Research in Performing Arts for Children from Birth to Three
Edited By Wolfgang Schneider
Does theatre for children exist? An unlikely model by Roberto Frabetti Does theatre for children exist? Maybe it does, maybe it doesn’t. But asking this question again today, while I start writing this article, is not an academic exer- cise. I have been asked this question many times. I have also been asked other questions, and they were all similar to this one. Questions like “But is theatre for children real theatre?” or “Why divide an audience of children into age groups, isn’t theatre always theatre?” or “When a show is good, it should not be for a particular age group, can’t it be good both for children and adults at the same time?” Now then, though I always to respect the others’ different opinions, I like going in a “stubborn and contrary” direction.1 Not only do I think that theatre for children exists, but I also think that it has got its own dimension, that it is an exciting subset (in its mathematical meaning) of that wonderful set represented by theatre. I also believe that theatre for chil- dren is a set itself, formed by many subsets, each of them different from the other. Specificity is separation, but no necessarily contrast. Different units co- exist and create a great big unit. These are the basis of set theory. But if we don’t see the subsets, the particles; if we don’t see that each of them has its own particular balance; if we don’t observe the fragility of that balance,...
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