Area, as such, is a variable concept, here it is basically conceived as
a cul-
tural/political unity. Therefore it can
cover a single language or be multi-
lingual, comprise a single or more reli-
gions, be based on a single tradition or consist of a variety of traditions.
It may, for example, be a state, a (rural) region, a city or – in
its widest sense – world-wide, a culture spread across the world.
Area, as used here, mainly refers to a continent («Greater Areas»)
or a nation («Specific Areas»).
We have a dream: to act as an intermediary, to connect and build bridges
and to provide information to an understanding of performance traditions
in their own right. We must neither go about «othering the other»
by regarding various traditions as being completely different from our own,
nor should we reduce them to what we already know. However, being aware
that we can hardly help instrumentalising the other that seems to be a function
of our own background, our own history and some-
thing that we can only approach in relation to our own society. That other
is already in us. What we can do is to make ourselves familiar with a certain
theatre tradition or theatre area.
English is the language of access on this site, which confronts us with the first aspect of the access concept. It starts with our own tradition and expands to the point where we not only wish an understanding that cannot be accomplished by the information made available here for a primarily English-speaking audience (native and second-language-speakers) that not only wants to attend performances (see Arguments for Visiting a Theatre Although you don't Understand the Language of Performance), but also gets involved with learning the languages themselves.
The second aspect of the access concept becomes relevant as soon as we are preparing access information on performances not in English. Here access is provided within a language area, e.g. those who speak German can find German language sites under «Access Austria» or «Access Germany» – two areas where the same «language of performance» is spoken.