 Dobro. Mi je Tomas Gass. Je zjavljenja, kratiča, in kreator v Andrii. Čakaj, da se možemo vzvečiti. Vzvečo. Vzvečo. Vzvečo. Kler Marsha je z vsev Kajov. Vzvečo. Vzvečo. Če je prič nekaj, čas vsi našelje in zelo sprem, nekaj, če zelo bilo, če bi se pravno tega doživila. Oče je čokoliko, da so hvala, in več, v tej bolj nabijali, ne zelo representovati šošin, ... nekaj, da smo tudi tudi, da sem bilo, da so bilo bolje, če bi se veliko od Evroga, ki so vzlušati, da je to je zelo zelo. Zelo sem zelo zelo, da smo v Polizji, in zelo zelo previzivnih, zelo previzivnih, ker vzelo zelo zelo zelo zelo zelo zelo. Vzelo, da sem zelo zelo zelo, da sem zelo zelo zelo zelo zelo zelo zelo. Kajurje. Locovače, če bo napravil. Sreč me poznajo, če je tako v U.K. So mi je lahko vzetka, zato k jezine, kaj je ježi, ker je ta svoj je in njiha še je ovo vzetka, če je to svoj doVIN, tukaj je nekaj reak bottles. Mi je vzetka, če je... kaj je kaj? the Have a It, which in the corner is the very far southwest tip of England. It sticks out into the bottom. A car is called a square for a hill and a cove is called a beach or a cove. So car to cove reaches do the top of the hill right down to the sea. in na med offensive skuja, zelo samo še vsem. Občasno vsem je, da po večtina je bilo ročnoov, in prijezoma je spremtno k twice fighter, ki je Vedno svojo izpat. Tkaj je kot ročna, je napravljaj, ki je dativči, prijezoma so, na tjeve ročne spremtne, in tjezavanje. ...or more up to the tip of Scotland, the Highlands of Scotland up there in the North East. And we are overseeing all this sort of brought together by the National Royal Touring Forum, ...which was set up around 30 years ago to act as a sort of unifying voice for all the different touring scenes. And they allow half and they work as a network of networks. And the National Royal Touring Forum is a network of all the different touring networks. So I'm mainly going to talk about Kanta Code and the model that we run, ...because obviously that's what I know the best. But all of the touring scenes really run on a very similar model in the UK. So my presentation is really to remind me of what I do, ...to show you some pictures. So I've got to navigate now, pressing the buttons and speaking to my friends. Amazing. Okay, so Kanta Code is called performing arts theme, as I said. So we're one of a national network. So there's just another picture to illustrate, but a bit of a Cornish dance game. So we're a very rural part of the UK. There's a lot of economic deprivation in Cornwall. And it's seen as a beautiful place because there's a lot of people on holiday there. And it is a beautiful place to live. And then I go up there and I live there. But the population of Cornwall are large parts of our population living in poverty. And there are people who are four miles away from the beach and never beach before. So it's a county mixed street. So there's a lot of wealth. And second homes are a big part of our economy. So lots of people come there on holidays. And they buy homes that people can't afford to buy. So lots of our villages are suffering from a sort of drain of the population. And we exist in a way for the Cornish population. So our program is generally in the non-tourist season. So our program is primarily for the local population. Not that we don't love the tourists. So as a national network, the NRTF has around 13 member schemes, as I say, from Cornwall up to Scotland and the whole of Wales as well. And so on a local, I think we might be very small scale in our village halls. So as we felt small. So on the scale of the work that we program is small. But as a whole, we have quite a large voice, a large footprint, and a lot of the turnover is generated in the work that we do. So as you can see, there are 30 speeds, 1,650 promoting groups, which are primarily volunteers. So promoters are volunteers who live in their communities, and they give up 110,000 voluntary hours. And we show our rates to around 330,000 people, and over a million, perhaps, is generated. So this is in a typical year, and this is basically pre-pandemic numbers. We're still struggling to get back to those numbers. But we exist in order to enable the communities to present something that's a little bit different to what they should do, so we financially support them, we're funded to do that. And we kind of, our reforce is very much doing with, not doing to, so we work with the communities, as I say, they're volunteer promoters who live in their communities. They change what they want. We don't tell them what they have to program. It's very much done at the grassroots level. But we are funded so that we can pay the artists a professional fee, so that we don't subsidize the artists. We pay them for their wage, but we subsidize the communities so that they deny to pay financial risk on a professional event. We kind of feel that just because you live in a rural area, there's no reason that you can't have access to really high quality professional work, so that we work so that we can bring performers to very small communities. And, as I say, we subsidize that risk for the promoter. So how does it work? Our scene works, and as I say, most of the work are on the same name, same models. We, as an organization, on a very small scale, as myself and one of the first in our team, we put together a program of events that you can call it, and we put that together from seeing work, having contact, having networks, and having the experience of what comes with companies, and there are companies that work in rural touring throughout their careers, so they create their work with rural touring in mind. We don't see that as a limitation, we don't see that at a small scale and not rural as a limitation on the kind of work that we offer. We try and challenge our audience as much as they do. So we put together this menu, we try and get a broad range of different types of events, and then we offer these out to our promoters, we invite them to a menu party, we come together twice a year in an event just like this. I'm standing here with the power of the week, they're sitting there listening to all we're presenting, everybody brings a plate of food, we're sharing the intro, artists come and perform on extracts or speak about their shows, and they meet the promoters during the break, and this is really got these public conversations where they kind of get to know each other a bit better. And then they choose one event per season at least on the dice, and we encourage them to do the covers, so we've got experience promoting our network, and they are quite happy to take the risk on certain shows that they know, that they can sell, and then ask Can't Go to support a little bit out of their comfort zone, and that's what we love, is when we offer up a range of things, so kind of a different subsidize model. So that's just a little picture of our team, we had four of us, now we have two, and we made it to the almost, so if you're interested in seeing it, it's a sort of love in that, really, to Can't Go that we made last year in the anniversary, so it's on our website, so please, have a look, and watch it in formation. So a typical, so here are some stats, I always love stats, I kind of, we take a lot of data from our audiences, and from our promoters and artists, and every now and again I approach those, and I look at the pictures of the grass, and I think it is amazing what we do. There are about 4,000 people attending, around about 150 events per year, so we average about 72 audience numbers in each show, and that varies, because some of our forms are tiny, and the maximum capacity is, so our audience is 50 people, and then we work in tenors, as well, which are larger, so they can have up to 400, but generally, our average size of venue is around that. As I said before, we pay artists a full fee, so they don't have to take the risk of doing a box office split with the promoter, we spend around 65,000 pounds of our budget each year on artist fees, which is about, well over half of it, and that's been on artists that are from all, so we have quite healthy network of artists making work in all, so we kind of see it as our job really, to bring artists from up the line, outside of, within the UK and even internationally, we bring artists into the hall, so that we can give our audiences access to what can really be done well from all over. Ticket sales are the second biggest part of our budget, so we get funding from the government and the arts council, so we have public funding money which we put into the scheme, we're also supported by our local authority and then we generate excellent income. So the way the finances work is the village hall will pay us 80% of the box office takins that they made on the show, and they keep 20% of the box office of their own immunity event, so the interval, everybody has a cup of tea, a piece of cake, they take part in a raffle, I don't know if you have raffles here, but they're really important in the UK, you buy a raffle ticket, the same prizes go around, you know, to run it again, everybody wants the wine, when it's left at the bubble bath, nobody wants it, so they put it back in for the next time, but you have to do it, and that generates income for the rooms, so it's going back into the community. And we generate big program about 55 different artists, different companies, in our two seasons. We always kind of talk to our audiences, we like to know what they like, we use the data in our programming choices, the most, I don't know whether you can see this, but the biggest sort of response that we had is you can come to enjoy the atmosphere here, even though the program is really important, and the quality of the work is really important, actually coming out and being with friends and family in the community is really important to our audiences, our reputation, come to those reputation, and performing arts is an important part of who I am, these were scored in highly, nobody really comes to our events for peace and quiet. The nice thing about seeing a show in a village hall is that the audience generally always know each other and they feel the sense that it's their space and that the artist has been invited into their space, so when you're an artist performing in a broad drawing venue, then I imagine it's quite a different experience working at the theatre, you're going into the space, and the community come out and see you, they kind of own the space, they want to talk to you, because you've come into their space, so it's very rare that an artist will come in and leave without having a social time audience that help them clear away at the end of the night, if they want to help or not, sometimes they can stay overnight in the village that would be given a bed in a promoter's house or somebody in the village and that would give them a hot meal In Cornwall we have a performing art university, we have a university and we have quite a lot of young artists coming out of there, new graduates in emerging companies so we'd like to support those in the platforms so that they continue to work in Cornwall, so we support artists throughout all parts of their career, there are some really established artists living in what in Cornwall as well, in doing rural touring, small scale theatre performances for all their careers and there are others around as I say around in the network and as I said at the beginning it's really important for us to feel that we're connected internationally and so we have as a South West region in the UK we have a really close connection to our South West neighbours and we often program tours from European companies who tour the South West and they make a tour and it makes it much more valuable and cost effective for the company to come across the channel and we are also mindful of our place in the cultural sector of Cornwall because Cornwall the creative industries are quite important to the local economy we don't have them apart from tourism we don't have very much industry but relatively we offer a lot of opportunities and so when we come to cove works as a real network we connect with our cultural sectors in Cornwall that's the end of that slide and we talk about that but hopefully that will give a general idea I think it gives more than a general idea because we are listening to your presentation from an Eastern European perspective you know it feels like we are in the real utopi so thank you very much and that's I think it was a good decision or suggestion from somewhere to start with this presentation today because now the question is on the table are there any other countries in Europe or other systems or that are so might be level and that so many promoters and artists and everything that so complex network like the UK model so what are your work Julia, I ask you about the Romania situation of course then we can't start with that I have to I have to start by saying that there is at this point country that takes advantage of it being very small to have developed a wonderful system that I am training about I am talking about Estonia which has a system according to which each theater that receives a subsidy has to perform to perform tours in the countryside so that it is a national scheme because Estonia again it is very small so that each person can have the access to a performance within 50 kilometers of its residents the history of our residents so there is a national planning let's say there are certain productions that are done especially for touring because not every villager has a structure for the huge set design and so on and lighting and so on and there is a sort of a quota of tours that the company has to do according to its size the subsidy and so on but this is and there is a services for touring maybe in the summer but it is done so that it is ordinary and it covers the whole country Estonia is the size of Cluj the Thai sport well maybe in Romania we don't have a system yet so how many people have access to a theater within no matter how many kilometers but we have a plan the planning in general there is a history of it it starts in the dark times of communism when theaters were supposed to were asked to tour and there were 12 in the 1980s so starting in 1984 first they had this obligation of touring and then starting in that year they had covered the only expenses up to 70% which meant that the touring got a new importance because it helped somehow together with the money 30% of self-injency but at the same time it was a time when there was no thinking electricity in generalism something that we all remember in our own context which means that the professional artists in that context that professional artists theater artists were going in theaters in public theaters developed a sort of a intense hate towards touring especially in the countryside which coupled with another event something else that is related to the second part of the 70s and 80s which is the festival a national national white festival called the Song of Romania that put on the same level professional artists and amateur artists which developed for the professional artists a frustration towards amateur theater which means that we met in the 1990s with professional artists that hated going in the countryside and hated having somebody without a film at the theater the general dissaprise towards amateur theater is still very vivid in Romania almost vivid from the part of professional theater the artists that are involved in big production themselves well, but in the same part in the countryside countryside has a large infrastructure the famous houses of culture so jumping to 2009 sort of 20 years 20 years after when the hatred towards touring in the countryside decided a little or there was a new generation that didn't develop such and didn't develop such as independent artists first developed by them and then came to the Ministry of Culture the new important Ministry of Culture with the proposition of public policy for the renovation of these houses of culture for touring theater the product was called touring in the countryside it was part of a whole vision about building communities through theater by group of young theater makers and then some of them some of them then developed some other lines working strictly related to this renovation of the houses of cultures first the pilot program made that they produced certain performance which was based based on real facts or something that happened in a small countryside school and then they presented it in part of rural community communities in which they had let's say some connections so they wanted to have rural community they not present them an outside project so somehow they relied on personal connections we built the village of the father of one of the artists and some of the kids and actually one of the things I was several such performances in the bad communities and what was absolutely marvelous it was the fact that it activated different generations of members of the community some of them having memories about the cultural activities in those places in the houses of culture which went from theater performances from the city to popular music in which they were involved but then the minister of culture was changed we have a specialty in changing the minister of culture and it is in time in terms of aspiring other parties in the few years afterwards there was another mission that celebrated the ten years last year called Culture in the Bar which is somehow similar in the idea of presenting a performance not an educational project not enough therapies not something related to vulnerable groups but without using the infrastructure because what happened between 2009 and 2015 in some things like that was that some of the houses of culture were rehabilitated but without the very precise purpose and others somehow disappeared into the night of the waiting for LZ and because some of these houses of culture were very politicized in the local political something they are doing this in the courtyard of one person of a village or another they are not coming to places where they have personal connections they develop these connections they install themselves in the courtyard of a local and they work with locals so in development of performance that is actually done by them and they are they are professional actors but in the new definition so they are not involved and the addressability that is because they are developing the performance there because there are several things and they want to adapt to the specifics and needs of the community and the addressability is as large as possible so from children so let's say in English the two older people so which means that a certain language is required and so and with some financing national cultural fund and variety of local support but actually differently from what happened in the country side they don't want our policy and they don't want to be in the state they are receiving these funds from the national cultural fund which the maximum for performing performances performance production is 70,000 euros that's the maximum and you have to cover anything and because it is in only national source of money the competition is harsh so now with 70,000 euros buy the cow feed the cow kill the cow sell them everything but they receive this money because at some point those in part are to do it introduce it among the priority criteria to find those projects in this contributing to places that don't have access to culture usually it means developing educational projects but the problem with education we do have a line of production in theater based on educational projects but again this is something that is disconnected for everything else so there is no policy on we don't even know what part of the map is covered by these projects we don't know now happening in some places we even live to see a situation where in the same village the same community after a bigger project was developed there there was another project because they didn't know what happened previously so it is very disconnected because how communities are chosen by the operators is very random where local authorities are not open where the distance is reasonable from where the artists come from because it is 70,000 euro we go from bigger restaurants to more positive so the community is tough when they reach like 14 years there is nothing over the future and what is going to happen with the rf for those who don't know and I don't know who doesn't know it every country in the European Union has this recovery in the zilias plan and in the with money from the European Commission and in recovery in the zilias plan of Romania there is one bonus movie which is a pilot program of financing for cultural projects in places with less than 50,000 people living on board where there is no matter how little co-financing from the local authority which is local very local origin and the fund is for this pilot program which also extract data about where these projects are what is the national distribution which will also gather information where are those local authorities willing to support that and it has a budget of 4 million euros which is more than the funds for one session of the GNA for all the arts so that we have the level of poverty here and why we are trying to well in that house with 70,000 people who is interested there is this program there is the draft of the cards for this program in the GNA and it will happen because if we don't spend this money that's the most important in this plane if you don't do it and if you don't spend that money all the financing starts and we are not doing this this program of financing culture, projects in our communities maybe I won't have money for high fees Excuse me, can you switch please the wireless mic please, what is this? OK OK Yeah, well it was very intense Yeah, it was very intense Thank you Yeah, and you know I was thinking maybe I will stop a bit because I think it makes sense to just to show how things work in Hungary Actually I wrote it's not a present but I can hire it to you it's called really it's a promotional material for dating a program which is just take a look at it which actually was made in 2020 to send theater shows in Hungary to the countryside and inverted Julia Mesh in some historical roots of the Romanian situation we also have to mention just a few words also the old times the old times in Hungary because in 1950s from the 1950s to the 1970s there was a theater called state theater in Hungary and its aim was to send shows to the countryside for those who do not know in Hungary she was an actress so we can translate as Mrs. Dery she was an actress in the mid 19th century iconic actress of Hungarian culture I think the name of the program also gives an impression to what this new dating program founded in 2020 it was made by the national theater in Budapest in Hungary in centralizing everything so nine member committee closely connected to the management of the national theater they decide to send shows to present in the countryside and so on and so on I just checked out their homepage and it says that in this season so the 2020 or 2023 season you in the anyone in the countryside can order a show they have like more than 100 shows online where you can choose from if you have a venue and you can order these shows there are different routes I won't go into details but what is interesting and maybe a little we can talk about it that the dating program they pay for everything for the artists in every cost when I go there as a spectator I have to pay for a ticket for 200 forints which is half euro so it's practically nothing the average ticket price in Hungary is like 8 to 10 euros or for the more expensive shows it's like 28, 25 euros so you can compare it with this half euro price where do they play well this network of housing and culture we also have in Hungary from the dark times from the communist times in the last 30 years use them actually because they are huge buildings we know real function so these shows many times there and it's a very I think it's a very exciting initiative because in Hungary practically there is no cultural mobility so everything is concentrated in Budapest, the capital of Hungary and in the countryside it's very very difficult to see small independent productions of course we have the system of the so called spawn theaters it was made after the Second World War and you know we always say that the biggest merit of Hungarian theater is the the system of these spawn theaters the ensemble, the repertory and so on but in the last decades nobody wanted to deal with those people in the countryside we do not have the chance to see how it is here and doing a program wants to do something like that but there are many many problematic respects about this thing and there are very I would say spectacular numbers of course for the last season and they have huge plans they have their own company they have a brand new venue very close to the National Theater actually they have all the money they need but it still comes all from above so it has nothing to do with the communities with their needs their desires someone from the center from the National Theater decides what is good for you and what is not which is I think it's a very special Hungarian model yes, of course ok, so Csombor and of course you don't have to go into details with all the other models you know from Europe not much about Italy and the Swedish the Norwegian model and of course the Romanian model as well but so how can you connect to these these thinking ok so, one of the models that I know of besides the UK model is the Swedish one which is also a national network covers the whole country in existence for several decades as well one of the differences compared to the English model the Swedish one is called Riks Theater the big national one and then this Riks Theater has smaller agencies in the different regions so we will have Riks Theater in Babylon and so on but one of the big differences compared to the way it works in the UK where you are practically trying to collect a pool of artists who they all develop their own work wherever they can is that in Sweden this Riks Theater has a very big factory in Stockholm of several levels where they have rehearsal rooms and studios for artists to work in so they basically commission artists to do new work with rural touring in mind so specifically for rural audiences and they give them these spaces in this I don't know four or five story theater factory they give them the money to pay themselves for their rehearsal work for their creation and they give them the money to make these productions which then get toward in the network and this is all state funded and so sort of you don't have to always put forward an application and so on so this is rock solid it is it is funded you can count on it as an artist that if you wish to engage with this kind of work if you are not only thinking about Milano and Sydney and New York then you have the opportunity to do it and this is it's work you can read from it and it has value okay another model that I know and I would like to mention is the Norwegian one which they have a program called the cultural rock sack this is a program aimed not at adults but at children they work together with all the schools in Norway again it's a national model with national funding with regional agencies who are working with the schools in their region and this cultural rock sack basically allows each school in the country to host at least one professional performance a year for the tubeless so what is valuable for me in this model is that the way the tubeless get to see a performance and come in contact with the artist and with different art forms not just theater but also dance or music is not accidental is not relying on if I know a school principle or in the school where I used to go I still know the principle so I will go to her but if I don't know the principle in the school next door I will not go to them so there is this accidental is it going to happen or is it not going to happen so here you would have schools where the tubeless have the chance to watch I don't know 5 or 10 performances per year in their own school so they don't have to go to a theater theater comes to them and then there are schools where they don't get to see any performances at all so this is why such a model for me is very exciting and again it gives continuity and it gives ability and it gives a sort of clarity that you will have access to it every year, year by year and then another model is the Italian one I received a power point from our Italian partners but maybe it's maybe we can just see a few slides from that this model in Italy they have regional organizations so one of these is Amat, Associazione and Mapigiana Activitati Adriatici so they work in the Marque region of Italy and there are several other similar agencies or organizations in other regions and these organizations again they receive money from the state in order to fund and finance artistic activity in their region so this model is not just about rural touring here you can see the region where Amat develops their work and the different promises that make up the region it's not just about rural touring so going to very small villages you would have towns bigger towns, smaller towns but again it's this idea that you don't have to go to the big center to the big cultural center for instance like Kruge or to the capital Budapest, Bucharest and so on but you can have access to art and culture in other smaller towns and villages as well so their funds come from ticketing, income from spectators sponsors public money from the Ministry of Culture and this money goes into making new productions programming and other activities pedagogical educational activities here we could see that in 2019 for instance Amat had 823 shows in that year we can also see the funds that they were dealing with so again if I compare this to I don't know Euro and as I said it's not just about theater it's also about dance about music, about circus contemporary circus different interdisciplinary projects contemporary theater contemporary dance contemporary music and so on these are some of the projects that Amat was involved in in European projects one of them is the SPARS which you can see in the down right corner is one creative Euro funded project that Shoshinoz also involved in in the last 3 years where we were trying to develop and implement a similar model to the English one of course other kind of projects as well for the elderly they are trying to make one of the towns of culture so this is the presentation that our partners sent through which I wanted to show you briefly these are the models that I know that I can think of and I can talk about generally not too specifically and also maybe just shortly to what Junior was saying is about the cultural insurance for instance we Shoshinoz as I said we are trying to develop this model for us for instance it's important to have this state funding it's important to have a network it's important to be able to count on that money so from this perspective as even though being guerrilla is very inspiring and romantic I would still me personally I still believe in the system a network which is publicly funded and which guarantees access to people for people to culture and arts again so that it's not accidental and I just wanted to add one more thing to this model of the 80s touring there were state theaters in Romania which continued to implement this model even in the 2010s for instance the theater from Vjerkoriak-Chuk I don't even find giving speaking theaters because they serve a community so this could be yes but Bartališ Krabi who is a member of this theater from Vjerkoriak-Chuk is here with us so maybe at a certain point we can connect her to say some words about did they really hate doing it and where the theater is today in 2020 with regard to this practice yeah there were for instance, there are several theaters jitra theaters that are still doing it outside big cities for instance the Jadien theater in Bruneš which also is bilingual and being funded by the regional council it takes it seamlessly so it takes seamlessly that it serves the community the region, not only the city of the Bruneš something that does happen with the national theater in Tukmureš which apparently serves the nation of Tukmureš the same with one national theater we have several seven nations served by national theaters well individually and let's not go into this you know there is a large bibliography about how much we hate our actors hate it going in Tukmureš it's stuff of the legend and it definitely it definitely affected how many because it's a long story we played here between 1990 and 2004 with a leg in 2008 we played here the centralization which ended up with theaters being allocated to one authority or another according to whomever authority wanted so there is no plan why one theater is subsidized by the local council and another one by the county we don't even know why we have several national theaters but let's not go into them we have one national theater which is national but it's subsidized by I don't know the local yes the city city so it is national and Tukmureš it's an history but the only reason was they played hide and seek in galac for instance in 1999 so it was given first to the county council so the regional council then it was the county council said we don't have money for it anymore so you take a city hall the city hall took it and get rid of the manager the second day after but the only reason was because the county said we don't have money this year so we take it so there is no in the logical things according to the local and public policies the local theater should serve the local community the county theater should serve the whole county and the national theater that's I don't know what it stays a question in the history as well in the last 200 years so we still don't know the answer I wanted to ask you guys because for those still not sleeping there is a question that raises so all these models they are very different but there are some for some parallel situations and some parallel solutions so there is a name question why don't these countries communicate with each other and maybe it's time to speak a bit about spars if I am right this initiative tries to to take this whole thing in level and I don't know if Claire or John Boer would share some ideas because if I am right it leaves behind this national context in a way so so sparse is a project the name sparse stands for supporting and promoting arts in rural settlements of Europe and as John Boer said earlier the UK was a lead partner not Kanteco, but a fellow was the lead partner in that project and we our roles really in mentoring the four other partner countries Estonia, Lithuania Italy and Romania to set up rural touring models in those countries based on ours we have had this longstanding kind of established model so the beginning of the project all of the organisations visited Cornwall and identified local promoters within their regions or their countries in Estonia it was a national project as you say and the promoters came to Cornwall and we gave them a trip around and we took them to see a show we introduced them to our local promoters and some artists for three days we immersed ourselves in all things rural touring and the local promoters from each country got to know each other and their fellow promoters and then they went back they took back learning to their own countries and then they set up these three tours in their own countries and they were all slightly different depending on the needs and the conditions of their countries needs so Estonia our partner was the national dance agency so they focused on dance performances that they were national in Lithuania it was a regional project in a private around the question of the Lithuania job was to help the Romanian model and as you've seen it was in the market and the project was three years long the pandemic was a little bit so it kind of impacted the activity and the numbers our target numbers that we made in film traumatic the evaluation of the project and I think when we entered it at the end of last year we were walking in together with the partners and the reflection was what an amazing three years there have been what an amazing journey we've been on and the network now will continue the creative Europe project is ended and the UK input is ended because of our already mentioned exit but the network continues we're inviting more partners but I think we're waiting on the results of the funding in response to what that will become and how that network will develop with the additional partners so I don't know what I'm adding maybe just that Sparse was the project funded by Creative Europe but during the project other other organizations from different countries approached us saying we would like to take part so basically at a certain point we constituted what we call the Sparse network which is a network of about I don't know 25 organizations in different countries in Europe it's not a formal network but it what connects us is these shared aims so this is something that anyone can can join and we would be trying to see in the future how it would function as a sort of a platform which would advocate on a European level for more serious funding for arts in rural areas all around Europe so this was the Sparse and its little offsprings potential potential for developing so there is the European dialogue where there might be a continuation of this dialogue what has started with Sparse so not only these separate models national models which is good to hear and of course there are many many questions rise but I strongly recommend these 9 minutes long or short film of the YouTube channel of Kanto Kov celebrating the 20th anniversary and it gives I think perfect impression on your work and there are some very interesting details in it for example when there is a sequence about the genres and there is a circus artist speaking with the help of the National Laboratory Forum they approached places they've never imagined before and I was thinking about so what is the ideal genres for your touring what is your experience because for example circus and dance as you mentioned in the Italian case yeah it sounds evident those you are surprising for many people and you know just I think it would be nice to talk a little about about about the shows themselves so what are the selection criteria genre wise or length wise technical wise and so on well personally I don't think there is any show that can't be shown in a rural context really I mean some need more work than others but actually I don't think it should be a negative in any company I mean the typical rural touring show is something that will go in the back of a van and can be driven by the actors who are also the technicians or stage manager or tour manager so you know there is a kind of requirement to be flexible to get on with you know you turn up and then you don't know what you're going to get you might have an overhead light you might have a rig but you can't assume that you're going to have anything so you need to be able to put your show on with what you can carry with you but you know in terms of genre we have done circus tours and we've had Chinese halls in individual with some workout doors and we've had you know contemporary dance which has been personally I feel that watching contemporary dance performance in a village hall is the best place to see it so close you can see the sweat on the dancers' faces you can hear the feet on the floor in your part of it when I see a dance show in a big theatre now I feel so removed it's a different experience so there is an intimacy in rural touring but I don't think it should be a prohibition to anything really being on the program and having it successful there is additional funding required to tour a dance show because it has more infrastructure that costs are larger but anything can be possible What about the artistic side I'm in the artist's side so just much a contemporary dance I think creators and artists of contemporary dance they are used to different conditions so what is the feedback from for example I think it's fair to say that if you are an artist who is new to rural touring there is an element of learning that you have to go through and so when we did the rural touring dance project there was a lab that we set up for artists who haven't worked in rural touring before but were interested so it was a residential lab for three days where they came and they met volunteer promoters and they went to see village halls and they kind of understood how their work might need to be adapted for a rural family having a dance hall is not impossible in a village hall but sometimes it does need a little bit of work you need to kind of tour around the dance hall so there are exceptions I think that need to be managed sometimes I went to the Edinburgh festival in August and I met with some companies and they said to me come and see my show I really want a rural touring and then you go and chat to them they don't really want a rural touring they want their show to be or to theater spaces in rural locations but we don't actually have them so they have you kind of have to talk to them about what is actually possible with their big sets and their large cast and the requirement for addressing the rural tourists I think I just mentioned before a discussion to John Moore that it might be a very historical moment right now on the edge of everything the economic crisis the pandemics or everything and this is a time for example in Hungary at least some theaters have to be closed down because they will not be able to pay the charges because of electricity and I think that's why talking about these different models make very strong sense today because as I can see and that is my question to you as well to all of you this kind of rural touring might show escape route for theaters in a way I think there's also the environmental kind of consideration touring is not completely free than running a big theater so the portal of rural touring takes and shows to people there is that kind of offsetting so economic economic factors environmental factors do stand up so I'm curious what is your opinion on this topic so yeah I think that on the one hand there will be a forced green transition for the STEM theaters and the development of other forms of work because yeah okay touring has a lighter climate footprint yes but not if you take a big truck running on gas from Kruž to Jaš and then you come back because you only have one presentation there there is a whole thinking about how how when extending the network can also be as climate neutral as possible yeah but of course if you have if you go there by a big truck and if you have like four or five performances in our closing so it's not by itself by itself nothing is guaranteed not to mention that the whole global theater was running on touring but it was touring by plane which is not free and so that on the other hand we will see increase of the use of technology on the part with going back to the analogic but it doesn't prevent the need the forced need for the big theaters to just change their production models and to change the whole thing with the big theater as you know it's not doable to just imagine that you take all the artists out from Bucharest to just spread them doing the rural theater around that's not going to happen including because it's not financially sustainable and the financial sustainability and the human sustainability human resource sustainability are also important and again just changing the band of the big sets and the big theaters are going to smaller things all of a sudden has an impact on certain theatrical professions on all the workshops of production of those big sets because they are not always doing that there are sets of people and certain professionals and yet we still have to I think everything will change but I don't know how ready everybody is because in Romania at least everybody is hanging from doors of the big stone theaters and they are still waiting for the state to pay the huge gas and electricity bills because we don't want to think about changing the lights of projectors because you know a lead projector doesn't go blexed with enough speed and things like that and again yes in Romania we have this and the same in Hungary and all over the region we have these very big stone theaters built in another time with halls that are too large for one the current audience the current ones are production because of the production changing up so that it's very difficult to find something a product to do do something for a thousand spectators to us yeah but we are still so we are moving in inclusion this happens in the Hungarian theater because the hall is so big we move the spectators on the stage in the same interhumo in a lot of places in Romania yeah but we are still hitting the hall the hall it's very easy actually very delicate and I think it's a good moment to just put the foot in the door yeah I absolutely agree so what about your foot in the door absolutely a few years ago I was envisioning the same thing for myself ok no this has to stop at some point in the future state theaters this rock theaters they will have to realize that you cannot do sets with 150,000 euro and then play that performance three times and then take it off the program because you can do 150,000 divided by 17,000 how many how many affectionate projects can you do from just one set play three times almost that so somehow we have to be forced into finding new ways and I was thinking in the next 10, 20 years this change has to happen and of course the things and the critical moment that we are in is not very nice but in a certain sense I am happy for for this that maybe maybe the circumstances are just forcing us to do this and then there are some questions which we cannot escape from anymore and it should be time to look in the mirror and start answering these questions the problem is I think there is still and there will be a lack of communication in the upper levels and my foot so I don't know I can try to kick the door but I keep getting the impression that I am kicking a door which is actually a wall and I want the porter said oh yeah there is the door that's what I wanted to say that in Eastern Europe first you have to find the right door put the foot in all the doors yeah for this you have to be a sort of a superman because in the previous panel we heard from the colleagues how difficult all this is so it's still a mystery to me even though I think yes the time is maybe it's good because of the circumstances it's still a mystery to me whether we will be strong enough have energy enough or we will have a critical mass since we have this pilot project with 4 million euros which is very nice we have to spend it because otherwise we will not be able to do our highways but this is a pilot project what is going to happen afterwards this is my question is it going are the people who give the money will they ever think about oh how nice we should do a second, the third what if it proves a huge burden to find enough local authorities interested in giving 5 euros because you know it's something for the community we cannot keep on enlightening communities by deciding from the above and from buglers what they have to do within their own communities that's the whole idea with the local co-financing because they have to be willing to have this within their community and it proves that there's not enough local authorities willing to do it because you know it's European Commission it has a number there it's not like we give you the money and we are making some between the European Commission and the media I imagine so then you come back and you define the strategy in order to increase the interest either through the character or the speak for the local authorities that's a pilot it gives you data it gives you information and then you can go further it's you don't do the second one the same you take the data from the first file and you adjust it so that it can work and it can work it can be done with the money enough that you can it can be done in many many other ways but you know it's like jumping to the next level let's see what this this program brings because if it proves that the local authorities don't want cash to come back and find it a way to either convince them or force them or combination of them OK guys čokovar will fire me if I don't stop this conversation no he will fire me no I changed my mind OK OK maybe it's a time we can ask Bobby if you have anything to add OK čokovar will translate čokovar will fire me if I don't stop OK čokovar will fire me if I don't stop OK OK OK OK OK OK OK OK OK OK Tako, si... Tako, sem ga ne bojio vidjeti, katero je skupil všeč, da je, da je, če je, v Kijateče, v Pijatrfom in Kogacu je bilo neko vse, ki je, izvenil se sistem, v ter dujev sve, odslednjih, produkciju, ki je prezativite v nekih spazih, odslednjih, da je zelo zelo zelo zelo... zelo... tudi je zelo začeličiti zelo za konditiončnih, pričešči, da je kajkoli zelo začeličiti, da je tukaj kot počkel, da so počkali pri teboj. Zelo je pravdu, da so ročili, da so tukaj kot pričeličili, da je artistično izgleda však bitiririririririri, ker je zelo za konditionski, in je bilo odlično v tem viziji. To, da imaš kaj, da imaš otvar, od njih lokosti, kaj je to poživaj, kaj je veliko vzgav, je zelo zelo zelo, da imaš otvar. neštiv bile, da če o participatve v acez projekta, kak aktor, aša v inavzide. Štiv pa, kaj ima v potrebe komensare, financijara, v infakte, o ziru v južeteanji, kare ab zetit transportujile. V totem tudi, neče, nire, kaj v nostru apetat, to povacet se skrimači o nrcega oraši, kare je svebine na konučenje veke oraši, stabiliti v treci, enorm, tudi s spektakole in, in, in, in, in, in, in, in, in, potreben s spektakole doar, dakle aceste sate potlati, preču, spektakole rejka, vrej, karejra enorm, veči ta upinbreak v acesta, in s kata primarilor, in aceste sate, podreben, v dodea una, in tim, da tudi ljudevare, tudi, prejrem se, meče, v pochodata. Zdaj, še, o, o, o decesitate, še, e, o dormi taj, v parte, aceste sate, še, i kastelne, te dole quality. Fost, prej enorite, ki pa se inem projektul katruj s predvom v podatelj arke konditinate, z njom, ki atrebi konditinovati aces projekt, in pa nefantemine, kaj bomo zdi dek ono, še vi včatil jav sa krasniku direktoril, da se zekolostavstve dek posiliti pravdeskri. To je prakta v 2018, Nekone revolje ob reguljih ljubov, vzdišljili da je prišelene javljevene, roli sevali. To njesse, nekone, nekone, nekone, dobro. Ne pahalili na najvej prejnške pahalje. Tega nekaj, pejmo na bolje. Do vzdoke je z nješem predvila, Kaj je bilo naredil in možno, da ima praviti produkcije, ker naredil nekaj nekaj zelo. Na samim različenih vseh, da imamo tudi, da bojimo, da bojimo, da bojimo, da bojimo, da bojimo, da sojimo, da sojimo, da sojimo, da sojimo, da sojimo, da sojimo, da sojimo, da sojimo, da sojimo. Zelo mi je vse značil, da se ne zelo. Sreče sem lega so, in ki sem je bilo, da se dobeli. In početno, da bi početi, da je v tem zelo na našem. Vse zelo na našem se prijevamo, če vse so nekaj početno narediti, da bi se početno posredil v zelo. Ponečno, Klamu, da početno. Fruh zelo, tako da. Svoje, ne bilo se, da ne moramo spravojiti o zelo izgledanjem kulturno servicju. Svoje je dočetka v lokalj tamtej drži, da je da je prihvalo izgledanje. To je biliče, administracije, ki ne zavrečajo za nekaj employees, zelo, da se bolj je objev, nekaj nekaj je izgledanje, ali je teža, da je nekako pravno. To je teža, da da nekako pravno se spremljala. Terma je, da je pričnehovo izvok. Ljudec sem zvoj, da sem nekaj izvok predjev. Kaj je zelo včetno prednijal. Vse je poživaj, da so pričal. po vseh festivalu, organizacji, z njih izvajstvih, ki so, da, protakusti, izvajstvih, zelo smo imeli, da so dobro mene, izgledali, izgledali, izgledali, izgledali, izgledali, izgledali, izgledali, izgledali, zelo se, da, počkega, in priprostali vseh vseh, Ovo je srednje nome, da se je zelo srednje, in inoйte, da je inkubice, skupiče, vzelo, da je zelo, tako, zelo, da je zašlošnje, in zelo, da je zelo nekud všem zelo in zelo. Zelo, da nekako je dalo, tudi sestive, da je, na razim, s skupiče, skupiče, 60% dojeljnih spetetov je z njegiljstvih, z njegiljstvih, in ne bo vznikovati v teatriku, v teatriku hroče. To je zelo, da se predstavila, da se zelo, da se zelo. Daj, da smo však odličili, da smo však odličili, da smo však odličili, da smo však odličili, da smo však odličili, da smo však odličili, da smo však odličili, Vse nekaj ne. Zato se najkej, da vse bo dobro. Tudi si se dobro, da imamo počutje, da se dobro. Vse, da imamo počutje, da se dobro... Kaj jih se nekaj, da imamo počutje? Vse, da imamo počutje, da se dobro. A potem imamo počutje v 15 minute. A potem počutje.