AICT - IATC
ACTIVITIES / NEWS
Prize Awarded to Femi Osofisan
proud to announce that the 2016 Thalia Prize of the International Association
of Theatre Critics will be awarded to Femi Osofisan of Nigeria, a playwright,
director, actor, critic, poet, novelist, editor and newspaper columnist. The
Thalia Prize is meant to highlight the work of those who have helped critics
around the globe to understand new ways of seeing and appreciating the
performing arts worldwide. The 2016 Thalia Prize will be presented to the
ExCom in Craiova
ExCom after a fruitful meeting hosted by Craiova International
Shakespeare’s Identity under Scrutiny
Was Shakespeare really Shakespeare? That is the
question with which some writers and historians have struggled for a long time.
A new possible answer is provided by Lamberto Tassinari, in his book about John
Florio, an exceptional author who he claims was behind the
Happy New Year 2016!
The International Association of Theatre Critics is
looking forward to an exciting year 2016. With new national sections in Brazil
and Argentina, we are happy to announce the preparation of an Arab Regional
Section within the IATC. In December, the president and the secretary general
visited Oman and signed an agreement for a new Association of Theatre Critics
in the Arab speaking countries in order for them
The 28th World Congress of Theatre Critics will be held
in Belgrade in 2016
The Mayor of Belgrade, Sini?a Mali,
and the president of the International
Association of Theatre Critics, Margareta
S?renson, signed on the 16th
of September 2015 at the Old Palace, a Protocol of Cooperation according to
which the 28th World Congress of Theatre
New websites
New edition eWAT
- English anthology of the best articles published in
theatre magazine
UK Critics' Circle
ATCA's blogspot
AWARDS - Thalia
Prize Awarded to Femi Osofisan
proud to announce that the 2016 Thalia Prize of the International Association
of Theatre Critics will be awarded to Femi Osofisan of Nigeria, a playwright,
director, actor, critic, poet, novelist, editor and newspaper columnist. The
Thalia Prize is meant to highlight the work of those who have helped critics
around the globe to understand new ways of seeing and appreciating the
performing arts worldwide. The 2016 Thalia Prize will be presented to the
awardee during the IATC Congress in Belgrade.
has been around for a long time: this year it is celebrating 60 years. But the
Thalia Prize is young –&only ten years old. Since the prize was created,
its laureates have been Eric Bentley (2006), Jean-Pierre Sarrazac (2008),
Richard Schechner (2010), Kapila Vatsyayan (2012) and Eugenio Barba (2014).
Femi Osofisan
Femi Osofisan: A Brief Introduction....
By Don Rubin,
Former President, Canadian Centre of the IATC
When asked about African theatre, most theatre critics and scholars
would be hard-pressed to name more than one or two playwrights beyond the Nobel
Prize-winning Nigerian dramatist Wole Soyinka or the anti-apartheid activist
Athol Fugard. Both made their reputations in the 1960s and 1970s.
The 2016 winner of the IATC’s prestigious Thalia Prize for contribution to
theatre through critical writing, Femi Osofisan, is probably not a name that
comes to mind that quickly. But hopefully – with the Thalia – that is about to
Osofisan is of the generation that followed those two theatrical giants and his
footprint is almost as large as theirs on the continent of Africa and it is
growing in other parts of the world as well. Probably his most well-known play
is Once Upon Four Robbers, which is
already taught in numerous universities around the world and has been widely
anthologized. But it is only one of some 50 plays by this major artist and
activist. These plays – like his critical writings – are cries for personal
freedom and political action and include many adaptations of Greek and
Shakespearean originals, tailored for whatever political situation might exist.
Like Soyinka and Fugard before
him, Osofisan has attacked repressive governments wherever they have emerged
and he has been attacked in turn. He has had his work staged at the Guthrie and
other major regional theatres in the United States, as well as in Germany, the
U.K., Sri Lanka, Canada and China. In 1982 he was appointed a member of the
pioneer Editorial Board and think tank of The
Guardian Newspaper (Lagos).
Canada is proud to have joined the Nigerian IATC Centre in proposing Osofisan
for the Thalia. For the record, that joint proposal for Osofisan’s nomination
reads as follows:
“The Nigerian Centre of the IATC in association with the Canadian Centre of the
IATC propose for the 2016 Thalia Prize Prof. Femi Osofisan of Nigeria for his
extraordinary career as critic, scholar, playwright and spokesman for artistic
freedom in his native Nigeria and for his outspoken criticism of artistic
repression across the African continent.
“The author of over 50 plays and hundreds of critical essays, four novels and
five collections of poetry and the subject of several celebratory volumes in
his honour, Prof. Osofisan has followed in the footsteps of Nobel Prize winner
Wole Soyinka. His work has covered a range of subjects including, as eloquently
stated in a volume of essays on his life and work published in 2009, the roles
of theatre and literature in society, gender and empowerment of women, style
and language, the mobility of oral tradition and even translation and
transliteration.
“In that same volume, Osofisan is referred to as ‘Nigeria’s most purposeful
writer and social critic cum activist. He has incessantly used his creativity
to champion the cause of the marginalized members of society. Through his
outstanding writing across many genres, Osofisan has led his generation of
writers on the path of utilizing their writings as a mobilizing tool for social
and political change...’
“In a lecture given at the University of Ibadan in 2006, Harvard Prof. Biodun
Jeyifo called Osofisan ‘the most African playwright of the post-colonial era…
the most prolific playwright on the African continent...’ Jeyifo went on to
place Osofisan with Soyinka at the centre of the ‘radical and literary cultural
movements of the past three decades.’
“Born in 1946, Prof. Osofisan entered the University of Ibadan in 1966 majoring
in French (he studied for a year at the University of Dakar as part of his
degree), graduating in 1969. He then won a scholarship to the Sorbonne in
Paris. He did not complete his graduate degree there, however, because his
supervisor did not allow him to do a thesis on African drama. He eventually
obtained his PhD at the University of Ibadan with a dissertation on the ‘Origins
of Drama in West Africa in English and French.’
“A Professor and former Chair at the University of Ibadan (he is now a
Professor Emeritus) and recognized as playwright, director and critic, in 1982 he was appointed member
of the pioneer Editorial Board and think tank of The Guardian Newspaper
(Lagos). Directing his own plays at Ibadan, at other African
universities and in the U.K., the U.S. (University of Pennsylvania and the
University of Iowa among others), Germany, Sri Lanka, and Canada, his plays (especially his Once Upon Four Robbers, The
Chattering and the Song and his African adaptations of Greek and
Elizabethan plays such as Antigone and Hamlet) began winning national
and international awards.
“The founder of the NGO called CentreStage Africa (the Centre for the Study of
Theatre and Alternative Genres of Expression in Africa) and Vice-President of
the Pan African Writers’ Association, his plays began receiving international
attention after a production of his 1997 play Many Colours Make the Thunder King was presented at the Guthrie
Theatre in Minneapolis.
“A volume of Osofisan’s collected essays were published in 2001 under the title Insidious Treasons. Included were
major essays by Osofisan on Drama as Insurrection, the Terror of Relevance in Contemporary
Nigeria, the Frontiers of Terror in a Post-Colonial State, and the Challenges
of Nigerian Drama on the Euro-American Stage.
“Chosen to be the keynote speaker at the International Federation of Theatre
Research World Congress in South Africa in 2007, he was – incredibly – unable
to obtain a visa and his paper had to be read on his behalf. That major paper,
a truly extraordinary piece of committed theatre criticism entitled “Literary
Theatre After the Generals: A Personal Itinerary,” was published shortly
thereafter in Theatre Research
International and is required reading for anyone interested in political
theatre or African theatre.
“In 2006, a critical volume about his work was published in Germany in the
prestigious Bayreuth University African Studies Series under the title, Portraits for an Eagle. The volume
includes essays by British scholar Martin Banham, Harvard’s Biodun Jeyifo,
Africanist James Gibbs, the University of Leeds’ Jane Plastow and South African
scholar Yvette Hutchison, among others.
“In 2009, another series of essays on his work, Emerging Perspectives on Femi Osofisan, was published by Africa World
Press in the United States.
“Since his retirement from the University of Ibadan, Prof. Osofisan has
continued to write, guest-direct his own plays and teach at universities and
professional theatres around the world including Canada, Germany and, most
recently in China (Peking University).
“He recently wrote: ‘I am writing for multi-cultural audiences, both in Nigeria
and when I work abroad. I am looking for a third way that is neither western
nor African, neither white nor black, not multi-racial but a play that simply
deals with many races.’
“The Nigerian and Canadian Centres put forward this nomination in the belief
that Prof. Osofisan is immensely deserving of being the first recipient from
Africa of the IATC’s Thalia Prize. He has led African theatre and drama through
both his playwriting and his criticism, through his art, his journalism and his
immense scholarship.
“He has changed the way many Africans now perceive their own theatre and
culture and he has changed the way many people in other parts of the world now
perceive Africa and African theatre. Words have been his weapon against
tyrannies of all sorts. Bringing his name to the whole world through the Thalia
is not only appropriate but also a fitting addition to the distinguished names
who have preceded him.”
We welcome Femi Osofisan to the ranks of Thalia laureates.
AWARDS - Eugenio
Barba Named Winner of the IATC Thalia Prize 2014
The Executive
Committee of the International Association of Theatre
Critics (IATC/AICT) is
pleased to announce that the winner of its fifth
Thalia Prize for Critical
Writing is Eugenio Barba, theoretician,
director, and founder of Odin Teatret
in Denmark. The prize will be
given in Beijing during the 27th World
Congress of the IATC in October,
Eugenio Barba is one
of the world’s most important writers on the
subject of theatre anthropology.
For critics and actors in the Western
world, his writing opened new windows to
acting, especially in
relationship to Eastern tradition. His early works
particularly
popularized achievements of the Grotowski Laboratory and new
methods of
actor training. He formed a Scandinavian laboratory theatre called
Odin Teatret/Nordic Teatrlaboratorium (1964), which still operates in
Holstebro, D and he founded the International School of Theatre
Anthropology (ISTA) in 1979.
Eugenio Barba (Photo: Tommy Bay)
Eugenio Barba was born in 1936 in Brindisi,
Italy. His family's socioeconomic situation changed drastically as a
result of World War II. In 1954, Barba emigrated to Norway, where he
a welder and sailor. He went to Poland in 1961 after
receiving a UNESCO
scholarship to study at the state theatre school in
Warsaw. Between 1962 and
1964, he worked with the Laboratory Theatre,
assisting Jerzy Grotowski in his
work on Akropolis by Stanislaw Wyspianski and Dr. Faustus by Christopher
Marlowe. Based on these experiences, he wrote his first book dedicated to
Grotowski’s theatre – Alla ricerca del teatro perduto (In Search of a Lost Theatre,
1965). In 1963 Barba traveled to India where he studied
Kathakali, a theatre
form which was unknown in the West at that time.
Barba has directed dozens of productions with Odin Teatret and Theatrum Mundi
Ensemble including My Father’s House (1972), Come! And the Day Will Be
Ours (1976), Brecht’s Ashes (1980), The Gospel According to
Oxyrhincus (1985), Talabot (1988), Kaosmos (1993), Mythos (1998), Andersen's Dream (2005), Ur-Hamlet (2006), The Chronic Life (2011).
The first ISTA session took place in Bonn in 1980. The most recent one
organized in collaboration with the Grotowski Center and took place
in Krzyzowa
and Wroclaw in April 2005. In his essay, Eurasian Theatre, or a chance,
Barba writes, “ISTA allows me to gather theatre masters from the West
compare extremely diverse work methods and reach for the
common ground of
technique – common for the work of West and East,
common for ‘laboratory’ and
traditional theatre, mime, ballet or
contemporary dance.”
Barba has published many essays and books. Among his most recent publications,
translated into many languages, are The Paper Canoe (Routledge), Theatre:
Solitude, Craft, Revolt (Black Mountain Press), Land of Ashes and
Diamonds: My Apprenticeship in Poland – Followed by 26
letters from Jerzy Grotowski to
Eugenio Barba (Black Mountain Press), Arar
el cielo (Casa de las Americas, Havana), La conquista de la diferencia (Yuyachkani/San
Marcos Editorial, Lima), On Dramaturgy and Directing: Burning the House (Routledge),
and, in collaboration with Nicola Savarese, The Secret Art of the Performer:
A Dictionary of Theatre Anthropology (Routledge).
Barba has been awarded 11 honorary doctorates for his artistic and
scientific
work from various universities including: ?rhus (Denmark),
Ayacucho (Peru), Bologna
(Italy), Havana (Cuba), Buenos Aires
(Argentina), Edinburgh (Great Britain),
Hong Kong (China), and Warsaw
(Poland). He is also the recipient of the Danish
Academy Award, the
Mexican Theatre Critics’ prize and the Pirandello
International Prize.
He is member of the editorial boards of journals such as: TDR:
The Journal of Performance Studies, New Theatre Quarterly, Performance
Research, and Teatro e Storia.
Previous honorees of the Thalia Prize have been Eric Bentley (2006) and
Schechner (2010) of the United States, Jean-Pierre Sarrazac
(2008) of France
and Kapila Vatsyayan (2012) of India.
AWARDS - Kapila
Vatsyayan for the IATC Thalia Prize 2012
Kapila Vatsyayan
It is our pleasure to announce the Thalia Prize
laureate Ms. Kapila Vatsyayan, Ph.D, India. This prize of honour will be handed
over during the 2012 congress of the IATC in Warszaw in April.
Kapila Vatsyayan is one of India's most important writers on the subject of
Indian Theatre and Indian Dance. To theatre lovers in the Western world her
writing has opened new windows to Indian performing arts, early in her work
popularizing Indian performing arts and multi-culturalism. Born in 1928, she
has lived a life dedicated to the arts generally and to theatre and dance in
particular. Her influence as a scholar and critic of Asian theatre has been
deep and exemplar and deserves wide recognition.
She has authored 15 books which have become classics in the field, such as
Classical Indian Dance in Literature and the Arts (Sangeet Natak Akademi,
1968), Indian Classical Dance (SNA, 1972), Traditional Indian Theatre: Multiple
Streams (NBT, 1972), Traditions of Indian Folk Dance (Clarion, 1975), The
Square and the Circle of Indian Arts Roli, 1983, Bharata - The Natyashastra
(Sahitya Akademi, 1996) and numerous volumes on Indian regional dance. Her
writings &through the 70s and 80s particularly put the entire area of Indian
dance and theatre on the world map and she has been a leading figure in this
area ever since. In the decades ot the 20th century when globalisation and
multi-culturalism was highly influential on the stages of the western world her
clear analysis and insightful understanding of the Indian tradition enlighted
the way to true exchange avoiding &cultural tourism&.
A long-time director of the Indira Gandhi National Centre of the Arts in New
Delhi, &she has worked closely with the Indian government in a variety of
areas as a Government Secretary in cultural development. &Since 2004, she
has been a member of Unesco's Executive Board and earlier taught at major
universities around ther world including the Universities of Pennsylvania,
California and Michigan as well as at Banaras Hindu University, Manipur
University and Kolkata University in India. She has lectured in China, Japan,
Cambodia, Indonesia, Russia, France and the UK. She has been awarded numerous
honorary doctorates and has been awarded India's highest honour, a Padamshri.
...........
IATC WAS ESTABLISHED IN 1956
The IATC draws together more than two thousand theatre
critics, through some fifty National Sections. Founded in Paris in 1956, the
IATC is a non-profit, Non-Governmental Organization benefitting under statute B
of UNESCO.
The purpose of the IATC is to bring together theatre critics
in order to promote international cooperation. Its principal aims are to foster
theatre criticism as a discipline and to contribute to the development of its m to protect the ethical and professional interests of theatre critics and
to promote the common right and to contribute to
reciprocal awareness and understanding between cultures by encouraging
international meetings and exchanges in the field of theatre in general.
The IATC holds a world congress every two years, seminars
for young critics twice a year, as well as symposiums, and contributes to
juries. English and French are the association's two official languages, and its
place of incorporation is Paris.
Please send any post mail either to the president, to
the secretary general or, for subscriptions and payment of dues, to the general
treasurer.
President - Ms Margareta S&renson
Tel/fax: 46 8 657
E-mail: soerenson @ swipnet.se
Secretary General - Mr Michel Va&s
987, route Marie-Victorin, Verch&res
Qu&bec, Canada, J0L
Tel: (1) 514 278 5764
E-mail: michelninovais @
General Treasurer -
Mr St&phane Gilbart
3, rue Oster
L-8146 Bridel - (Grand-Duch& de Luxembourg)
Tel: 00 (352) 621 740 703 |&Fax: 00 (352)
E-mail: stgilbar @ pt.lu
Copyright..IATC - International Association of Theatre Critics / AICT - Association internationale
des critiques de th&&tre..<FONTARTICLESON THIS WIKI
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