struggle to document our work and be more present in theatre history. In order to continue, we need to find a new meaning in our actions, so as not to repeat ourselves or take shortcuts. We need to make choices which involve challenge and risk, to follow unexplored directions, and to remain faithful to the original motivation although confronting all the necessary dimensions that our theatre activity simultaneously requires. The eternal struggle is to invent ways of making theatre that will take a position and leave a trace, influence our surroundings and give us the strength to face the future. Julia Varley Holstebro, March 2004 top Editorial Angelika Göken murió poco después de hacerle la entrevista para este número de The Open Page. La apertura y el coraje de sus palabras son un ejemplo para todas en nuestras luchas cotidianas. Pero murió – y la muerte es demasiado real y terminal como para lidiar con ella. La lucha se transforma en una cuestión de continuidad de la vida a pesar de la áspera realidad. La respuesta que encontré para mí fue la de dejar vivir a Angelika en esta entrevista, permitiendo que sus palabras dieran coraje a su familia y a los grupos de teatro, continuando el trabajo que ella no pudo terminar. Diferente es la realidad de la cultura macho de Venezuela para Lali Armengol, la crueldad del gobierno de Pol Pot para Em Theay, el shock de su violación para Franca Rame. A pesar de la gran cantidad de artículos sobre la enfermedad, la represión, los obstáculos insuperables, las condiciones desfavorables, la inseguridad y un sentimiento de negación por la historia, este número emana una actitud general de determinación, optimismo, autoridad, energía y fuerza. Las autoras fueron animadas a pensar en la lucha de un modo constructivo y activo, y el resultado apunta hacia un entendimiento de la lucha como estar en el verdadero corazón de nuestro trabajo teatral como mujeres, ser social, político, cultural, personal o profesional. El talento es algo que difícilmente podemos transmitir, muchas mujeres han construido su técnica y acercamiento autónomamente para encontrar, conocer a fondo, cambiar y renovarse a sí mismas. Paso a paso, sus senderos están llenos de obstáculos y vacío, de insuperables muros y vastos desiertos, de desacuerdos y soledad, de deseo y frustración por un trabajo colectivo. La lista de retos profesionales que hay que superar para conquistar la experiencia, para actores y bailarines que luchan con sus cuerpos y sus voces, para directores que luchan para hacer concreta sus visiones, se completa con muchos artículos que hacen referencia a la lucha con palabras, encuentros y poder. Como mujeres que hacemos teatro también luchamos para documentar nuestro trabajo y estar más presentes en la historia del teatro. Para continuar, necesitamos encontrar un nuevo significado en nuestras acciones, para no repetirnos a nosotras mismas o tomar atajos. Necesitamos hacer elecciones que sean un reto y entrañen riesgo, tomar direcciones inexploradas y mantenernos fieles a la motivación original aunque también nos enfrentemos a las dimensiones necesarias que requiere nuestro trabajo teatral. La eterna lucha es inventar modos de hacer teatro que lleguen a una posición y dejen huella, que influencien nuestro entorno y nos den la fuerza para mirar al futuro. Julia Varley Holstebro, March 2004 top