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
„Theaters in Hungary feel the chill of Viktor Orban’s culture war“ — the New York Times reported on 13 December 2019, marking one of the rare instances, when international press attention was directed at cultural policy changes in Hungary.
Author: Katalin Erdődi
© Picture: Katona
Considering our extensive experience with EU Culture Programmes for the past 20 years, we hereby want to be of assistance to the ongoing discussion by informing of the established main facts and substaniated comments gathered from the independent performing arts sector.
Eight European Performing Art Structures at a Glance.
EAIPA is publishing the first direct overview, comparing eight independent performing arts communities from countries
reaching from Scandinavia to Eastern-, Central- and Southwestern
Europe. Creating a basis for comparison, this brochure serves as a distinct
orientation guide and aims to inspire the individual performing arts communities in their struggle for worthy living and working conditions through political advocacy.