News from the Fence

Wonderland Project, July 7, 2013
Call for applications: Artists in Residence, Leipzig 2013, 26 Oct 2012
hotINK at the LARK 2013, 7 Aug 2012
hotINK at the LARK, March 22-26, 2012
Group occupies Athens theatre, 11 Nov 2011
Jiwar Residency, Barcelona, 3 Oct, 2011
HotInk theatre festival, NY, 18 Sep 2011
Situation in Kosovo, 18 Aug 2011
Kosovo: A Fence Response, 19 Aug 2011

Wonderland project unsuccessful

Our 2013 bid for the Wonderland Project to the EU Culture Programme was unsuccessful. This is a two-year, ten city, playwright-in-residence collaboration programme with partners in UK, France, Italy, Romania and Canada. When The new Creative Europe programme comes on stream at the end of 2013, we will review the possibilities of adapting the Wonderland project for submission in the Spring of 2014, with a mix of existing and new partners.

Click here for details of the original proposal

Leipzig: Call for applications - artists in residence 2013

26 October, 2012 

The Schauspiel Leipzig invites applications for an artist in residence programme in 2012

Click here to download the Call for Applications and further details of the programme

Esther Holland-Merten of the Schauspielhaus Chemnitz writes:

"As you may have heard, Enrico Lübbe, the Artistic Director of the Schauspielhaus Chemnitz, will be transferring to the Schauspiel Leipzig in the fall of 2013 to be its director. I will be going with him.

"In Leipzig we want to continue the work we have begun in Chemnitz and even expand it. For that reason we have come up with an artist in residence concept for one of our stages in Leipzig. This program will be designed for performance collectives and artists that work differently than we at the Schauspielhaus. But we want to offer them a space, the time and the technical assistance of a theatre funded by the city, while at the same time the aesthetic focus will be on their work habits and approaches to themes. This concept will be an ongoing process and we would love to invite several performance groups every year, not only german groups but also international artists. Since you are the head of the fence network, we would love for you to have our call for applications and maybe you know some collectives and artists that might be interested in working at Leipzig, sharing their work and be part of our program.

"When you and the network were in Chemnitz at the Chemnitz - schönste Blume des Ostens festival we felt that there were lots and lots of interesting people and it just wasn't enough time to really get to work, to really get to know eachother. We think now this opportunity has come. As said above, if you know performace artists that might be interested in such a process please feel free to send them this call for applications."


hotINK at the Lark 2013

hotINK 2013 will present work by six playwrights from outside the United States in readings at the Lark Play Development Center, April 17-22, 2013. Each play will be presented once, following a 2 day workshop/rehearsal with a director and actors from the New York theater community. In addition, special events are planned for visiting playwrights and translators. Readings are attended by fellow writers from U.S. and abroad, literary managers, producers, artistic directors, translators, dramaturgs, scholars, journalists, educators, students and New York theater audiences.


Please read carefully

  • Submission deadline: October 15, 2012.
  • Full-length plays in English from any country outside the U.S. that have not had productions in the U.S. are welcome. We are currently unable to consider musicals. We can only accept one play from each author.
  • Include in your submission:
  1. contact information, including email address
  2. a short author bio
  3. the name of translator, if applicable, and translator’s email address
  4. a short synopsis of the play and a list of characters, each briefly described.
  5. A description, in one page or less, of how you would use the hotINK at the Lark 2-day workshop to investigate and strengthen specific aspects of your play or translation. This information is vital to the Lark’s decision-making process. We ask that you be specific about your goals as possible.
  6. Author’s primary residence for the past X years must be outside the United States.
  7. Please also advise us as to your knowledge of English, so that we can provide the appropriate communication support. Proficiency in English is not expected or required of selected playwrights.
  8. If a selected play has been translated from another language, written permission from the translator must be provided.
  • Only electronic submissions will be accepted.
  • Please email your submission, including script and supporting materials, in one PDF or Word document to: by October 15, 2012.

Please Note:

  • Scripts not submitted according to the above guidelines will not be considered.
  • Selected playwrights will be notified by mid-December.
  • Travel to NYC for hotINK at the Lark, as well as accommodations for selected playwrights will be provided by the Lark Play Development Center
  • For more information, please email hotINK at the Lark Program Director Catherine Coray:

hotINK at the LARK March 22-26, 2012

Free public readings of ten new plays from around the world.
Plus a special panel event

TO RSVP contact the Lark online
or call +1-212-246-2676 x224

March 22
strangers, babies
by Linda McLean (Scotland)
directed by Lisa Peterson
In Spitting Distance
by Taher Najib (Israel)
translated by Ros Schwartz
directed by Sturgis Warner
March 23
The Medea Effect
by Suzie Bastien (Canada)
translated by Nadine Desrochers
directed by Giovanna Sardelli
by Michael Mackenzie (Canada)
directed by Alice Reagan
March 24
by Giorgos Neophytou (Cyprus)
translated by Rhea Frangofinou
directed by Tea Alagic
On Translation for the Theatre: a collaboration with the Pen American Center
panelists include Aleksey Scherbak, John J. Hanlon, Judith Miller, and Laurent Muhleisen
moderated by Cobina Gillitt
The Eyes of Others
by Ivan Dimitrov (Bulgaria)
translated by Angela Rodel
directed by Samuel Buggeln
March 25
Thanksgiving Day
by Nikolai Khalezin (Belarus)
translated by Yuri Kaliada & Rory Mullarkey
directed by Lisa Rothe
The Shape of a Bird
by Jean Tay (Singapore)
directed by Tamilla Woodard
March 26
Grace and Elizabeth
by Jessica Cooke (Ireland)
directed by Joe Grifasi
Colonel Pilate

by Aleksey Scherbak (Latvia)
translated by John J. Hanlon
directed by Michael Sexton

Click here for more information about the plays and playwrights

At Lark's BareBones® Studio
311 West 43 Street, Fifth floor (between 8th and 9th Avenues)
Subway: A, C, & E to 42nd Street/Port Authority.
1, 2, 3, Q, R, N, S, & 7 to 42nd Street/Times Square.

hotINK at the LARK is supported in part by the W Trust; Haley Joel Osment; James Roday; and Bill and Kumi Martin.

Funding for artist travel and accommodation has been provided by The New York University, Abu Dhabi Institute the Quebec Government House in New York, the Israeli Consulate, and our partner, CEC ArtsLink , through a grant from the Trust for Mutual Understanding.

Statement from collective occupying Athens theatre

11 November, 2011

Today 11 of November 2011, Mavili Collective occupied the historical disused theatre building of Embros in Athens, deserted and left empty for years by the Greek Ministry of Culture. We aim to re-activate and re-occupy this space temporarily with our own means and propose an alternative model of collective management and (new) post-contemporary forms of creative work. For the next 11 days Mavilli will reconstitute Embros as a public space for exchange, research, debate, meeting and re-thinking. We act in response to the total lack of a basic cultural policy on the level of education, production and support of artistic work as a national product. We act in response to the general stagnation of thinking and action in our society through collective meeting, thinking and direct action by reactivating a disused historical building in the centre of Athens.

From the 11/11/2011 until 22/11/2011 an open, intense daily program will run throughout the space with an emphasis on access and action. Emerging dance and theatre makers will share tactics and methodologies for development, panels will be organised by scholars as public debates on urgent issues, we will archive live the currently undocumented and unknown "Greek new work" inviting artists themselves to present “live” parts of their archival material. Artists, theoreticians, practitioners and the public will “meet” and try out models beyond the limits of their practice and the markets’ structural demands of “the artistic product.”

This re-activation is not a proposition of a “better” model of production and management but is a proposition of re-thinking, responding and re-making. This model emerges from the current lacks and shortfalls of our system and attempts to interrogate the global changing landscape at this moment in time. We challenge our own limits and understanding and we propose and operate this space as a constantly re-evaluated model by both ourselves and the public - an open system that might offer the potential to re-think relations between people and possible roles for art in society.

In the sight of the current situation we refuse to wait for “better days”, we refuse to accept the current crisis as terminal and we refuse to sit back. We actively propose new structures, which we hope, can become sites of negotiation, debate, re-formulation.

The Mavili Collective Mavili Collective was formed during summer 2010 as an autonomous collective structure for emergent practitioners and came together in order to re-think and re-imagine the current Greek cultural landscape and propose structures, platforms collaborations, projects that produce new alternatives. Mavili Collective is committed to producing nomadic, autonomous collective cultural zones that appear and disappear beyond the logics of the market. For information, see:

Mavili Collective: Gigi Argyropoulou, Anestis Azas, Argyro Chioti, Giorgos Kolios, Kostas Koutsolelos, Georgia Mavragani, Vassilis Noulas

Please feel free to circulate to your friends and networks - we need your support.

The Jiwar residency in Barcelona

3 October, 2011

Ahmed Ghazali and Mireia Estrada have set up a fantastic residency in Gràcia in the heart of Barcelona. They are keen for Fence members to use it for theatre projects. The Jiwar Residence offers the following:

  •  - A wonderful and charming space to stay and work for 3-4 people
  • a very big garden for group meetings in fine weather
  •  An audience from Gràcia (Ahmed and Mireai's district) and Barcelona
  • Contacts in the writing and theatre world.

Click here to download full details


HotINK Theatre Festival deadline October 15

Dear Fence Colleagues:

Just a reminder that submissions are open for the 2012 hotINK Festival, at the Lark Play Development Center are still open.
Please take a look at the guidelines for submission at The deadline is October 15, 2011.

Over the years, hotINK has introduced New York audiences to the plays, translations, and direction of many Fence members, including Milena Bogavac, Dieter Boyer, Paul Brodowsky, Edward Buffalo Bromberg, Neil Fleming, Andreas Flourakis, Ahmed Ghazali, Doug Howe, Nikolai Khalezin, Ewald Palmetshofer, Tee O'Neill, Kaite O'Reilly, José Maria Vieira Mendes and Christian Winkler.

The upcoming festival, which will feature 8-10 plays from outside the U.S., will be presented over five afternoons and evenings, March 22-26, 2012.

Playwrights based outside the U.S. , translators, directors, literary agents and managers, are welcome to submit plays, in English, from any country outside the U.S., that have not yet had productions in the United States.

Since 2006, hotINK has presented the work of playwrights from 42 countries, and last year's very successful hotINK Festival, the first to take place at the Lark at their excellent new location, featured the work of Geert Genbrugge (Belgium); Georgi Gospodinov (Bulgaria); Elmar Maripuu (Canada); Marius von Mayenburg (Germany); Siddharth Kumar (India); Jessica Cooke (Ireland); Marjolein Bierens (The Netherlands); Zainabu Jallo (Nigeria); and Mixkaela Villalon (The Philippines.) Directors and actors included May Adrales, Michael Cerveris, Rachel Chavkin, Michael Chernus, Kimberly Hebert Gregory, Joe Grifasi, Edward Hibbert, Josh Hecht, Kevin Kuhlke, Ian Morgan, Elinor Renfield, Lisa Rothe, Giovanna Sardelli and Heidi Schreck.

Visiting playwrights also engaged in formal and informal conversations with New York playwrights, took part in World Theatre Day activities, and forged a number of ongoing collaborations, with each other and with New York theatre artists. Please forward widely! Thanks, and best regards?hope to see you at a Fence meeting soon!

Catherine Coray, hotINK Festival Director


Situation in Kosovouation in Kosovo

18 August, 2011

Dear theatre friends,

The National Theatre of Kosovo is being seriously threatened by politics.

Even before, this theatre had been the target of manipulations and political control; nonetheless, the latest developments are disturbing and make this theatre’s perspective dim.

The National Theatre of Kosovo is an independent public institution, financed by public funds through The Ministry of Culture. Recently, the newly appointed Minister of Culture has committed a series of violations of law and power abuses, intimidating the independence of this theatre by making some politically arbitrary decisions.

He has dismissed The Board of The National Theatre of Kosovo, even though that board has a legitimate mandate. This decision was made after the board had positively evaluated my three years’ work as the Artistic Director in this Theatre. The Minister has also manipulated with the new board that he himself appointed. As a result, a totally unprofessional person – until recently working in The Kosovo Prime Minister’s Office – has been appointed to the position of Artistic Director of The National Theatre of Kosovo.

This political interference weights down my efforts and those of the previous Board to aesthetically and conceptually reform this theatre, to open paths for cooperation with artists and international theatre companies, to liberate this theatre from schematic national plays, to alleviate it from primitive nationalistic mentality which continues to use the theatre as a medium for promotion of racism and induction of nationalism. Our concept, during the past three years, has brought more audience, about 150% more in comparison to previous years.
I would like to take the opportunity to invite You to react in order to exert pressure on those scandalous political actions, which have arrogated the creative and functional independence of The National Theatre of Kosovo.

I would kindly ask You to send Your reactions to these e-mails: , Minister of Culture, Minister of Foreign Affairs, Deputy Prime Minister of Kosovo
The Kosovo Prime Minister’s Office
Koha Ditore Newspaper
Zeri Newspaper
Newspaper Express
Jeton Neziraj

Thank You, Sincerely, Jeton Neziraj


Kosovo -- A Fence response

19 August 2011

The Fence is an International Network of Playwrights and Theatre Makers dedicated both to respect for cultural identity and for communication and collaboration across borders of all kinds. Our membership of 130 comes from more than 40 countries, and includes leading practitioners who are themselves of international reputation as well as within their own theatre cultures.

What damages or restricts the free movement of artists and ideas in one country or between countries damages and impoverishes us all. What enhances the value we put on each other as human beings of every ethnicity, religion and background enhances us all. But what diminishes any one of us diminishes everybody.

We therefore note with concern and some alarm recent developments at the National Theatre of Kosovo. For European Theatre Culture, the National Theatre of Kosovo, among others, represents hope for a more open and inclusive future, where, especially in newly emerging or re-emerging national cultures, mutual respect and imaginative engagement can enhance our common European home.

While decisions as to the governance and management of theatres are of course the province of their key stakeholders, including funders and relevant political overseers, the Culture Ministry of Kosovo should be aware that their decisions do not go unnoticed or uncommented on in the wider theatre and cultural sphere. Irregularities and arbitrary decisions are political in this cultural context, and will provoke a political as well as cultural response.

The reputation of every nation can be enhanced by its cultural production.
It can also be damaged. And if it is felt that the theatre culture of a given country is being utilised for retrograde policies and attitudes, that damage can be lasting and severe. We respect both individual talent and cultural openness. We expect no less of our valued neighbours.

We urge the cultural authorities in Kosovo to consider the respect that should be afforded to all new and old nations and peoples, and further, urge them not to risk their own".

For and on Behalf of The Fence Network

Peter Arnott
Jonathan Meth