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The theatre HORA was founded in 1993 by the director and theatre pedagogue Michael Elber and the agoge Gerda Fochs as an association in Zurich. The name HORA is taken from the first production of the theatre, an adaptation of Michael Ende’s novel Momo. Today, the HORA theatre is one of Switzerland’s most famous independent dance, theatre, and performance groups. It aims to ‘provide a professional theatre environment for talented ‘mentally handicapped’ actors.’ Elber’s and Fochs’ foundation of the theatre was inspired by a guest performance of the ‘integrative’ theatre Thikwa from Berlin in Zurich. The so-called ‘integrative theatre’ aimed to no longer make theatre with cognitively handicapped actors for therapeutic or political reasons. Instead, it should be perceived as part of the regular cultural offer. In the following years, the artistic director Michael Elber experimented with new formats and possibilities of theatre work with cognitively disabled actors. For the Swiss, the audience needed to take on new perspectives and views by appreciating his ensemble members’ unique features. The piece Die Lust am Scheitern (2000), a so-called Nullimprovisation, has been formative for the artistic development of the ensemble. Elber described it as the essence of his HORA philosophy. The production An-sehen oder gesehsch mi? was the first with which the ensemble went on tour in the canton of Zurich. Furthermore, it became the basis for creating the documentary film Aber auch ich by Urs Wäckerli, which premiered at the Locarno Film Festival 1999. In 1995, HORA moved into its first rehearsal rooms. The financial situation of the theatre remained difficult. In 1998 it received the award Kultur- and Sozialpreis of the ZFV Unternehmungen and was invited abroad for the first time in 2000 with the production Lennie and George. Guest performances in Germany, Austria, France, and Russia and at ‘integrative’ theatre festivals, particularly with the play Die Lust am Scheitern, followed. In 2002, HORA became part of the Züriwerk Foundation as a theatre workshop. As a result, both the management and the ensemble members received a fixed monthly salary for their theatre work, and the rehearsals counted as working time. The latter, as well as the financing, was subsequently based on that of sheltered workshops. The efforts for recognition by the regular cultural scene continued to be complicated. In the following years, Elber shaped the ‘classic’ HORA aesthetic: Ideas of norms are questioned, and the imperfect, unconventional, unpredictable, and erroneous are valued. The diversity of the HORA theatre is reflected in various theatre forms, such as adaptations of film and literary classics, open-air and mask theatre, and collaborations with other ensembles. In 2008, HORA actor Marcel Trinkler was awarded the GoldenHans- Theaterpreis für behinderte Darstellerinnen und Darsteller (‘GoldenHans- Theatre Prize for Disabled Actors’) for his performance in Die Lust am Scheitern. The HORA’BAND was founded in 2005 as a separate artistic project independent of the HORA theatre ensemble. It has released four music albums and played over 250 concerts. A third department was created four years later with the vocational training for actors with disabilities under the direction of Urs Beeler. It existed until 2018 when it was dissolved for operational and structural reasons. As organizer of the international theatre festival OKKUPATION!, held until 2013, HORA created an interface between the regular and ‘integrative’ theatre scene. It facilitated the establishment of contacts with other partners, such as the Schauspielhaus and the Rote Fabrik. This led to the collaboration with the French choreographer Jérôme Bel. He directed the conceptual play Disabled Theater, which premiered at the Kunstenfestivaldesarts in Brussels in May 2012. As a result, the ensemble was invited to renowned venues worldwide, predominantly to regular ‘nonintegrative’ theatre events. In September 2012, the play won the Children’s Choice Award in two categories at the Ruhrtriennale. In addition, the ensemble received recognition for its performance from the Theatre Commission of the City of Zurich. The following year, the production was the first work of an ‘integrative’ theatre group to be invited to the Berliner Theatertreffen. There, actress Julia Häusermann received the Alfred- Kerr- Darstellerpreis für die herausragende Leistung eines jungen Schauspielers (‘Alfred- Kerr Best Actor award for the outstanding performance of a “young actor”’). Subsequently, the play was increasingly controversially discussed, especially by disability rights activists, and thereby increased its popularity. The success required organizational changes in the theatre’s operations. In 2014, the book Theater HORA – Der einzige Unterschied zwischen uns und Salvador Dalí ist, dass wir nicht Dalí sind (‘Theater HORA – The only difference between us and Salvador Dalí is that we are not Dalí’) over the first twenty years of the HORA theatre was published by Theater der Zeit. Marcel Bugiel and Michael Elber edited it. In 2015, the ensemble finally moved into the Backstein in the Rote Fabrik and manifested its membership in Zurich’s regular independent theatre scene. The years 2013 to 2019 were dominated by the long-term project ‘Freie Republik HORA’ (‘Free Republic HORA’). It was aimed at promoting cognitively disabled directors, choreographers, and performance artists. In 2015, HORA Theatre was awarded the Anerkennungspreis (‘Acknowledgement Prize’) of the Paul Schiller Foundation. The following year, it was awarded the most important Swiss theatre prize, the Schweizer Grand Prix Theater/ Hans- Reinhart- Ring. Interdisciplinary research projects and publications on the theatre HORA followed. By being included in the cultural mission of the city of Zurich, the theatre received regular support as a cultural business for the first time. In the summer of 2019, the theatre took leave of HORA founder Michael Elber. Curdin Casutt has been responsible for the overall management since 2018. He reorganized the theatre and established a new management team. Now, the artistic ‘Labor’ executes the workshop for the ensemble members. In the following years, collaborations with external artists occurred, as numerous guest performances in Switzerland and abroad occurred. To this day, the theatre contributes to focusing the viewer’s attention on the skills of the artists to counteract a deficit-oriented view of people with cognitive disabilities. The actors are encouraged in their autonomy, enriching the regular theatre landscape.

Diese Sammlung beinhaltet Kindergeschichten, die vom Englischen ins Arabische übersetzt und unter zwei CC-Lizensen veröffentlicht worden sind, gemäß der Anforderungen des ursprünglichen Werkes. 1. CC BY-SA Link zur Lizenz: https://creativecommons.org/licenses/by-sa/4.0/ 2. CC BY-NC-SA Link zur Lizenz: https://creativecommons.org/licenses/by-nc-sa/4.0/ هذه مجموعة من القصص المترجمة للعربية وهي نتاج مشروع قامت به مبادرة ض في ألمانيا (DADD-INITIATIVE e.V.) كل القصص مدرجة ضمن تصنيف المشاع الإبداعي وفقاً للأصل ولما تم التوافق حوله مع المؤلفين. تصنيف القصص لرخصتين هما: 1. CC BY-SA رابط للرخصة: https://creativecommons.org/licenses/by-sa/4.0/ 2. CC BY-NC-SA رابط للرخصة https://creativecommons.org/licenses/by-nc-sa/4.0/

Madeleine Louarn, an educator, set up a theatre workshop to provide a creative outlet for people with disabilities by encouraging them to participate in the process and be engaged participants. She laid the foundation of Atelier Catalyse in the early 1980s with a troupe made up of people with disabilities, all of them being the residents of Les Genêts d'Or in Morlaix. Since then, she has fiercely supported a theater where art and beauty are accessible to everyone, irrespective of their history, social location, or differences. The Atelier was institutionalized with the patronage of a foundation representing the subsidized company of the Théâtre de l’Entresort in 1994. In 2005, Jean-François Auguste joined Atelier Catalyse as director and co-signed most shows with her. Atelier Catalyse’s approach to theatre and disability is deeply rooted in a commitment to inclusivity and diversity. The group challenges traditional notions of being a performer by bringing together actors with different backgrounds, experiences, and abilities. It creates space for new forms of expression and creativity to emerge. In addition to its artistic impact, Atelier Catalyse’s work has had a tangible social impact, particularly in promoting greater awareness and understanding of disability issues. By showcasing the talents of disabled actors and challenging stereotypes, the group helps to break down barriers and encourage greater social inclusion. Overall, Atelier Catalyse is an inspiring example of the power of performance art to promote social change and create a more inclusive and equitable society. Through its innovative productions, collaborative approach, and commitment to inclusivity, the group is helping to redefine what it means to be a performer and a member of society and inspiring others to do the same. What started as a small workshop led to the establishment of The National Center for Adapted Creation (CNCA). CNCA aims to promote art and culture that is accessible to individuals with disabilities. It provides artists and cultural organizations with training, resources, and support to create inclusive and accessible works and events. Additionally, the CNCA hosts exhibitions, performances, and workshops highlighting the abilities of artists with disabilities and bringing attention to the significance of accessibility in the arts. The centre aims to ensure that people with disabilities have an equal opportunity to participate in cultural and artistic experiences and that their contributions to the cultural realm are recognized and appreciated. The organisation works through its four departments: - a permanent troupe of artists who help the performers with their skills and networks, - a national creation centre facilitating art and dialogue around contemporary issues. - an artistic action centre that allows people to have access to cultural experiences, and - a National Research Centre that acts as a knowledge production and dissemination centre. Madeleine Louarn advocated that theatre provides a platform where people can explore possibilities of life beyond their limitations. The incredible diversity and complexity of the authors and texts she chose for her actors, from Bread of Souls based on the tales of Luzel in 1996 to Shakespeare, Daniíl Jarms, Thomas Bernhard, Ibsen, Lewis Caroll, Beckett, Anton Chekhov, Kafka, and many others bear witness to her commitment to her beliefs. In their 2022 staging, Gulliver, le dernier voyage, Atelier Catalyse performs a new version of Gulliver’s Travels by Jonathan Swift.

This text elucidates how we make use of the FAIR data principles.

The texts for the collection of the second volume of the "Quijote" by Cervantes and the "Quijote apocrífo" in chapters by Avellaneda are originally extracted from Biblioteca Virtual de Miguel de Cervantes and manually converted to plaintext format: For Cervantes: http://www.cervantesvirtual.com/obra-visor/segunda-parte-del-ingenioso-caballero-don-quijote-de-la-mancha--0/html/ The texts were used for the stylometric analysis in: DOI: 10.17175/2018_004

64 Part-of-Speech-getaggte Dramen Calderón de la Barcas, txt-Dateien, UTF-8-codiert

Abstract At a boxing match, a teenage boxer with Down syndrome is coming up next in the ring. While his trainer forcefully motivates him to fight, his sister wants to hold him back. Yet the decision is all his. Details The short film starts with a boxing match. Coming up next in the ring, there is a teenage boxer with Down syndrome. Backstage, another teenager, his brother or friend, is facing his hands, while in the background, his trainer is discussing with his sister, Chrissie, who does not want him to fight. He wants him to get in the ring, convinced that he is ready for it, and reproaches her for holding him back. He motivates and preps him, and when he asks why he wants to fight, he answers that he is a fighter and he wants to win. He is told that he is going to fight a boxer who is bigger than him, so he finds himself torn between his dream of winning and proving everyone wrong or giving in to the fear of getting hurt. Even the boxing committee, pressured by Chrissie, is not sure about letting him fight. The fighter starts approaching the ring. While Chrissy and the trainer are still discussing, a decision needs to be made. It is his friend who looks him in the eye and lets him know that the decision is his. The short movie ends with an open ending, right when the fighter is picturing the game in his head and making up his mind.