Athens International Conference “Theatre/Drama & Inclusive Education” Athens 21-22-23 March 2025
Hellenic Theatre/Drama & Education Network (TENet-Gr)
WORKING GROUP/DISCUSSION PANEL
Issues of Theatrical Representation of Otherness: The Case of Roma People
Synopsis by
Christina Zoniou, Anna Tsichli, Antigoni Tsarbopoulou
The working group/thematic panel, “Issues of Theatrical Representation of Otherness: The Case of Roma People,” took place on Saturday, 22 March 2025, as part of the international conference “Theatre/Drama & Inclusive Education”, organized by the Hellenic Theatre/Drama & Education Network (TENet-Gr) in Athens, Greece.
It was moderated by Christina Zoniou (theatre researcher - practitioner, Department of Theatre Studies, University of the Peloponnese, Greece).
Anna Tsichli (theatre director and dramaturg, Department of Theatre Studies, University of the Peloponnese, Greece) and Antigoni Tsarbopoulou (teacher, consultant of the ‘It Could be me-it could be you’ project) intervened as critical commentators.
Franziska Frakas (Romani-Hungarian actress and theatre maker, Hungary), Avraam Goutzeloudis (actor, graduate of the Directing Department of the Drama School of the National Theatre of Greece and assistant director in Romáland theatre performance, Greece), Christoph Leucht (sociologist, co-founder of Kuringa Space for Theatre of the Oppressed, Germany), Yiannis Georgiou (Greek-Rom social scientist on history and identity of Roma/Gypsies and their representation and PhD candidate at the National Technical University Greece) and Aktina Stathaki (theatre researcher and director, Greece), took part as guest speakers. Eleni Tsetsekou (Head of the Council of Europe - Roma and Travelers Division) intervened online.
Αpproximately 30 conference participants from various countries attended the working group session and contributed to the discussion. Performances’ excerpts by Roma artists were screened, sparking a dynamic dialogue on the performative representation of otherness.
Key questions
- What do Roma and non-Roma performing arts practitioners aim to convey when narrating Roma stories on stage?
- Are current performances with “Roma” topics or Roma artists focusing on cultural exploration, presentation of social exclusion, otherness, or an assertion of shared humanity?
- Are we perpetuating exoticism, folklore, and hegemonic representations in our work?
- Should Roma narratives emphasise victimhood, or should they celebrate resilience and agency?
- How can we avoid Roma people being merely subjects of others’ narratives and become active creators of their own stories?
- What does it truly mean to be Roma—is it defined by "otherness," or is there a deeper, more nuanced identity?
- Can non-Roma artists and educators authentically represent Roma experiences or inadvertently repeat stereotypes?
- For whom do we create theatre about or with Roma communities? What emotions should it evoke to Roma and non-Roma audiences?
- What role does education play in reshaping these narratives?
The discussion was very lively, and it opened up new paths in theatrical practice. Below we provide a synopsis of some of the views presented in the form of a manifesto.
Manifesto on the Theatrical Representation of Roma Identity
Theatre is a powerful medium for storytelling, identity exploration, and social change. For too long, Roma people have been misrepresented as "the other," subjected to exoticism, marginalization, and exclusion in artistic narratives. This manifesto calls for inclusive, authentic, and empowering representations of Roma identity in theatre and performance, urging artists, institutions, and society to amplify Roma voices on stage and beyond.
Principles we share
1. Representation with agency. Roma artists must lead their own narratives as playwrights, directors, and performers. Their voices should lead the creative process, ensuring that Roma culture, identity and lived experiences are represented with authenticity and dignity.
2. Challenging stereotypes. Theatre and performance have the potential to dismantle harmful stereotypes and misconceptions about Roma people. We reject narratives that perpetuate victimization, criminality or exoticism. Instead, we embrace the richness of Roma culture, resilience, and contributions to society. Performances should move beyond simplified portrayals of "otherness" and reflect the complexities of Roma identity.
3. Beyond victimhood: empowerment through theatre. While acknowledging the social injustices faced by Roma communities, theatre should not merely frame Roma people as passive victims. We advocate for narratives that empower Roma individuals, particularly Roma youth, to embrace their heritage with pride. Theatre should serve as a space for self-expression, cultural celebration, and collective resistance against discrimination. Theatre can serve as a platform for young Roma people to celebrate their "romanity"—their Roma identity—and counteract the narrative of victimhood.
4. Ethical narratives Artists, educators and institutions working on Roma-related topics must commit to ethical narratives. This involves direct collaboration with Roma communities, deep research and the refusal to exploit Roma experiences for artistic sensationalism. Ethical representation means listening to Roma voices, ensuring fair opportunities and co-creating narratives with respect and sensitivity.
5. Sharing the means of theatre production A significant challenge is the lack of access to theatre education and professional opportunities for Roma individuals. Institutions must actively invest in Roma talent by providing scholarships, training programs and professional development programmes. This will ensure that future generations of Roma artists to develop the skills, confidence and visibility to shape their cultural landscape. By offering the "means of production" to young Roma, we not only help them represent their own stories but also ensure that the voices of future generations will remain vital and authentic within the arts. Building sustainable artistic opportunities for Roma Artists is an important task for the theatrical and educational institutions.
6. Audience engagement. Theatre should evoke critical reflection, empathy, and solidarity- not pity or guilt. We seek to engage audiences through interactive forms in meaningful dialogue that fosters curiosity, deeper understanding and action against discrimination. The goal is to build bridges between Roma and non-Roma communities, creating a shared space for mutual respect and collaboration.
7. Theatre as a means of education. Theatre has the power to be a tool for both self-expression and social change, and part of that power lies in empowering young Roma to protect themselves from discrimination. Theatre, as a means of education, can provide a safe space where Roma youth learn to confront prejudice and strengthen their sense of belonging and together with the non-Roma youth to construct new non-hegemonic narratives.
8. Theatre as a catalyst for social change. Roma theatre must be mainstreamed-integrated into festivals, curricula, and public discourse- to challenge biases and advocate for justice, and to educate audiences about Roma history, struggles and achievements.
Call for action
Theatre has the power to transform perceptions, amplify voices, and shape narratives. We call upon theatre practitioners, cultural institutions, policymakers and audiences to commit to a future where Roma representation is accurate, diverse, self-determined, and led by Roma voices. Through theatre, we can build a world where Roma identity is embraced, celebrated and never silenced.
We stand for dignity, authenticity, and artistic justice in the case of the Roma.
| Facilitators | - Ζώνιου Χριστίνα
- Tsarbopoulou Antigoni
- Tsichli-Boissonnas Anna
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