11-13 December 2024
Theater an der Wien
Austria
„Well-made theatre for children is always also theatre for parents, and, in my opinion, ‚opera for adults‘ is suitable for children and young people. The key is taking the audience seriously and challenging their capacity for reception, rather than catering to clichés.”
In 2004, Gerhard Schedl implicitly identified a fundamental characteristic of children’s opera with his demands for it, a trait that is generally also constitutive of children’s literature and proves to be a hallmark of children’s opera as well: the dual address.
From a multidisciplinary perspective, both researchers and practitioners examined developments, productions, contemporary formats for the big stage, and small narrative forms in their aesthetic diversity, and discussed frameworks, challenges, and experiences.