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Main Performance Venue : THE BRITISH SCHOOL IN COLOMBO 3.30 /7.

00 pm 26th March (Germany) changeABLE cohesion -Director - Choreographer: Gerda Knig

Concept: Gerda Knig and Gustavo Fijalkow

DIN A 13 tanzcompany 27th March (Iran) The old man and the sea - Director - Zahrasadat Aziminia Irans Sayeh Theatre Group Passengers (Sri Lanka) Director: Ronika Chamali /S.Leelawathi Janakaraliya - Theater of the People 28th March (Indonesia) SITOBO LALANG LIPA - Director - Muh. Saeful UKM SENI dan BUDAYA TALAS 29th March (India - Delhi) CHHUTTI (Story-telling theatre) Director: Dr. Ashish Ghosh ANANT Theatre Group 30th March (Australia) Talk is small: a play with Scrabble Director - Brendan OConnell by Big One Little One Elfi (Sri Lanka) - Director: S.Dayalan Inter Act Art Black Box Theater 31th March -(Pakistan) Akhiyan Walio (people with eyes) - Director: Aamir Nawaz Maas Foundation-Pakistan 01st April (India - Pune) Dangalnama Director: Pro. Vidyanidhee Vanarase FLAME School of Preforming Arts 02nd April Caged - Dance Theater (Sri Lanka) - Director: M.Safeer Inter Act Art Black Box Theater

Workshops March 27th 2012 | 10am - 3pm Dance Workshop DIN A 13 tanzcompany Mixed-Abilities Gerda Knig (Choreographer, Director) and Marc Stuhlmann (Dancer, Assistant Director) March 28th 2012 | 09am 2pm Contemporary Plays Discussion international co productions including the role of the networks like ASSITEJ Facilitator : Prof. Dr. Wolfgang Schneider March 29th 2012 | 09am 2pm Story-telling theatre Facilitator : Mr. Imran Khan March 30th 2012 | 09am 2pm Object Theatre Facilitator : Ms Choiti Ghosh March 31st 2012 | 09am 2pm The Phakama Way (Participatory theatre making processes for young adults) Facilitator : Prof. V idyanidhee Vanarase April 01st 2012 | 09am 2pm Stage Lighting for a theatre Performance Facilitator : Mr. Aamir Nawaz

Paper Presentation: 28th 2.30 -4.00

Theatre as a Pedagogic tool : Possibilities and Challenges

Presenter: Ms Smriti Sharma 29th 2.30 -4.00

Participatory theatre and its development across the past decade

Presenter: Brendan OConnell / Penelope Kentish 30th 2.30 -4.00

Who decides about what is best for the child and the young: Posers for TYA practitioners

Presenter: Dr. Ashish Ghosh 31st 2.30 - 4.00

What is the role of technology in theatre in coming years? How would it influence the process of theatre making? What are todays realities? What kind of theatre would that be?

Presenter: Prof. V idyanidhee Vanarase 01st April 2.30 - 4.00

Situation of Theatre for children and young audiences {TYA} in South Asia

Presenter: Imran Khan

Organiser: Inter act art Theatre in collaboration with ASSITEJ (International).

02nd April 9.00 - 3.00

Sri Lankan Dance Theater its achievments & crisis

Presenter: Ravibandu Vidyapathi

Pro. Tissa Kariyawasam Pro. S.Maunaguru Dr. Sunil Wijesiriwardana Dr. Sunil Jayantha Nawarathna Dr. Asoka Jinadasa Ravibandu Vidyapathi Sanath Gunatilaka Pradeep Jayathilaka Gamini Rajanayaka Ravindra Guruge Lionel De Zoysa


JAYALATH S. GOMES FESTIVAL ORGANIZING COMMITTEE Parakrama Niriella Anoma Rajakaruna Situmina Rathnamalala Udeni Alwis Hemantha Prasad Weerasingha Jayasundara Sudesh Mantilaka Lohan Gunaweera Chamika Hathlawathta S. Dayalan Nadeeka Tharangani Tiwanka Ranasingha Hasindu Randil Abeywickrema Lakmal Watuyaya


Reception Hemantha Prasad Jonathan Ellison /Dulaj Jansz Lakmal Wathuyaya /Ruwan Jayakody Thiwanka Ranasingha / Hasindu Randil / Manoj Priyadharshan / Aruna Priyantha / Ilmi Hassim/ Shashima Publicity (Pub/Booklet /Design) M.Safeer W.Jayasundara Shamika Dilshan Workshop Lohan Gunaweera Sudesh Manthilaka Technical S.Dayalan Nadeeka Tharangani P.G.Priyadharshan Box Office Warren de Hoedt Secretariat Jayalath S. Gomes S.Dayalan (Asst.) Photo & Video Udeni Alwis Naween Marasinghe




To have an international theatre festival in my country was a dream I had as a dramatist. I initiated this extremely difficult task of organizing an international festival, an experience denied to all theatre lovers of Sri Lanka for a long time. Only then I realised that it is not a simple or a comfortable task. The organizing was done under tremendous pressure for almost two years with the expectation that I will be supported by others. But organizations and people shied away for some unknown reason. I used to take risk throughout my life and I took this as a challenge which should be made a reality some how. I went after organizations and people over and over again since I believed that it was a worthy cause. The letters written would have exceeded thousand, the places to which I went over hundred, but the results were in decimals. Any way I have come very close to a gigantic dream which is to become real, the 1st ever Colombo International Theatre Festival. Finally some organizations, (not all) came forward with the honest intention to help me out and with their help the CITF takes shape on the 26th of March 2012. This is not the actual dream I had, but it is a part. Still I am proud of the achievement. The sacrifices made to reach even this far are enormous, and it was not a cake walk. I strongly believe that one must take risks to make changes to the existing systems in a country. I am proud to have sacrificed, and still sacrificing, the best things in my life to become a sweet vagabond to achieve results for over 2 decades. I was able to makea dream come true what all dramatists in Sri Lanka dreamt for a very long time. Believe me, It was not a easy or a pleasant task at all. I am proud about the young team members who backed me even without proper meals or accommodation throughout this whole endeavour. The organizations and prestigious people who assisted me from the start should also be remembered. They were behind me and encouraged me to make this event a success. This CITF opens today due to their efforts too. I feel that as a Sri Lankan I have contributed something for the betterment of the local theatre. This may not be the best festival, but I assure you the next year will be much better than this one. Organizing this festival has taught me how to be patient and how to face challenges. Yes, it is an achievement to be proud of.

M.Safeer Festival Director


As a HR Manager and a Charted Textile Technologist, I was enjoying my retirement doing odd jobs like translating documents, to past my time, when I was asked to translate some German drama scripts by the Inter Act Art. This was a challenge, as I was purely a guy interested in technical subjects. Art and theatre were fields unknown to me. But when those scripts turned out as productions I was happy to be a part of it. Then I was asked to join in organizing the Colombo International Theatre Festival. An international event is a forum where experts of a particular field will meet face to face to discuss and to share experience. The objective of this CITF is to build a bridge between the local and the international creators of theatre. It will be a great opportunity for the delegates and the participants to understand the difference, learn, respect and accept the diversities of various cultures. It is also an opportunity to learn and gain experience of the latest trends, methodologies and usage of advanced technology in the theatre arena. Now I understand the weight and the risks involved in organizing an international event. I had my doubts whether we will be able to do such a massive event. The number of letters we wrote to various institutions and organization requesting for assistance would have exceeded thousand. (They might regret - may be next year) Even while I am writing this message I still feel very insecure as we still dont have a single sponsor to assist us financially. But one thing is true. The festival is on Bcos of the courage and encouragement the festival director gave the committee throughout the organizing work, and his effort not to let down the others commitments, is what made this event a reality today. Its a pleasure and a real experience to work with M.Safeer, as he refuses to gives up. I wish to thank all the teams for the trust they kept on us and their corporation throught. THANK YOU VERY MUCH - ALL THE BEST - AND ENJOY SRI LANKAN HOSPITALITY.

Jayalath S.Gomes (CText ATI)

World Heritage and Wonder of the World

Theatre is truly a living tradition all over the world. The performing arts have been part of cultural life for thousands of years. The act of watching theatre is itself an art, which must be learned. Listening must be practiced in order to begin to understand. Theatre for young audiences has something to show, something to say, something to communicate: impressions and expressions, attitudes and actions, experiences and insights. Onstage, stories may be told, but their images and meanings can arise only when an audience is there to perceive them. This is a mystery! For this reason, theatre is not simply a world heritage; it ought to be recognised as the ninth wonder of the world. And actors, playwrights, directors, musicians, dramaturges, educators, technicians, costume and set designers continue to cherish all of these wonders for the next generation. It must it become possible for all children and young people to partake in this legacy. Therefore, I address the Colombo International Theater Festival 2012 in the hope that politics, civil society, and global markets and local businesses will give special attention to theatre for young audiences; that they will enable it to guarantee that every child in every kindergarten, and every schoolchild in every school year, may go to the theatre at least twice. For play-acting can only become a true play when an audience is there to play along.

Wolfgang Schneider Honorary President of the International Association of Theatre for Children and Young People, Chairman of ASSITEJ Germany, Professor for Cultural Policy at the University of Hildesheim

In theatre we come together and together we celebrate...

Creative, Truthful, Spontaneous, Energetic, Vibrant, Playful, Joyous, Naughty, Innocent these are some of the usual terms that come to ones mind while talking about children. You would agree that these are the traits we would all love to imbibe in ourselves. Strangely enough, we all have it in ourselves when we start the circle of life, but as we grow older by the years, we tend to forget all these characteristics. We begin doubting all the things and people around us, we dont react to our instincts any longer and rather get involved in deep analysis of the situation WHY? Because we have lost the CHILD IN US. Theatre is rightly considered as the mother of all art forms it is an amalgamation of various art forms from music to dance to visual arts and many others. It connects with people and brings them together and encourages them to collaborate. I am reminded of my teacher who once said In theatre we come together and together we celebrate. So to me theatre is actually a celebration of life! Now just imagine, putting the two together - the energy, creativity and innocence of childhood married with the magic of theatre imagine the kind of celebration we can generate. Colombos International Festival of Theatre for Children is expected to bring these energies together. This is not only for the children by age but also to children at heart. I am looking forward to this festival to provide a platform to increase the regional exchange through theatre for children in South Asia amongst artists. I wish all the organizers good luck and hope that the festival is a huge success. Let us all relive the CHILD IN US!

Imran Khan Storyteller, Actor, Director. Executive committee member ASSITEJ Secretary General, Assitej India

26th March (Germany)

changeABLE cohesion
Director Gerda Knig and Gustavo Fijalkow DIN A 13 Tanzcompany
Six dancers, two women and four men. three with and three without physical disabilities: Six people born into a time in which daily grind can lead through hidden corners into unpredictable ends, in which familiar structures can turn threatening and danger a thrill. Unspoken beauty reveals itself when certitudes are turned upside down and the fragility of existance becomes evident. The DIN A 13 tanzcompany, one of the few mixed-abled dance companies worldwide, starts its new project, changeABLE cohesion, in Sri Lanka. After a production process of eight weeks, changeABLE cohesion will be premiered at the Colombo International Theatre Festival. changeABLE cohesion II & III will take place in Venezuela and Libanon and all three productions will be part of a final performed installation in Germany in 2014.

Choreography: Gerda Knig Assistance Choreography: Marc Stuhlmann Dancers: Suranga Bopitiya, Venuri Perera, Saman Pushpakumara Nadeeka Tharangani, Mahesh Umagiliya, Thusitha Wimalasuriya, Music: Harsha Makalande Video: Vishnu Vasu Production Direction: Gustavo Fijalkow. Based on the Concept Upheaval by Gerda Knig and Gustavo Fijalkow photography: Gustavo Fijalkow graphics: schragola.design

with the kind support of:

Goethe-Institut Sri Lanka, Ministry of Family, Children, Culture and Sport of the State of North RhineWestphalia, NRW Kultursekretariat Wuppertal, Schmitz Foundation, Department of Culture of the City of Cologne, Kmpgen Foundation and Sunethra Bandaranaike Trust.


DIN A 13 tanzcompany is world wide one of the few dance companies working artistically with dancers with different physicalities. Funded by Gerda Knig 1995 in Cologne / Germany, it has ever since added new aesthetic categories to the world of modern dance and dance theatre, challenging current visual habits in the world of contemporary dance. Supposed barriers between physical impairment and dance performance melt into a language of poetic imagery, asking provocative questions and calling on an artistic dialogue. In 2005 Gustavo Fijalkow took over the companys production direction. Since then, Knig and Fijalkow have worked together towards developing both international co-productions and networking. In this course, the company has created dance productions with local and international artists in countries as different as Brazil, Ethiopia, Ghana, Kenya, Senegal, South Africa and Sri Lanka (now in production), always in close partnership with the Goethe-Institut (the German Cultural Institute) and has been invited over the past years to numerous national an international dance festivals in the USA, UK, Sweden, Poland, Brazil and South Africa. At the same time, DIN A 13 stages the first German platform for mixed-abled dance: the biannual Crossings Dance Festival, into which it invites mixed-abled dance companies and visual artists from all over the world.

changeABLE cohesion, the companys new project, is an international dance theatre project comprehending three countries four if we consider Germany - and to be carried out in three years. The project, starting in Sri Lanka, will be pursued in Lebanon, Venezuela and Germany.
Upheaval has the aim to work with dancers living in societies, which have gone through profound social changes and reflect the impact these changes have had on their lives. Invited to work in Sri Lanka by the Goethe-Insitut Colombo, DIN A 13 tanzcompany is proud to present its work opening the International Theatre Festival of Colombo InterACT Arts.

27th March (Iran) The old man and the sea Director - Zahrasadat Aziminia Irans Sayeh Theatre Group
Cast Zahrasadat Aziminia Director,Set, Costume and puppet Designer Afsaneh Ayani/ puppeteer Nazanin Sadraei/ puppeteer Roodabeh Hosseinnejad Kashani: puppeteers and illustrator Bahar Sadafi: puppeteer Saeed Shokrnia/ lighting design, set assistant and photographer


Irans Sayeh Theatre group is a young and experimental theater group that was established in 2001. All the members of this group are well-educated about theater . They are gathered here from different cultures of different areas in Iran. By having various cultural backgrounds that each member of the group has and by studying their own home town customs and interacting with other members of the group in this regard , they have attempted to figure out what they have in common with each other from different Iranian folks and they have followed new ways of performance in theater and communicating with other countries cultures. By doing so they have come up with some plays and have performed them in international and domestic festivals.


The Old Man and the Sea tells the story of Santiago, an aging Cuban fisherman, who alone in his small boat faces the most difficult fight of his life against an enormous marlin. At the beginning of the short novel, Santiago has lost his fishermans luck; he has gone eighty four days without catching a marketable fish. Even his closest friend, a village boy he taught to fish, has left him to work on another boat. The local fishermen make fun of Santiago or feel sorry for him, but he himself remains hopeful and undefeated. Every day he rises early, prepares his skiff, and rows

27th March Passengers (Sri Lanka) Director: Ronika Chamali / S.Leelawathi Janakaraliya - Theater of the People

A blind and a lame man journey together with the latter sitting on the former s shoulders- to a mansion where a beautiful princess, believed to be asleep for a hundred years is about to awaken, All who she looks upon will be freed from their miseries. Walking towards a common goal as one body they suffer from differences, which make the journey difficult. They cannot use their combined strength wisely due to their suspicions of each other. Jealousy, distrust and treachery overwhelm them as both try to mislead each other. Finally, even though they reach their destination, the journey ends on a tragic note as the psychological injuries they inflict on each other and suffer themselves, take a toll and culminate in sorrow.

Janakaraliya is a mobile cultural organization that uses a mobile theatre and travels in Sri Lanka. It uses drama and theatre as tools for social harmony and tries to contribute to human development starting at the grassroots level. Consisting of Sinhala, Tamil and Muslim youth and surmounting the obstacles and barriers confronted during the past, Janakaraliya has become a symbol of multi ethnic collaboration for Sri Lankan society. It has succeeded in creating a common and shared performance space where it performs plays in both Tamil and Sinhalese, thereby breaking the language and cultural barriers between members of both communities, which makes it revolutionary in nature. Based on these characteristics. Jankaraliya has emerged as a unique and contemporary theatre organization in Sri Lanka.

THE PLAYWRIGHT Dr. Dharmasena Pathiraja as an accomplished and reputed Sri Lankan film director and script writer. He is recognized as a artistic film director and has produced films like Ahas Gawwa, Para Dige, Soldadu Unnahe, Bambaru Ewith in Sinhala and Ponmani in Tamil, that were received national and international accaim. The tele-dramas produced by him, Ella Langa Walawwa and Kadulla gained immense popularity and won a number of national level awards. Dr. Pathiraja is currently a professor at the Sri Pali campus of the University of Kelaniya, Sri Lanka.


Perfumers Thiyagaraja Sivanesan, Rasaiah Lohanandan Stage Manager Inoka Lankapura Lighting Technician M. Ajanthan Shanathakumar Make-up Palitha Abelal Costume Design Inoka Lankapura Executive Director Parakrama Niriella Translator - Rasaiah Lohanandan Playwright Dr. Dharamasena Pathiraja

This drama attempts to represent the expectations, dreams and aspirations of all people in this world, through the characters symbolically, It also tries to portray the inherent characteristics of millions of human beings through the same characters. The script of the play aims to creatively reveal contradictory behavior patterns and hidden habits. The process of making this play was an exceptional one, full of challenges, because of the deep subtext that we were trying to present before the audience, and witch was woven into the script. Payanihal was produced for Jankaraliya in accordance with its policy of producing Sinhala plays by Sinhala producers in Tamil, and Tamil plays by Tamil producers in Sinhala. This policy is based on the groups aim to promote inter communal understanding and cultural inclusiveness among communities.

Both Ronika Chamalee and Selvaraj Leelawathie were born in Sri Lanka, the former into a Sinhala Family, and the latter into a Tamil one. Both of them have acted in school dramas and won awards for their talents. Neither of the two knew how to speak or write the others language when they joined Janakaraliya in 2004. However,while living under one roof and participating in theatre exercises drama rehearsals and drama performance, they learnt each others languages and now works in both languages with equal competence and creativity. They have travelled throughout the country with the group. At the National Youth Drama Festival and the State Drama Festival in 2009 and 2010 respectively, Ms. Chamalee was awarded Best Actress and Best Supporting Actress while Ms.Leelawathie secured awards for Best Make up and Best Stage Management.

28th March SITOBO LALANG LIPA (Indonesia) Director - Muh. Saeful UKM SENI dan BUDAYA TALAS The story is about the noblest principal called SiriNa Pacce1, symbolizing the life of Bugis and Makassar tribes of South Sulawesi Province, Indonesia. The people living amongst the highest rank in the tribes called Karaeng. One of the most sacred and preserved traditions in Bugis and Makassar tribes is matchmaking. As an example, a woman who is a descendant of a Karaeng family can only marry a man from another Karaeng family. Andi Basse Salama Karaeng Rewa is a young woman of the Karaeng Rewa descent. Her parents are highly respected in her village and still uphold the traditions inherited from the previous generations of the family. However, Andi Basse Salama Karaeng Rewa then violated the Siri. She fell in love with a man named Daeng Kulle, who is not a descendant of Karaeng. The romance then brought a disaster into the family of Karaeng Rewa, since the couple prefers the wrong way that in the tribes custom called Silariang or elopement2.



TALAS makassar theater was established on 8 September 1999 on the campus of University of Muhammadiyah Makassar. Its located in Makassar of South Sulawesi Indonesia. TALAS name was taken from a location on the campus of University of Muhammadiyah Makassar Talasalapang Road, is the name of the nine trees talasalapang (Makassarise) palm tree which is still standing strong with the growth of a hundred years old, and if interpreted in Makassar TALAS (talasa ) means Life. TALAS Theatre is the forerunner of the formation of the art institute campus on 29 September 2000 which is now called the Unit of Student Activities Arts and Culture TALAS University of Muhammadiyah Makassar pioneered by Muh. Tahir M, S.Pd, Muh. Zia Ul Haq, S. Pd and Faidul Aziem, SE. TALAS consists of seven areas of work of art, including theater, literature, dance, music and voice, film, photography, and fine & design. Since its establishment, TALAS Arts & Culture proactive towards organizing various activities such as art regeneration through recruitment of new members in the form of Arts Workshop [basic training in the arts], research and development of human resources areas of art. In addition to these activities, is now a lab or space TALAS faculty adviser appreciation courses and assessment of both poetry and literature of Indonesian literature and language and literature both in the scope of internal of the University and external of the campus. In addition to the above routine, TALAS is proactive coaching and mentoring activities of theater groups in the area-many students in South Sulawesi province. TALAS in addition to having the function of education also has a social function such as independence efforts for the development of well-being of members of both active and retired alumni to develop a civil society-based entrepreneurship, landscape, advertising, gardening, and other business that contributes social nature. TALAS is eleven years old now. At the age of TALAS that has grown up more mature in the work as evidenced by some of the achievements of both local and national. Cultural Arts TALAS continue to improve itself in order to introduce the Arts & Culture of South Sulawesi in Indonesia, especially in the international level. Art and Culture is like water flowing grow to fill any vacuum at all times in a principled determination is the motto of this sentence TALAS and also the spirit of its members to continue to work hard to preserve the art and culture of Indonesia.

29th March CHHUTTI (Story-telling theatre) Director: Dr. Ashish Ghosh ANANT Theatre Group
Synopsis Life is a story, and stories are told in so many different ways. CHHUTTI is a delightful retelling of four stories in theatrical format. The stories have come from tribal, folk, and literary sources. A greedy merchant with many tales in his belly; but refuses to tell them. The stories push their way out through whatever outlet they can find. The servant accompanying the merchant listens to them and help spread the stories among people. Condition is you cant keep the stories to yourself. Listen to their tales; and spread them as far and wide as you can. For their release and yours. CHHUTTI !!! Behind the stage Script Evolved in ANANT Workshop & written by Maneesh Manoja Puppets Anurupa Roy Shahla Hashmi Garewal Paintings -Joyoti Roy Light - Imran Khan Sound recording - Hassan Siddiqui Sound Execution -Smriti Sharma Music & Direction -Ashish Ghosh Light- Imran Khan On stage Puppetiers Roopak Chauhan &

ANANT was initiated in 1989 by Dr. Ashish Ghosh - writer, director, singer, actor, teacher and a well-known name in childrens theatre. Registered as An Association for Nascent Art and Natural Theatre, the group committed itself to creating in childrens theatre a space for wide and rich exposure, capacity enhancement, self learning & realization, and a platform for self expression. The childrens repertory produced many acclaimed plays over the yearsRaja Ki Khoj, Gadbadjhala, Kisse, Chhutti, Daon Pench, Khel Khel Mein, Nanha Nakalchi, Gopi Gaaiya Bagha Bajaiya, Liyaram Diyaram,- all productions unique in their simplicity of presentation, elements of fun and spontaneity, and with deep anchoring in cultural traditions of India. In doing so, ANANT has created a niche for itself in the world of childrens theatre. From the beginning ANANT has been conscious of the need to include within this space the disadvantaged mentally, physically, economically & socially; for raising issues of their concern and for creatively responding to their reality. A major section of our work is in this sphere. In 2004, ANANT became a founder member of ASSITEJ-India affiliated to ASSITEJ International, a global organization on theatre for young audience.

Choiti Ghosh Story one: Ruma Ghosh Story two: Animesh Guha Story three: Ashish Ghosh, Smriti Sharma, Utkarsh Chauhan

Dr. Ashish Ghosh

Actor, director, singer and a leading childrens theatre activist. The plays directed by him have been acclaimed as trend setters. He has worked with many institutions of reputeSahitya Kala Parishad, National Bal Bhavan, NCERT, CCRT, Sahmat, NTPC, DPEP, etc. A teacher of Political science to undergraduate and post-graduate students, and drama in relation to education to B. El. Ed. students, all in Delhi university, Ashish also has conducted workshops, training sessions and orientation courses all over India and abroad. He is the founder-President of ANANT (Association for Nascent Art and Natural Theatre), a group essentially formed by his students who joined his drama workshops as children and had grown to be dedicated theatre persons. He was the convener of the 1st National Conference on Theatre for Young Audience, attended by over 150 delegates from all over India and abroad in India International Centre from 4-6 August, 2011.

30st March (Australia) Talk is small: a play with Scrabble Director - Brendan OConnell by Big One Little One
Synopsis: Talk is small: a play with Scrabble is a new audio-theatre work which can be performed by anyone. Audience members take a friend to a designated caf, sit down either side of a Scrabble board and put on headphones. Each set of headphones transforms the listener into a character, revealing their disjointed relationship sparked by a recent tragedy they share. The characters inner voices tell them what words to play on the board, how to interact with the other player, and the hidden fears and doubts eating away at their subconscious, as they manipulate each other into revealing information. Whoever gets a triple word score will no doubt win more than just the game. She is feeling weak and confused. She doesnt remember the Scrabble game starting or remember coming to the caf. Shes not even entirely sure who the man in her company is. As she places more and more tiles, small memories come back to her. She was standing at a postbox at a junction near her house. Something happened here, but shes not sure what. The man is asking her what she knows, over and over again. A recipe for a cake is rattling around in her mind. He is fed up. He just wants answers and then they can part ways. But she wont co-operate. She is acting strangely. The Scrabble game should be calming her down, but it isnt. He is starting to feel guilty for how he has treated her. He is aware that people are staring at him. There is nothing normal about this scene. Why wont she just tell him what she knows?! Shes remembering something. The shopping list. The cake recipe. There was

supposed to be a party but Back to the postbox at the junction. It began to rain. It stormed. Everybody ran for cover but she he She was pushed into a dark car and blacked out. He decides if she wins the game, he will let her go. She doesnt seem to have a chance. But she is remembering what happened to her he is holding her hostage in this public space, pretending they are normal. He thinks he has the game won, but, with the word ESCAPES, she has a triple word score. She grabs the handcuffs on the table and cuffs him to his seat. Game over.

Cast and Crew: Penelope Kentish (writer), Brendan O'Connell (director), Sarah Coffee (sound designer).

Directors Note: Talk is small: a play with Scrabble marks an important point in my career, as it represents a turning point in the type of work I make I have found that over the past three years, I have become more and more stimulated by work that defies expectations through the degradation of the traditional spectator/performer relationship. The work has no audience and no actors rather it situates the spectator as the primary realiser of the work, and enables each participant to utilise their own creative skills to bring to life the character they are playing.

I commissioned Penelope to write this play in 2010, when she was engaged as a participant in Tantrum Theatres Emerging Writers Program while I was Artistic Director. Her brief was to make an audio theatre work for two participants as performers no other instructions were given. I was surprised and excited when I first read the work that she had produced. It was an intriguing and playful text that offered opportunities for the audience to literally immerse themselves in the world of the piece. Above all, it was unique, surprising and completely memorable. I couldnt not bring it to life. About Big One Little One:
As we wrote our biographies some months ago, details have been changed, so I provide for you updated versions: Brendan OConnell and Penelope Kentish are Big One Little One, an emerging Melbourne-based live art collective. Their most recent live art works include: 'Blind Date', a oneon-one performance in which participants are blindfolded and led on a sensory journey throughout a citys CBD; 'Talk is small: a play with Scrabble', an audio theatre experience for two people in which they play a game of Scrabble while being instructed to say and do things by a voice in the headphones they are wearing; 'Eyes Wild Open' and 'Crowds Above You', two instructional audio theatre experiences for one audience member (the former premiered at Harvest Festival 2011 and Southbound 2012; the latter at St Kilda Festival 2012); and 'Sunny you should say that...', an intervention of Newcastles ClimateCam electronic billboard, in collaboration with Newcastle L!vesites and the City of Newcastle (premieres mid-2012). Big One Little One will travel to Kenya in July 2012 to undertake a monthlong residency at Lake Victoria Arts Centre, where they will develop a new large-scale participatory audio theatre work. Penelope Kentish is a playwright and theatre maker. Her first play, 'We Suck Young Blood', was produced in 2008 by CYCLE Productions in

Bathurst, NSW. She has written three plays for Newcastle, NSW based youth arts organisation Tantrum Theatre, 'The Women of Doom' (2009 with the companys Junior Ensemble), 'Talk is small: a play with Scrabble' (2010, which earned her a CONDA nomination for Best New Play) and 'Diving into boxes with great abandon', a Choose-Your-Own-Adventure play which premiered at the Theatre With Guts Festival in 2011. With Big One Little One she has written 'Eyes Wild Open' (Harvest Festival, 2011, Southbound Festival, 2012), 'Crowds Above You' (St Kilda Festival, 2012) and 'Talk is small: a play with Scrabble' (Colombo International Theatre Festival, 2012). She recently undertook a two week residency with Canberra Youth Theatre for a development of new work 'I might just take you on the AstroTurf'. Brendan OConnell is a theatre maker, producer and arts worker who is currently Acting Associate Producer at Adelaide Fringe. He was most recently employed as Artistic Director of Tantrum Theatre, a youth arts organisation in Newcastle. His past work as an artist spans site responsive, immersive and contemporary drama, often blending in unexpected ways. He is especially drawn to the experience of performer and spectator working together to co-create work within performative encounters. Brendan is focused on creating live art experiences and working alongside emerging artists on the development of genredefying art. Prior to working at Tantrum, Brendan worked freelance as a director and assistant director (including Sydney Theatre Company), and was Artistic Director of The Keyhole Project, an artist co-operative founded to present dynamic new Australian work. He is currently undertaking a Master of Arts and Cultural Management through the University of Melbourne. Brendan, a directing graduate of the prestigious Victorian College of the Arts, is the winner of two City of Newcastle Drama Awards. Brendan most recently directed the creative development of Michele Lees audio work Talon Salon, as part of Next Wave's KickStart program.

30th March (Sri Lanka) Elfi - Director: S.Dayalan Inter Act Art Black Box Theater
Girl Boy1 Boy2 Niranjani Shanmugaraja R.Vasanthan R.Nesaraj

Magic man Ilmy Hassim business Women- Jenifa Fernando Zoo officer - Ilmy Hassim Princes - Jenifa Fernando

This is an experimental drama which takes the childs mind beyond normal dimensions of a story. The speciality is the use of modern technology to create the feelings and behaviours of a child mindset. The story is of three children who finds and looses a white elephant who talks. It tries to depict the social factors that changes the inner feelings of the chidren. It also tries to explain how the decisions taken by adults affects the childs world of thoughts.

Stage manager Ass

Thivanka Ranasinghe Chamal Virantha Hasindu Randir Manooj Priyadharshana Lalindra dissanayake Aruna Shantha Aruna Priyantha

Lighting Designing - M.Safeer Set Designing - M.Safeer Costume Nadeeka Tharangani Adaptation S. Dayalan Directed - S. Dayalan Presented By Inter Act Art Black Box Theater

This is an experiment which uses modern technology. We feel that drama based on dialogues is a hindrance to go international. We think that we have overcome that difficulty to some extent. Also, by producing the same drama in both major languages helps the audience to enjoy the drama.We have done that. In the same festival, same team have produced and performed the same drama in both languages. Our ambition is to change he thatrea art for the betterment of it, and we feel we have contributed towards our goal to a certain extent.

Tel - +94 773 129 749 Email - interactartsl@gmail.com web www.interactart.wordpress.com

What is IAA? Inter Act Art is a cultural organization registered with the Ministry of Cultuaral Affairs of Government of Sri Lanka. The country with its long history has been an important convention point for worlds arts and cultural affairs, both oriental and occidental society IAA which was inaugurated in 1990 has completed many activities for the last two decades. Basically, IAA is involved in theatre and Performing art. Also, IAA is a multi ethnic, multi language and a multi religious group. Its decision making activities are conducted by a committee comprising of Sinhala, Tamil and Muslim representatives. By identifying and studying the modern trends of the theatre art we have achieved a lot. We have being the pioneers to introduce Black Box Theatre to Sri Lanka, as a different dimension to Sri Lankan theatre, located in Sri Jayawardenapura, capital of Sri Lanka. (Theatre includes a Library and an Academy). We have trained young creators, school teachers and university students island wide in modern trends and techniques, as our main objective. We have a publication section which deals with thatre art. Few books published by our organization have been prescribes as reading materiel for A Level students who are following performing art as a subject, by the national institute of education. We have also given the opportunity for young people with creative idealogies to work part time to fulfill their objectives by providing basic facilities. Most of their creations have won awards at the national level. We are having the first Black Box Theatre in Sri Lanka and the second in South East Asia. We have held two alternative national level theatre festivals namely. a) Sri Lankan theatre festival b) Black Box short play festival which are annual events at present. We are doing all this with much interest and commitment for a better theatre in Sri Lanka. Even though we get some help from certain institutions we feel we are marching alone to achieve our objectives. Even though we are a small organization we have built a considerable relationship with the international institutions too.

31th March -(Pakistan) Akhiyan Walio (people with eyes) Director: Aamir Nawaz Maas Foundation-Pakistan

one of the lifes universal truth is that it is the perceptions of common man that shape the future. Pakistani common men are no exception and their views,beliefs and values have unfortunately taken a severe battering in the past year. Our this theatre therefore, has a deeper meaning and relevance this time around. This year,through our theatre plays, we are bringing a message of hope to common man and the wonderful response we have had from you in our previous performances all proves that despite the politics of hate and division among Pakistani society, issues of security & economic crunch damages,common man still possess a fighting spirit and enduring love for Peace & harmony. We are proud to say that with the help and hard work of you,me a common man, we continue year after year to create an awareness through theatre among nation about our social issues and this colorful event will be a positive addition in this campaign. Finally id like to welcome you once again on this exciting journey with us to the wonderful and spellbinding sphere of the theatre & for you to open your hearts and minds to the talent of Pakistan. See you There.

Synopsis of the Play

Akhiyan Walio is the story of three blind people from different communities of life. They are trying to remove a stone in the pathway. Writer symbolize this stone with the hurdles of life. As they are trying to remove these hurdles they are facing a big problem, non corporation from the people with eyes. Although normal people are disturbed by this stone and they get hurt but they never try to remove it seriously. Infect every one try to make it a big issue and try to play politics on it. At the end of the day three blind people decide to remove this stone themselves.

Aamir Nawaz President & Director Maas Foundation

Language - Punjabi Duration : 70 Min playwright : William Perviaz Director: Aamir Nawaz Group: Maas Foundation-Pakistan Cast Aamir Nawaz s/o Muhammad Nawaz ( Director & Actor) Muhammad Abid Hussain s/o Abdul Hameed ( Actor) Muhammad Rashid Gull s/o Shafat Ahmad (Actor)
Maas Foundation is a theatrical organization based at Lahore from 2002. Maas Foundation is entered into a new phase by establishing it self in few days of its birth. It has always been its endeavor to try and to do something, which leads into experimentation and to break away from the given and explore possibilities where a common man can be involved into the kind of theatre which generates interest and ultimately the young bold and common people take the initiative to develop serious and meaningful theatre. Its a great achievement of Maas Foundation that it has been successful in generating interest of youth and specially the students from different institutions to perform in Maas Foundations plays. In this context we experiment and explore all form of theatre may it be folk, regional or contemporary because theatre for Maas Fundation is a very strong medium for social change and learning from experiences is a vital part of it. The purpose behind Maas Foundation has always been to bring awareness in different communities of society about their rights. It also bring people from different socio economic back ground to create a movement and make them work as one team by providing them an opportunity to explore their potentials and giving them a direction. Maas Foundation had performed nationally and internationally number of time. Maas Foundation had performed at India and South Korea. Also Maas Foundation had honor that its play was selected as best play in world performing arts festival 2008 at Lahore. Maas Foundation had performed in front of President of Pakistan and also Governor Punjab number of times.

Maas Foundation (9/A-3 Ahmad Block New Garden Town Lahore Pakistan) Ph:+924235862454, +923334260831

01st April (India - Pune) Dangalnama Director: Pro. Vidyanidhee Vanarase FLAME School of Preforming Arts
About Dangalnama
India has been going through a lot of internal turmoil since 1984. It was the time when the then Prime Minister Indira Gandhi was assassinated at her residence. This initiated a lot of political rivalary between the Sikhs and Hindus. This was the first major internal instance that evoked riots in India after the partition in 1947. The political powers realized that religion can become trump card in the power politics within the country. Divide and Rule became the policy for the parties and it was executed very subtly at the initially and directly at a later stage. This followed the riots in 1989 arising out of the Mandal Commission Report regarding the reservation policy in India, Fall of Babri Masjid in 1992, Bomb Blasts in Mumbai in 1993, occasional terrorist attacks in different parts of the country, Attack on Akshardham Temple, the Godhra episode and the Mumbai terrorist attack. During all these years, common Indian people have suffered to the hilt. This sufferance is expressed by many artists, poets, journalists, etc through various artistic mediums. DANGALNAMA is a production that investigates this sufferance of common people in India. It documents various events from different perspectives, looks at the complex secular structure India wishes to follow, the undercurrents within the religions, the cast system in India and creates an expression which would go beyond the boundaries of cast, religion, even the country and would try to look at the humanity as the point of focus. The production is an outcome of the collaborative process amongst people from various walks of life such as journalists, photographers, poets, writers, dancers and theatre actors who came together to create an artistic expression about how they feel about the last three decades.

Director s Note
Local to Global and Vice Versa Why do I do theatre? What is the meaning of the entire effort of theatre making? What would happen if I don t do theatre? Practicing theatre professional faces such fundamental questions many a time. And every time the answer is new. As one tries to get answers, the broader question arises: What is the function of art? Is it entertainment? Is it religion? Is it a need to communicate? Or is it something else? In the light of these questions when I think of any international festival, I find that these questions are expanding their scale and there is a great scope for developing new perspectives! When it comes to representing the culture and communicate across the cultures, some formulations are identified as hallmarks of a given culture. In the process, one needs to take cognizance of the variations within the culture and create a room for the awareness of alternatives. The global connection would be established when the local truth is effectively expressed and communicated. Since 1984, India has seen a change in the mindset of people who make images, particularly the political ones. The rhetoric has changed, the orientation has changed, and so have the destination and the direction. Whether it was the Sikhs because a sikh security guard assassinated our Prime minister, or Muslims because the terrorist attacks were perpetrated by the Islamic organizations or the Christians because they were always under the cloud of suspicion because they believed and worked for conversions to Christianity or Dalits because they sought equal rights and showed the will to climb up the social and economic ladder, the wave of hatred surged and warped the tolerant, integrative accommodative fiber of Indian cultural ethos. And still, the resistance to hatred in plurals persists. The value and the everyday action have to see each other face to face and a new search has begun, not with the big brothers of the community but with the meek common people. Shall the Meek

inherit the great culture? They have created it, sustained it, and lived it. A strong commitment to humanitarian credo was the goodness they inherited and they believed in the good being the True and the Beautiful too. They had learned to see and accept differences without having to win over and/or annihilate the opponent. The common man was willing to follow the saint when they saw one, and yet the new drive for hating in plurals - wiping all shades and differences engulfed them. In India, every sensitive person from whatever walk of life has sensed it, has wondered and suffered the loss of the strength of the Tolerant Culture. This production will bring the experience and the argument to performance, seeking to pave a path to world citizenship, a path to locally rooted and globally supported identities so that we can find ways of getting along even when we differ sharply. The search begins with the question: Do we believe that it is right and good to hate something? Some group? For reasons beyond their control? It will trace a process of confession where one has preferred to hate and then look at the consequences without shame and with love. It would be our own anxiety or insecurity or limitation or ego The group will decide what else. There is no predesigned message except the spirit of search a candid and determined investigation of many things we seek to shove under the carpet. Again, there are consequences and choices. What kind of guiding light do we have to come to terms with what man has made of man! There are many perspectives and myriad details when one starts looking at reality as it is perceived. Hundred Thousand dead in 10 seconds is a fact. Closer home, the Babri Masjid was demolished by unruly crowds is a fact. Putting someone to death has been explored by the human mind in its crooked modes with great variety. There are many such. And there is the evidence. The audio, the visual, the reportage, the chronicle, the spoken word of those who were part of the atrocity and there is hearsayThere is plenty to work on once the search begins. Without this relentless drive to face it all, the wheel of vendetta will continue to attract glory, we will continue to raise and raze

statues of great enormity. It has become a need of common man to see clearly, hear distinctly and feel good to seek forgiveness, feel whole. Respecting diversities and finding a common ground for communication implies wider understanding of nonviolence, tolerance and forgiveness. In the modern competitive context, Gandhian self search tends to stand apart from the self seeking drive in competitive, market driven atmosphere. I firmly believe that feeling of togetherness, feeling of belonging and willingness to acknowledge the differences can be generated after understanding these values. In this context, the creative expression would need to develop an understanding of tolerance as a way of dealing with the multiple perspectives, understanding of nonviolence as the regard for the right of the other and yet asserting one's own vision of truth; and understanding of forgiveness as giving others an opportunity to learn. Today, India is thrilled by an idea of becoming a superpower by 2020. The real question we need to ask is Why do we want to become superpower ? and Do we have to become a super power ? Power-games are attractive and make a material difference to life. But each war, each battle and each victory raises the same question Was it worth it? Vidyanidhee Vanarase (Prasad) Cast

Bankapure Kaustubh Sadanand Talreja Himanshu Koticha Shalin Sameer Simha Swati Kamath Devika Harish Goenka Drishti Ahuja Sapna Nikhil Gadgil

02nd April Caged -Dance Theater (Sri Lanka) Director: M.Safeer Inter Act Art Black Box Theater

CAGED The man in his day to day life experience and get trapped in various social happenings. The relationships, love, marriage and education traps the man within certain limits and boundaries. This act is performed by 10 artists. They are all dressed in identical costumes. The upper parts is a tight red dress while the bottom is white color and loose fitting. The music also is provide by the artists themselves. Various natural sounds effects made by human and breathing sounds are made use of in this act. Torch lights of different intensities provide the lighting also by the artists. This is an experimental modern theatre art act. Originally this was designed to be staged in a limited space and to a limited audience. But later was modified to suit the mostly available Proscenium theatre. The closeness of the act to the audience enhances the communication ability of the act.

CAGED Cast Bride - Nadeeka Tharangani Bride groom - Hilmi Haseem Society Woman -Lalindra Udeshani Book Girl Chair - Aruna Shantha Book Holder -Hilmi Haseem Hunters - S. Dayalan Shamika Dilshan Frame man - Hasidu Randil Boys - Hilmi Haseem Chamal Virantha Thiwanka Ranasinghe Light mans - Aruna priyantha Manoj Priyadarshana


Directors Note
Caged is a result of team work. An experiment to evaluate the skills and creativity of few selected youth who attended my workshops. The basis for this production originated from a collection of videos of the famous dancing veteran Pina Basu. With the gained knowledge about dance theatre I suggested caged as a nucleus as a new concept. Through dialogue, discussions this concept was developed in to a creation. Of course, it took a long time for them to transform this concept in to what it is now. I only mediated by giving the concept and providing the basic needs. They had an objective and moved towards the objective. They were fortunate to obtain knowledge and experience from foreign and local experts on the field of dance theatre. The real owners of this production are these youth. The result of their experience, knowledge and commitment is the emergence of a successful experimental creation. They have finally come to international level.

(Caged - Experimental Dance Theater Team)

We joined German Cultural Institute to study the modern trends in the Theatre and the Black Box Theatre concept. We studied in detail, for about 6 months under the guidance of Mr. M. Safeer who introduced Black Box Theatre to Sri Lanka and the creator of the one and only Black Box Theatre in Sri Lanka. We are proud to say that those who attended this workshop came from various parts of the country and now are working as an active strong team. We are proud to say we are the first batch of different layers of society and who use different languages to study Black Box Theatre, and we have produced five experimental creations so far. These productions were presented at a festival named Box without Locks on the 24th of June 2010 held at German Cultural Institute, Colombo. When we were looking for a new venture, we came across a novel event modern Dance Theatre a poetical dancing concept. Modern dance goes beyond the traditional dancing art. In this sort of Dancing you can break the limits and boundaries of traditional dancing to express your views and ideologies. Expressions are used in addition to the body movements. It is not wrong to say that Modern Dance is telling a story using body movements. The vast knowledge of our leader Mr. M.Safeer and the VHS cassettes on the Dance Theatre helped us to learn the art. After studying Modern Dance up to a certain level we thought of a new creation. We were fortunate to attend the workshops conducted by American lecturer on Choreography & Performing Art Carol Dilly held with the curtsy of the German Cultural Institute, at international level and is a Director at Bates College in America for over 25 years. She possesses a large No of Modern Dance creations and she has presented the same all over the world. The knowledge we gained from her and from Mr. M.Safeer were almost equal and gave us experience for our creations. We found the basic ingredients for our creation. With the help of all these people we believe we have done something new. We invite you to check whether it is so.

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