As a society we are poised in paradox. Our children represent our worst fears and best hopes for the future of civilization. Even a cursory glance at any newspaper, on any day, in any city of our nation will provide ample evidence of children in crisis. But behind the screaming headlines about juvenile violence, apathy, and despair are the quieter voices telling stories about the wit and wisdom, the compassion and courage of children. The arts in general, and theatre arts in particular, are ideally suited to tell both the positive and painful stories, to examine critical issues and choices, to offer cautionary tales, and celebrate the successes of young people.
The development of non-profit theatre for "adult" audiences has been strong over the past four decades, and a similar growth has occurred in the field of theatre for young people. Increased professionalism, widespread support in individual communities, and recognition of the field's contribution to the educational, social, and aesthetic development of children, have resulted in a quiet revolution which merits recognition in the press and popular media. Schools regularly depend upon performances and programs initiated by theatre to supplement and enhance curricula crippled by budget cuts. Parents, increasingly mindful of the proven links between tangible experiences in the arts and other areas of study, look to the arts to stimulate their children's imaginations and to develop self confidence and discipline. Theatre artists exist as passionate citizens of their communities, bringing life stories of a common cultural past, exploring contemporary concerns, posing questions, and seeking answers.
ASSITEJ/USA, the United States center of the international service organization for theatre for young audiences, stands as the recognized advocacy, informational, and support forum in this country for professional theatres serving, and speaking for the unique perspective of children and young people. Since its founding in 1965, the mandate of ASSITEJ/USA encouraged the development of professional theatre for "audiences of young people and their families". In the revised mission statement of 1995, the organization seeks to promote and develop professional theatre concerned with the "unique perspective of young people". This redefinition places emphasis on the development of art, rather than the age of the audience; and calls upon the organization to widen its frame of reference to include all theatres, artists, and educators who seek to explore the domain of the child world in the multiple languages of theatre.
As a service organization, ASSITEJ/USA draws its strength from its component parts. Its geographic impact reaches beyond the boundaries of any single city, state, region, or country to embrace a world wide concern. Its activities are incredibly diverse including access to international congresses and conferences, seminars and symposia, performances and publications, meetings and membership. Its vision is the collective vision of individuals and organizations engaged in the professional practice of the art of theatre, challenged and supported by the opportunity for an international perspective.
ASSITEJ/USA does not produce art but facilitates the production and presentation of art as it sponsors festivals and creates connections to international events. It does not create literature but chronicles and critiques the ever deepening canon of dramatic literature of the field through publications, symposia and conferences. It does not train young artists and administrators but it provides opportunities for professional development through international exchange, retreats, workshops, and observerships. It does not set or certify standards of excellence but engages artists, educators, and audiences in an ongoing examination of the quality of their own work and the work of their peers.
ASSITEJ/USA serves as the conduit for communication between and among diverse populations nationally and internationally. Organizational members include the most highly respected theatres for young people in the United States. With annual operating budgets ranging from six million dollars to shoe-string operations held together by passion and persistence, member organizations face a wide range of challenges and concerns. ASSITEJ/USA must recognize and serve both their differences and commonalities. The range of programming undertaken by member theatres and individuals is equally diverse, including the creation and production of original work and classics, educational programs to schools, informal and professional theatre training program, and outreach activities to special populations. Although the primary focus o fASSITEJ/USA is on the professional production of live theatre, most member organizations and individuals are involved in teaching and community outreach activities.
On the eve of the anniversary of its third decade, ASSITEJ/USA stands on the brink of its own quiet evolution. For most of that history, the organization has been fueled by the energy of the Board and staffed by a combination of volunteer and part-time paid services supplied by individuals and organizations all over the country. In the past few years, giant steps have been taken to centralize and professionalize ASSITEJ/USA.
In 1991 a full-time Executive Director was hired and member services were consolidated in a single location. The initial planning and implementation of this major international symposium, "One Theatre World", received generous support from the Lila Wallace Reader's Digest Fund and The National Endowment for the Arts. In 1994, the Board began a process of strategic long range planning. ASSITEJ/USA seeks to expand the range and depth of the professional services to an increasingly large and diverse membership. These strides have come at a cost. The growth of the organization requires a concomitant growth in sources of on-going support. ASSITEJ/USA is currently seeking the wisdom of an advisory board, as skilled in the art of business as they are in the business of art. The organization must also seek ways of expanding ownership and personal investment to extend to all members and all potential members, and to deepen mutually beneficial ties to other arts service organizations.
At a planning retreat in October of 1994, the Board of Directors reframed ASSITEJ/USA's mission statement to read: "ASSITEJ/USA is an internationally affiliated service organization dedicated to the promotion and development of professional theatre concerned with the unique perspective of young people." This statement provides a foundation upon which to build bridges to artists, educators, and institutions in all sectors of our society concerned with the future of art and the fate of young people. It holds both the promise and the challenge for the organization to meet increasingly complex needs and to live up to its own expectations in a world of dwindling resources.
The mission statement and goals of ASSITEJ/USA are laudable, but many of the activities of the organization leave no proof or products of their own worthiness other than their impact upon the lives of those touched by these experiences. The playwright, afforded the opportunity to see his or her work in the international context of an International Playwright's Forum in Germany, comes away forever changed by the experience. The young director sent to represent the United States at a conference in Scandinavia glimpses an innovative approach to scenography that will influence the rest of his career. The teacher from a small town attending a regional meeting discovers an unknown cultural resource in his or her own backyard. Ironically, support services are often most effective when they are the least evident. They are the invisible forces which make themselves manifest in the excellence of others. The ultimate efficacy of ASSITEJ/USA is revealed, not by the pond or the pebble, but by the ripples created.
While it is impossible to build an organization upon a foundation of ripples, it is interesting to consider their pattern. A central core is surrounded by an ever widening series of concentric circles in constant motion, able to respond to change without losing a definition of self. Perhaps this metaphor is a useful organizational model for ASSITEJ/USA. A central core of commitment to the perspective and concerns of children and young people is surrounded by circles of activity, unified by their individuality, brought together by their separateness.
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