With this 2nd edition of our broschure, we are adapting the representation of the independent performing arts sector and expanding it to 13 countries in Europe. Our plan is to continue this research and provide updated information every two years.
There are about 5.5 million people living in Finland, but roughly 4 million tickets to theatre, dance and circus performances are sold in our country every year. We have good reason to describe ourselves as “theatre enthusiasts”.
Author: Kaisa Paavolainen
© Picture: Nils Krogell
With the experience of the lockdown measures since the end of October 2020, it becomes clear that there is no possibility to continue with the artistic work processes as they used to be before the pandemic. The entire sector will – and has to – change enormously and is currently in a phase of transition.
This questionnaire aims to collect data to examine the economic and sociopolitical situation of independent performing arts in Europe.
Signed by 12 major European theatre and performing arts networks, The Dresden Declaration sets out conclusions from the first ‘EuropeanTheatre Forum 2020: European Performing Arts in Focus’ and calls on Europe to urgently create a plan to revive the sector during and after the pandemic.
EAIPA was part of the of the consortium group for the European Theatre Forum on November 11th – 13th 2020 in Dresden, Germany.
Kristína Zátrochová in conversation with Marta Poláková about the newly established study programme ‘Dance Theatre and Performance’ at the Academy of the Performing Arts in Bratislava
Author: Kristína Zátrochová
© Picture: Kristína Zátrochová
At first, we need to define the term our narrative will employ:
it is one initially used for naming the art forms conceived outside the state structures – “independent”.
Author: Mira Todorova
© Picture: M.Jeanson
The independent performing arts sector – comprising a range of non-governmental performing arts organisations, non-formal collectives and individuals, producing primarily visual and physical theatre, experimental drama theatre, street theatre and other interdisciplinary theatre forms – is nowadays considered to be the most vital and progressive part of a vivid general theatre scene in Slovenia.
Author: Tomaž Zaniuk
© Picture: Ivian Kan Mujezinović
Without a doubt, Ukrainian theatre is deeply embedded in the country‘s search for national identity. It has persevered through the prohibition of Ukrainian language, the inferiority complex, the perception of Russian art as the standard that was to be imitated. Everything created outside of such norm, everything that even tried to seek out new forms of expression and to touch on the topic of European experience was revolutionary.
Author: Miroslava Todorova
© Picture: Anastasia Mantach