Flanders Arts Institute have translated the results of their 5-year document for policy makers:
Link to a longer document (also at the bottom of that news message above):
8 – 9 November 2019 at the Slovenian Theatre Institute, Ljubljana, Slovenia
The field of amateur theatre can be explored in various contexts. It is commonly weighed against professional theatre; the main differences between them, however, lie in the areas of funding, performers’ education, and time invested in creation. Drawing on comparative research on amateur theatre carried out by the international research group STEP (Project on European Theatre Systems), we will look at systemic organisation of the field in different European countries and try to identify the values (economic, social, ethical, aesthetic, etc.) prevailing in this type of theatre.
But in attempting this, we must bear in mind that the understanding of “amateurism” in the 21st century is changing parallel to the emergence of new cultural practices. It is important to see and question the distinctions between amateur and professional theatre from a historical perspective (e.g. Workers’ Stage, Pekarna Theatre, Pupilija Ferkeverk Theatre, etc.) as well as examine the roles of different types of theatre today, when new media and technologies make it remarkably easy to get around the guardians of professional performing arts (e.g. city and state theatres, educational institutions, etc.). New forms of commercial theatre (stand-up comedy, improvisation theatre, etc.) should be mentioned in this context as well, although in these cases we are no longer dealing with formally trained theatre makers. The idea that professional culture always starts as amateur activity is also quite common, and we think it is a relevant context for exploring amateur theatre offer in relation to education and professional production available in a specific environment.
The symposium is organized by the Slovenian Theatre Institute in cooperation with Amfiteater Journal, Academy of Theatre, Radio, Film and Television of the University of Ljubljana Research Group, Public Fund for Cultural Activities, and the international research group STEP.
International conference
Prague, October 23-24, 2019
The year when we remember the 30th anniversary of political changes in Central and Eastern Europe calls upon looking back on 1990s ideas and hopes. It is independent theatre, which was a key platform for the attempts for their implementation not only at aesthetic and artistic, but also at social and political levels in various models and configurations of existence. It was largely inspired by the development of the international independent artistic scene, which was difficultly accessible for the majority of artists behind the Eastern side of the Iron Curtain until 1989. Is it possible to consider the development of independent theatre in Central and Eastern Europe in the 90s as a “success story”? Is independent theatre and artistic scene taken for granted nowadays? Are social status and social need for independent art in society today completely different from ideas of 1989? How does contemporary independent scene relate to the avant-garde and neo-avant-garde legacy? Based on their insight in the development of independent theatre in the past 30 years, ten professionals from the Czech Republic, Slovakia, Poland, Hungary, Belgium, the Netherlands, France, Great Britain, Germany, Austria, Romania, Serbia, Croatia, Ukraine, Belarus and some of the Baltic States will try to find the answers. The conference does not deal only with the confrontation of the historical development of this part of theatre culture in their papers, but also with discussion formats focused on visions of European independent theatre for the future.
The conference takes place as part of the Arts and Theatre Institute research project “Czech Independent Theatre after 1989”, accentuating the development of Czech theatre in new social and political conditions, especially in the context of transformation, decentralization of the theatre network and new tools of cultural policy. The main item of interest are the roots, professionalization and development of epicenters of independent theatre stages and companies after 1989 in the Czech Republic and sub-papers on the development in Slovakia.
The conference language is English.
Main organizer:
Arts and Theatre Institute (www.idu.cz)
Co-organizers:
ENICPA, The European Network of Information Centres for the Performing Arts (www.enicpa.info)
Palm off Fest, International meeting of Central European theatres (www.palmofffest.cz)
Department of Alternative and Puppet Theatre, Theatre Faculty, Academy of Performing Arts
Association of Independent Theatres Czech Republic
PACE.V4 (Performing Arts Central Europe – Visegrad Countries Focus)
How can culture and aesthetics be mobile when the whole world is liquid? What can be a response to the growing number of those who do not want to be mobile any more and who act strongly against those who try to cross the borders? And is it appropriate to discuss a fluidity of culture when peoples‘ mobility is increasingly involuntary and violently forced?
Conference “Mobility of Aesthetics” took place in Warsaw 12 -13 October 2018. The Polish Theatre Institute together with the other organizer have produced the reader, which is now available here.
Mobility of Aesthetics – Conference Reader 2018
The internation conference will continue in Prague 23 -24 October 2019 with the working title “Independent Theatre in Europe”. More information will follow.
This research was initiated by the Flanders Arts Institute (Brussels) and the ITI Germany. A goal was to document the current status of the performing arts in European countries. They are formed like a bibliography and cover the following topics:
The documents and links have been split into five areas:
Three research areas available:
A large part was completed in workshops of the common European Secretary of German culture NGOs. Associations of independent performing artist from various European countries, the Federal Association of the Performing Arts (Bundesverband Freie Darstellende Künste), as well as members of Project Passage 23E.
Note that the Google Sheets are “read only” for now. Although, we would like to invite members of ENICPA to join in and contribute further information! Please contact the board of ENICPA to take part.
IETM – International network for contemporary performing arts – is inviting applications from an international field to fill the role of a new Secretary General.
IETM is committed to diversity, equity, and inclusion and welcomes applicants from all backgrounds.
The Secretary General is the driving force of the network. He/she is responsible for developing the vision and strategies of the network, defined together with the Board of Directors. He/she is in charge of their implementation, in order to ensure for IETM to be responsive, forward-looking and relevant network for the contemporary performing arts in a global environment. He/she represents IETM and engages in advocacy, and is also in charge of the management of the organisation.
We are looking for candidates with a strong motivation and he/she is required to have:
This is a full time position based in the Brussels office, with a fixed term of five years that might be extended for a second term. The position requires periodic weekend work, and frequent international travels. The wage is fixed according to the Scale A of the Flemish salary scales for the performing arts sector (CAO PC 304).
Recruitment process:
IETM is willing to cover travel costs for the interviews, if needed.
Both rounds of interviews will be held by a panel comprising members of the Board of Directors and the Secretariat Team.
Find the full job description here.
Theatre Info Finland (TINFO) has published the performance statistics from season 2016-2017 (1.8.2016 – 31.7.2017). This repertoire statistics include
Most of these theatres are repertoire theatres.
Note! 11 dance companies (subsidized by law) and The Finnish National Opera are included in some tables but not all.
Statistics give information about theatres’ repertoire by ie. genre, number of premieres and first premieres, country of origin and the most popular plays and performances. The data is provided by the theatres and is based on their repertoire and ticket sales. The statistics reveal strong representation of domestic drama and other non-text based performances. 63 % of all performances by ticket sales were Finnish.
Tables, graphs and charts have English titles.
Performance Statistics 2016 – 2017 (PDF)
For additional questions and information: mikko.karvinen(a)tinfo.fi
Ondřej Svoboda (The Arts and Theatre Institute, ENICPA Board member) made a small research among the members about a way how the directors of big theatres and opera houses are usually selected in European countries. The first question was if there are some kind of open calls or if one (or more) expert is addressed directly for preparing a conception or if there is another system for selection. The second question was who (which kind of authority/board of experts …) is responsible for the selection.
Here is the outcome of the survey. (PDF)
We would like to introduce you to the European Network of Information Centres for the Performing Arts, ENICPA. Since 1999, ENICPA has been working as a network of specialists in the field of performing arts information, documentation and collections in Europe. The aim of the network is to share information and experience and to build partnership on both formal and informal levels.
The members of ENICPA meet once a year in one of the member countries. Being a network of colleagues, ENICPA provides a platform for cooperation between the member organizations. At the annual meetings we exchange information about projects, developments, ideas and tools, not just in the field of documentation, digitization, and information databases but also in law, public relation, audience development, artistic mobility and more. As each meeting is hosted by one member organization, it is a unique possibility to learn details about how they run their organization. The advantages of being a member bring knowledge about similar organization in Europe, the ability to provide wider services to customers, new professional contacts and a possibility to find partners for international projects.
We hereby invite you to our next annual meeting which will be hosted by the Perfoming Arts Hub Norway in Oslo in collaboration with the National Library. The meeting will take place in September 15-17th 2020, and it will give you the opportunity to see what being a member of ENICPA is like. We are sure that taking part at a meeting will help you to decide to become an ENICPA member as most of us have become members this way.
Do not hesitate to contact us for more information.
Yours sincerely,
The Board:
Michael Freundt (ITI Germany)
Ondrej Svoboda (Art and Theatre Institute, Czech Republic)
Catalina Gonzalez (Centro de investigación y recursos de las artes escénicas de Andalucía, Spain)
Contact info: http://enicpa.info/contact/
Polish Theatre Journal (PTJ) is an online Polish-English academic magazine examining contemporary Polish theatre and performance, published twice a year by the Zbigniew Raszewski Theatre Institute in Warsaw and The Department of The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw.
Latest issues:
For more information and the latest issues check out: www.polishtheatrejournal.com