 I present our guest to you. This is a very good song that will give you a hint of the same tones, I know, of course. That's a choreographer and an actor. Keata Borba is the executive director of The Dark Room, a contemporary artist. And Estelle Kana is a set and testing designer, and she has her own project as well. My name is Tamash Yassini and I'm a pretty young editor on my page. And I was one of the sixth to eight works of Kunafa Dark Room for this year. First, I want a very short run with a very simple question. But I want to know how and why he did get to be in the background scene. I think this is several answers. We will show why we chose him for this discussion. Because I think you have a very different background from very different roots. How do you get into a different background scene? Welcome. Thank you. I just want to answer this question. I did know her at that time. So in this communist time, there is no question about this. People know about this, but some people wrote some information. I'm very hungry for a role, but I'm not a fan of science. And I attended a university where I learned the science and mathematics. But besides that, I attended this video. The next class is very exciting. And two, because there was no future for this class. But I mean, it was clear that I loved the science and mathematics. And then after the changes, I got to be a part of the science and mathematics book. It was really a boomer in my book. So people came to collaborate also collaboratively. My son and I had these children's programs. Slowly. And then we had the Sympons, which is quite successful. I hear you have a dance ensemble. I mean, how do you do it for yourselves? Because what do you do? Something you really can dance and play? Yes, please. I mean, I don't learn the rules when I'm working on a piece. It's the language of our people that is participating in it. I think the piece of that is very special. Because she didn't stop asking me why am I so under this label. Because she goes to a salon and freelance staff. The question behind her. The idea is not quite well. But you have your own projects from time to time. You can depend on a few artists. But your next background is design. Right? Yes. So you work from time to time. Yes. And my first question. How do you get involved in this? How do you get involved in independent singing? You put down your microphone. Showing that no, you are not part of it. But with all the work that you learn, the artistic character is roughly 10 minutes. Or 10 years you can write. And from here, you are the new executive director. How do you get into your own disposition? Oh my, that's a very long story. But the thing is that perhaps, I'm not interested in being from that story. So you become a very relevant manager. And I started to do all kinds of NGOs and stuff like that. And I get to be involved more than 10 years ago. Okay. I know that you have a story to get to know. And I have a story. Hopefully it's not a secret story. But anyway, you will be covered in a while. Because that part is our singing control. And the thing that Esther has put here. On and on the previous stages. I would like to hear your story because I think it shows the way how roughly it works. And maybe of course you have something to ask. So what can I do? I would like to understand your story. I think I was born during the day of university. And I had absolutely no connections. So I thought that the only way I can work is by making a performance in my own class. You can come and find me. So you'll be reciting an email to me. Please advertise this. And they all did it really, really nice. So I get to go out. I'm facing this. And came to see this show to my class. And it was an important thing that became a very small studio. And then I started to sing with each other. How difficult is this way of starting the career? Why do you think you have an experience like this? I guess that trouble is not the place to start a career. Because it has 300% usually. But if you will see today that there is supposed to be where there are 40 people for the club downstairs which is relatively new for 70. But we have to move around and try to find what's happening in the city. And luckily for sometimes, fortunately but sometimes too much performances at the same time in the city. So what we are doing is trying to find what's happening around the time where people are interested and moving in the direction they want to go. It's almost a mission. What's the situation with that? For us it took a very long time. And I think it's different in the road internationally and here in Hungary. My first international site was invited to Hungary. I knew John Brooks who went 19 years ago I think with a solo of mine, nobody knew me. So I had no connection, never in the road. And I was chosen. I was so much surprised because in Hungary things are planned at that time like if you lose somebody you have connections, you don't know. That's your only chance. And it was raw. I couldn't believe this. They're attaching this feeling that you're just based on your work. You've got this possibility. From that point of international scene in Hungary because I did not have no diploma from dance because I was known for dance with that talent. Though I had a very strong head and strong base in lots of trainings I didn't came from the so who was who did faster career they all came from either the official education so from classical ballet but then maybe something else or four times because I was so high school for four times or they need a little bit of career in a row because then they came back. So then it was a possibility to take out a lot of money to work. For me it was just a low 12 years to be. And I think it's also because we got in a way what we're doing I think it's really meet with the people in the audience a lot of times and so actually we got a lot of support from that side and I would say that it was a very fast, long work. I guess that the breakdown was quite difficult. She started as a solo artist and then I think it was more 50 years ago 50 years ago It's hard to say that we really got the same points. Yeah, okay. You mentioned your support support from the audience a few years ago I know that many of our friends and friends of the I hear you mentioned from a lot about the best for situation of independence in Hungary especially the case in 2012 by and by independence had to be waited for the subsidy from the National Ministry for one year out here I don't know Yes, one year but it had to be waited. I would like to hear some details about the present situation money wise so what happens when you want to create a new piece and our speakers have many different perspectives and these very important questions from my point of view as a viewer and if you want to see I can answer you but in the case of yesterday you had to apply for objective grants and in the case of the symptoms you had to apply for objective grants as well an annual subsidy from the Ministry which you had to apply for year by year and in the case of it's also very special there is a very interesting change in the working methods in the last few years then is it too much but in one of the biggest producers or company producers so I would like to correct this National Act with Trafford Trafford is not an independent organization Trafford is the future of the community as all the other producers from APD we get the same kind of support it's the same method we got the funding from the Ministry and the funding from the city there is another way which is going to all theaters and organizations theater organizations they can get support from enterprises that support theaters and when they get tax reduction we can receive this kind of support up to 80% of our net ticket income so this means that ticket income is very important to all state theaters they are working everybody is working very hard to get more and more spectators to get higher and higher ticket prices to get more and more money so it's a very strange system which encourages more popular performances with very famous actors you mean less experimental less and less experimental so we are going after the audience or most of the theaters want to serve the taste of the audience because this is the easiest way to get money so we have money from these three sources the ministry, the municipality and this support from the enterprise and we have this annual income and then what we do is mostly hope to use Hungarian performances with Hungarian military teams but we are never able or ever want to give all the money they need for performance we always ask them to have other resources like a drive for funding from national treasury fund or whatever but we are trying to have as much as possible because they are getting less and less money from all kind of sources to find all the audience which account for them and on the other end after a while we have to say that we cannot present the show because there are not enough spectators so we have 300 seats and we have less and less spectators for a show to show no matter what we think about the point after a show we have to say that it's not so tough we should use another one but there are not much other venues where there are smaller venues and not that's why I think that again I just want to introduce the national context compared to some of the platform the platform is the only one in the country that produces the data so it's all so you have that so if they have an international production and it's always ours so what is the money which I always do really travel so my books are mainly in travel and there is also another organization which is We Get which I'm not sure what are they in which in the family together so they are running so it's a number of organizations that you have in this store independent groups to survive so even if not financially but it's the organization's side so they have to survive just from person to person because they want to see on directing or creating something and they have an organizing building here but no because this is another another source of money and right now we are in a special situation in Shabit Shabit is a fund and it was and it was this year it was the 3rd time it was 14 people invited to a plan to picture a project that you have in mind and I was invited to apply for the funding that I want so I had created a project and then last year I didn't apply now it's open so anybody can apply it's for young artists and individuals that's why it was formed all that we don't have as many sources we are not coming and then this year I applied and it turns out that I can experience now to make money to go through that my story a long story I don't know how much you are interested in the situation I think it's a typical what happens so from the changes in 2010 it was more or less developing it was in the system recording the money lines it was growing the sources and also the way it decided what I wanted transparent clear rules and also it was fulfilling to be in the system and then had the thought that we can develop this system then this popular popular government came in 2010 populist sorry sorry actually we are quite popular so it's this populist and popular government name in 2010 it was a radical change because the supply secure system was absolutely real the first thing was that the time when they came it was in this annual application we are living from actually in the year the decision was already made by the jury they told us that but we didn't have the contract yet and they said we should wait we didn't know what happened at all and then they said we will gather two survivors we are running but we should know that we lived from in terms of January from here and then I was in July we didn't know and began the first part of the year in the autumn so it meant for us that we spent all the money we supposed to have so this kind of totally unsure situation is the feeling how it exists this is we never know but this is what I come from there is another case in the national gas sector which happened they were it's a kind of venue they were in the castle in the castle area and this government said they went into this building in July and they thought okay we need this building so they promised a lot of things to them but for that in July it was like a season we had also contacted them so they had to move out in I don't know two weeks or three weeks and it meant that they had to we had to work twenty-five years ago and they are now expanding their performance here and there and we are better I think these examples you can catch what is the key to the investment you never know otherwise now it's a bit more than they begin with it in 2010 but now the election comes you never know what will happen after and they will want it quite sure and at the moment the symptoms get quite a problem and you know funding and it's like sixty-two thousand euros per year we do 70 performances a year and we have educational educational problems for majors a lot of screen actions cloud streaming so we do a lot different activities besides performances so that's the situation it's a you don't feel at all that what you do is important for this thing it's such a good thing to feel because it's really the other key problem of the project support because it was used also very much at this time we get around two thousand we used for 80 rupees which was much much more than years ago and had much more possibilities than money with this force us to try to prepare actions for travel I mean we love to do travel that's not a question but this means that there is a big pressure on travel because this is the only way we can give really money for peace so to go into a smaller space we need more experimental work for the audience we really have this freedom this is quite we are losing this and this is not a practical feeling can I add something? Yes you the thing is that it's really very difficult for companies or individuals to present their work they have to present they don't get money for experimenting or for trying to do things it's only they have to have a premiere at least one time in a year and a certain number of performances that's how they get the support and money is a work that is one big city and here they can perform I mean here this is the only practical form of contemporary art of ungovernable contemporary art because otherwise in the country it's very difficult to sell the performances so all the shows at other place are rather short and a short time to leave at those outside of the venture it's going to be a normal place to present a work and there are some other programs that you already mentioned but I won't emphasize it but there are problems with the venues because we have to travel with 300 seats or the club and travel in the community or something or the rehearsal or the seats but we don't have many venues like Scandinavia where many people watch the movies they don't have the same profile as Chaco it's very difficult for them to invite audiences but they don't have the money and they don't have the money that's the biggest crime we have great crimes we have great crimes but I think because now we are just complaining I would like to add some positive sides that a big miracle happened to us we are in an incubated house this is where the second studio is located as well and I think that it's fantastic that we have this incubated house it's amazing that a lot of companies studios are there it's in the city it's a really nice community sharing so it's amazing that we have this we don't know how long but it happens the other that I still do what I want to do of course that is with pressure but I always have to remind myself that I still have free and I can do what I want to do in a way in a country where there are many big problems much bigger problems than our governments and we are still we are still in the government with the project and the support just one more sentence that there is with the project as a company I went to plan for two sources the national cultural fund which was founded absolutely independent organization from politics now it's not too very more and the other saying that the government being a little of permission for this the academia of arts this is an organization which was a artistic organization but they gave a lot of amazing amount of money to this organization and they became more and more powerful and they also give money so this is a decision that the government plans and it's simple this I think we provide the independent area some price of money here I can understand that it's just for as far as I can do I don't produce organization it's our money I feel that if I rely I can make them legal and I see they are legal and that's a question I don't know I just have emotional answers I mean we are close to unfortunately because many my parents they used to ask me many times is there a censorship of art from New York Times or from nowhere and I see that there is censorship in Hungary I don't have anything to discuss how do you feel about it how do you feel about it I feel that the independent area and the burden of censorship and all the only pressure is as I say to clear out the editorial I don't think censorship is to make a more popular kind of view so no I don't think it's more questionable I'm not sure but I don't think I mean either it says that when I create peace it's not politicians never came never come to a performance but it happens that artists who articulate a very sharp opinion against the government and actually loved person and also many newspapers that this anyone that you think subsidy was changed for example so the jury said kind of amount of money for him and then the minister said no it should be less so these kind of things are happening also in the case of the director so they're changing the director so that means not so much in the independent area but in the case of theatres it happens very much that they change and then they have to change the signature changes what are the reasons because there is much to do in the state funding theatres and in the executive funding theatres so that is in the independent as I can see there is a sort of economic or a sense of shame yes because so we don't like what we do we don't really mind and then what as I mentioned the self-sacrifice that we also exist it's really not really dependent or for example right now but in the state theatres yes and we don't in our case when there are almost no venues for contemporary art so the only aspect if you go to the other side to go to the theatre and you know what do you say stay in a space theatre a factory theatre but if there is a director who never invites you at all in the open for contemporary art and he doesn't know anything about you know so so a lot of so now we feel this very much I don't think it might be any more difficult because because the thing is in every case in our case he's doing the buildings because in the countryside I don't know if it's contemporary art and if you know theatre is there and everybody for contemporary companies there is no no way to let them know that there are other ways and other factors that study so that's the most important thing and there are quite a few companies companies where people are having more and more so yeah I want to the last question or some comments that I want to hear a bit more about your food because I think so we've been talking about it before that it's still a problem to communicate your experiences because you have teaching classes or when you go to the provinces with some shows that as a site program there is a teaching class as well but how can you and of course discussions and communication how can you use your experiences as well but how can you educate them how can you invite them how can you make them curious about your products how can you produce these products in the case of in the case of the sentence it's we can't do it by playing because we try to have them in the case in the case there are a lot of factors that don't really matter but pieces because we do quite different pieces so actually we are starting in the cultural aspect of people's minds that it's the same company with this person that is we have troubles when we are smaller and I don't know maybe we step over kind of border but we still are working on to connect and feel to the audience and eyes and also with this we do as a disabled what we do but it's really important we have a program with a biologist a teacher so we collaborate with her and we have a program and I think it's amazing it's really important just working with just people and seeing what we do and we have several audiences because we do so much so different things like the Indian dance music with everybody in the class so it's we work very much to always reach to that specific community I think we have really many audience new ways more effective ways we estimate from the communication the head of communication this November was the best in 20 years but in numbers because there are so many people coming in months but it meant that we have more performances in all the free spaces we have so it's always a struggle that we have to be very careful how we organize our program to have more popular shows or big shows big companies which are always more popular but it's really a hard one and we spend a lot of money this is very difficult because I'm not a company I'm a big person and I'm not a big name and I wouldn't love it so I mostly rely on struggle to reach out to people who might be interested I'm also relying on my name or the previous version that may be in someone that may be interested in the next part it's your turn now any questions or comments do you like the film because there's a live stream or is there not the style and the ideology and the style here is we ask our audience there are so many so many performers and artists everyone we have the next steps we have 30 people that we have to do some shows thank you for your participation