The History of Romanian Independent Theatre
[…] 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
Introduction to the Independent Performing Arts in Europe – 2nd edition published
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.more info
Finnish Independent Performing Arts – Funding Reform and COVID-19
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
Dance Theatre and Performance in Slovakia
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
A Brief Outline of the Bulgarian Independent Performing Arts Scene
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
Independent Performing Arts in Slovenia
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
Casual Connection Between Past and Present
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
Staying afloat, funded and free – Independent performing arts in Iceland
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
We Shall Not Be Moved – An Overview and Conversation about the Situation of Independent Performing Arts in Hungary
“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
Recommendations regarding the EU Creative Europe successor programme from 2021 on
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.more info
Brochure: Independent Performing Arts in Europe 2018
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.