Belarus:
This article wants to shed light on the authoritarian rule of Lukashenko in his own country and the struggle of the defiant independent theatre professionals in Belarus. For this reason, the author also has to remain anonymous for their own safety and that of their family.
Author: anonymous
© Picture: unknown
It is necessary to imagine the Italian independent performing arts scene not as an archipelago but as a closely related component that sometimes perfectly matches and sometimes clashes with the whole cultural system. The only way to represent this system is to refer to the concept of modern physics of complexity, that is, a multi-component dynamic structure made up of different subsets that interact with each other, following the rules of chaos and probability.
Author: Davide D’Antonio
© Picture: Simone Cecchetti
[…] before we start describing the Romanian independent theatre movement, how can this simple definition help us understand independent theatre in general: What does a theatre need in order to be called independent? Not be affiliated with a state or an official institution? Is it a matter of financial or ideological independence? Is an independent theatre free of censorship? What is its relationship with politics? So many questions that go far beyond the simple answer the dictionary gives us.
Author: Ovidiu Mihăiţă
© Picture: Andreea Eva Herczegh
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
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
With a population of roughly 360,000, it should come as no surprise that the Icelandic performing arts scene is small. Very small. On the whole, it is a tightly knit group of people passionate about theatre.
Author: Sigridur Jonsdottir
© Picture: Jóhanna Helga Þorkelsdóttir