 All right. We are all here. Welcome back from the break, everyone. We hope you had a good, interesting discussion and exchanges in your session. So for this feedback plenary, we will pass the word back to Ausa. Thank you. Thank you. Yeah, equally, I hope you've all had very good sessions. I was cruising between them and I heard some very important dialogue in all of them. We now move on to the last but very important part of our seminar. Its presenter will now give us a very short report, just the essence of the dialogue, maximum three minutes from all the workshop. And then we will have a Q&A with all of you that are with us, both those in the Zoom room and also those that are following the live stream. So I'm going to give the work first to Daphne Tepper, director of Uni Europa, who will speak on behalf of the group on working conditions. Thank you very much. Hello everyone. We had indeed a very good discussion, I believe, very dense and sometimes intense discussion and rightly so about working conditions of artists and cultural professionals across Europe. We heard from many different perspectives. We first had a very nice video recordings of artists, a dancer, a choreographer, a dramaturg, a wardrobe manager and an actor from different European countries who gave us an insight about their life as professionals in the sector, highlighting what their challenges, but also some of, of course, the many positive aspects of working in the sector. And they also told us about what it was to go through the current crisis in their professional lives, and therefore we heard about, of course, the uncertainty, the insecurities, the importance of contracts and protection and social securities, the differences from countries to countries that appeared for the different people. So it was a very nice introduction with real voices of people in the theaters across Europe and going through this crisis. After that we had a round table with colleagues who are here from ITM, from the independent performing arts organization, from FIA, Perl and from the commission, from DG Education and Culture, in order to try to draw the picture about the working conditions, what are the specific features and what are the key challenges today, yesterday, tomorrow and what should be urgently worked on. And of course, on the table where the issues of the discontinuities of careers in our sectors of the increasingly freelance workforce, the importance of contract, as I said, the sometimes very low pay situation for many people, the very precarious safety net, the precarity of the careers and the impact this has on the art, on the diversity in the art and in the workforce, and also on the livelihood of many people. Unfortunately more and more people in the sector, especially in the current crisis. And then we had a third round table where we had the chance to have with us two representatives of the European Parliament and two representatives of member states towards the EU, where we discussed several initiatives that are actually in the pipelines in the different institutions on the topic of working conditions of artists and cultural professionals. And especially we discussed suggestions, a proposal that was made in a resolution of the European Parliament on cultural recovery adopted in September, to adopt a European framework on the working conditions on actors and so there was a discussion on what would that cover. And of course that led us to think and debate the competencies you know what can the EU actually do in this field which is mainly member states competence. But then also what about social rights and the social model that the EU is promoting and so very interesting discussions. I think was a great recognition of the urgency of acting in order to support the people now in the field that are going through very dark times. But also the fact that those the precarity and was always there and this is also an opportunity to actually look long term and address issues that could be changed and worked on in order to offer more security and a better framework in the future. So thank you Daphne you you have gone well over your three minutes sorry for the short time but we are pressed for time and we really want to give people opportunity to ask questions. So next up from group to I invite Christoph lebski from the Salzburg University to speak on behalf of the co create group. You are muted. Thank you. Thank you. Sorry. Yeah. Yeah, thank you. I try to be very brief, which is not easy because it was a very dense discussion that covered many aspects. It was kind of journey from some historic perspectives on the need of the co creation and cooperation of European universities to the actual situation to some future projects. Historic perspective means that we had in the panel speakers actually explicitly from Eastern and Western Europe from Poland, Budapest and the Netherlands and from an offer of course, the moderator. And so they somehow first described somehow how and how they first developed this kind of neat how they got to know about this about European cooperation. And it was this moment for the Eastern European colleagues from a post socialist situation, having this kind of alienation experience, when they first met Western colleagues, and the difficulty to develop really equal partnerships. And that the motivation for all of them was quite clear that this is an issue. Everybody, all of them wanted to develop. Actually, it was clear that this has European cooperation has to be based on the same set of European value values, the autonomy of universities and so on. And how crucial in this context it is really experiencing different cultural contexts, or in on the on the level of the students of students collaboration, how important it is in the work couple of examples, experiencing each other, and especially, of course, regarding the situation that was kind of highlighted that we have currently in the university for theater and film in Budapest, where actually and now coming to the describing the situation we are actually in. So, where there is a kind of model developed, which is called the Free Republic of learning, where the students kind of in an extracurricular structure developed their own ways of working together of cooperation and of transdisciplinary work. So we can somehow be expanded on the international field of collaboration so there were other examples of cooperation works, like the play to work platform European theater academies, which was founded a couple of years ago, and where eight European students actually work together and create collaboration projects where each Academy is participating in each of the projects that the schools are developing. And on to the models or to the proposals that were brought up in the in the discussion. So, there was one proposal to establish a kind of European production house for young professionals, which is addressed specifically for postgraduate students in order to bridge the gap between the end of the of the studies and the beginning of the professional career, because there is the observation that now students or graduates kind of quickly get absorbed in the national institutions of the respective countries, where as such an European production house for press postgraduate for young experience would be the possibility to open up a space to continue the European collaboration work, which they experienced in their studies. And it leads to an to an aspect that was quite intensively discussed that there is now international cooperation on a project base. There is of course, international exchange on the base of the Erasmus program, but there is a lack of structural of the implementation kind of collaboration in the curriculum. This is for all partners, a kind of a big issue and it is kind is addressed kind to the to the need for a specific European funding for this kind of structural implementation because on the one hand, as I pointed out Erasmus is too much for individual exchange and creative Europe is covering such a big field that the specific kind of cooperation is not addressed. I'm going to have to stop you there. Sorry, you've gone over your time as well and we need to move on to the third contributor, but before she starts, I want to ask you all to start thinking about potential questions, you would like to post to all the panelists and all the speakers here, and you can do so in the Q&A. So you can already start thinking. But last but not least, I give the word to Julia Dina has a has that correct. Who is the vice president of asset here in Germany who will speak on behalf of the access and diversity group. Thank you very much. Thank you. Yeah, so I would try to sum up we also had a very emotional sometimes discussion about the theme of accessibility and diversity. And we had a guest from different countries starting with event hardly from South Africa would present an outer perspective on the European culture and theater. And so she she pointed out from the beginning that everything we are talking about today is not the one size fits all so when we start talking about what can we do for access and more diversity. They won't be one solution as the landscape and the different companies and artists in their size and their constructions are so different on the one hand, and then the situation in every country as well is different as well. And at the same time, it was a common sense that one proposal and one very important need for the artists and the theater makers is to be supported in networking so communication and exchanges, trainings, handing on first experiences sharing best practice is a very important thing to to work against the getting bigger frustration and feeling that it is taking so much time for taking first steps that they're still the same people talking and sitting in this places that this was another point and another claim that is very important to think about that it's not enough to to make possible some projects and include and open up minorities and making them minorities but minorities by pointing out that you are doing it so it's more like a symbolic thing that all these projects don't lead anywhere so that the important thing is to think about privileges and to sharing power or giving away power. And this is to this is what event on partners pointed out, you need to go outside in the street you need to make past and to open your access and to not wait for people to come but to go into the rural areas go into the spaces and create with the people not thinking that you're the one knowing the answers and knowing what is art and how it has to be done, but also rethinking our whole concept of who is the artist who is the audience what can we can we learn from each other and truly make an authentic encounter of people in the audience people on stage and people working in the theater. So these were some some of the things we had discussed, and, of course, theater is always testing for new new ways of societies and new ways of communities. And so the genuine interest is in interaction with the audiences and not all processes have to take on stage, but there's the question of representation so there was the still is the question who can tell which story and what stories are told at all which stories make it to the theater and which people come here and there we started thinking about the educational systems in the countries that you should also already in the school system starts telling different stories and making access possible for all children coming from everywhere. And these children should see people and stories on stage that actually they can identify with. So there's a lot to do. And I hear that and there's a lot of subjects already on the table thank you all reporters. I know it's a hard job to try to sum up on a two hour discussion with very many viewpoints so thank you all for your good overview. Now good people we move on to the last part we have approximately 23 minutes left for us to enable those that have been patiently listening to all of us this morning to ask questions, or make comments, or even better send suggestions of ideas of next steps. Because that is really what I think is probably highest on our minds how can we further the conversations and take some actual concrete steps. So the good forum team will be feeding me via a Google Doc. Any questions that are being posed I don't see many questions coming in the Q&A. Is there nobody that has any pressing things on his or her mind. I don't believe it after all these important dialogue so I'm sure something is coming our way. But in the meantime, I wanted to ask then we have something coming here. Just a second. So Ulrike Könner puts this down the European production house sounds a great idea, but it should be a satellite system in different countries and reflect the hybrid systems of artistic productions. So here's a comment that we have regarding the European production house. And then we have a question from the live stream. Not posed to anyone in particular. So I guess whoever one of you that wants to take this question to us, put your hand up and I'll give you the word. The question is, what does the future look like for British actors and other theater professionals in the EU. Will we lose access to opportunities, even if we speak other European languages. Who wants to take this question. Anybody. Dear ball, we have dear ball Murphy, go ahead. Thank you as I yes durable Murphy from the International Federation of Actors and since it was actors who were specifically mentioned I thought I would answer I can only say that the acting community in Europe, and with the support I might add of our employer counterparts. We have issued several calls to policymakers to please ensure that whatever the outcome that the sector can continue to have the mobility that it thrives on. And I think it would be a terrible shame. If actors were to lose opportunities in both directions to the UK and from the UK and I can really only echo. The statement already made an ask for consideration of the sector and the devastating impact that Brexit in particular would have on it. Thank you for that and I echo that on behalf of the networks I can say that all the European networks have no intention of cutting ties with any of their UK professionals whatever sector they come from. And I believe we will find a way to keep on working with our colleagues in the United Kingdom. I feel certain of that. We have lots of things coming in good people so it's getting exciting. In the live stream. We have a comment. It is time for sanctions on a national European level to ensure that cultural institutions actually reflect the diversity of the audiences and communities in which they're based. That is an interesting provocation to say the least. What do you think, should there be sanctions, Stefan, you've raised your hand. I just wanted to say that we've been doing another way around I never thought about sanctions but maybe it's an interesting idea. We thought about including diversity in funding as a criteria in funding programs might be the, let's say the positive way of sanctions. Certainly, certainly, anybody else that wants to respond to this sanction idea. If not, we move on to the next one from the live stream also we have really active people on the live stream which is great. It would be good if we could know how many people are actually there taking part. We are the live stream, but it's a short and simple question. Are we listening to children and young people. Anybody from us that wants to respond to this. Is Yvette still there? What about Louise? You want to take the ball, Louise? Oh, Yvette is there. Yeah. Yeah, absolutely. I mean child participation has been very much one of our focuses over the last couple of years and we are. There have been so many excellent projects which have allowed children to participate in the making of those projects and now we're looking at how we can engage children in the policymaking decisions and in the, in the sort of the way events are curated for example. I think that as a teacher certainly paying a lot of attention to that as an area. And I think that the next period that we're moving into now is it's going to be one of our main focus areas. And we are building a collection of best practices from across the globe to kind of use as a resource. But I think we have to, that's some, you know, and talking about diversity and inclusion, that's where it has to start. Absolutely. And it's good to hear that you are really putting this in focus, but the question is perhaps also, is it actually happening in reality on the national level, but I assume that is very diverse, depending on countries. Stefan, you also want to respond. Yeah, I think if we're talking about the theaters for young audiences. It is there in a to listen to children, most of the theaters. My question would be, how can we transfer the example of the theater for young audiences to the adult theaters. How can the adult theaters better listen to their audiences because sometimes a public theater does not know for who they are paying. So I think the best practice example of theater for young audiences could be transferred to the to the adult theaters and that might be a very interesting discussion. Thank you so much. We have to move on. There's a lot of questions coming my way. So from the zoom room. Follow ask. I would like to remind us all that the community of creative critics also needs to be represented. How can we editors of theater magazines contribute to the renaissance of European theater as as there are people. So, sorry, I don't get this last thing as, as, as a group of people I imagine it as theater of people. So, can we make sure to invite the critics to our zoom rooms. I think yes. Right. I agree with this we should just take this as a lesson if we didn't do it this time we certainly should do it next time. Absolutely. An important group for us, working in the performing arts. That's from the live stream stream. I think it is so important what Julia said about going out into places for the first time, and being bringing creative experiences to new audiences. Can we be advocacy for a larger scale, more experienced events. Can we link up as a sector to help each other create the widest possible reach. Anybody that wants to take this question on board. How can we help each other to get the widest possible Stefan I see your hand up anybody that wants to take it from Stefan because he's already come in quite often. Anybody. Okay, go ahead. But this was one point in the in the diversity and access group which was very crucial. Say, we have to be able to travel. This is also made my EU program of course to travel not only to the areas that are normally known but to non traditional spaces or to rural areas. I think that could be a real program. International groups go to rural areas and to a basis which are not normally supported by by by theaters and guest performances and festivals. Yeah, this this particular point is coming more and more on the agenda of it and I can tell you that and it's something that we will be paying attention to. We can move on as we are pressed for time. We have an anonymous comment from the zoom room. We spoke of all the challenges this year has brought with it this year has brought a lot of challenges. Can we think and reflect on any of the positive things this pandemic has brought with it. And next we have. Yeah, actually it's a very interesting question and we have been serving our membership about more or less the same question and it's still that we still need to process all the answers but they're like incredible number of very interesting ideas about what is actually happening in this whole situation. And some of them are as such so first of all I think many of our members have seen a huge solidarity in the sector which has never been shown before. There is like very interesting equalization happens when institutions could sit with artists at the same table and discuss challenges all together understanding the interdependencies between each other. And there's also positive that funders maybe learned something about and policymakers learned more about the situation of artists. It's obviously and we have been repeating it all the time in our session about working conditions that it's a momentum actually to talk about the precarious conditions which have been there ready for ages not only with COVID. And then another interesting, of course, there was also a moment to rethink a lot of practices to reach out to other sectors to think about more ecological sustainable recovery and the future. And I think in many places funders also showed a great flexibility. They allowed their beneficiaries to basically take the existing grant and adapt it to the situation tailor it to the existing projects and processes. In relation to what they can actually do and what they would like to do in these times. And I think that these practices of funders being flexible could be very much brought to the future. Because if this is allowed, I think a lot of things and inclusivity and working conditions. All these factors will also would improve in the sector. You wanted to respond. Yes, I just want to add that this is now the time I guess I mean where we really get awareness for the artists and that also politicians now do not only speak with the funding institutions and just put their money in front of the houses in front of the doors of the houses so to say sorry if I'm a little bit. So it's not confrontative but this is what has happened until now. So that the money just went to the institutions as it was regular and now it is like that the view is much more open so now also the politicians what is happening after the after the doors of the of the institutions and what is going on then with a with a public money which is invested in all of these institutions and organizations and festivals and the and so on and so on. And also we got much more public awareness so I'm for example more or less constantly in radio on radio on TV. Media is really interested what's going on so it's now really the time and the possibility that all parts are now discussing and really aware that the entire system needs to be renovated. And that it cannot be go on as it as it has happened now for 30 or 40 years so that we really have to look into all of the contracting systems into all of the employment systems in all of the security systems and so on. And it's quite a lot to me but so far it's not possible anymore to close the ice. If we want to have a vital and vibrant and contemporary art scene and we really and all of the stakeholders really have to look on the conditions and have to see what are now the challenges that also in future, we will have a very vital and vibrant performing art scene. Thank you very much for this order I agree the tension towards the situation of the independent artist has certainly been wrong and we need to keep hammering on that for sure together. It's a totally different very practical question coming from the zoom room. Claire how else is asking, when is the new application for creative Europe going to be launched. And we know it's coming in 2021 but Regina wants to respond to this or not. No okay. Well, Barbara, you want to respond. Yeah, go ahead. Yes, well, we just received the good news yesterday that that there is a compromise proposal between the Member States and the parliament on the creative Europe budget and it has been increased. But the problem is now we still need the endorsement of that so there's still a few hurdles to take. We are counting. I mean we're counting on the fact that has been approved now in part at least. So we're optimistic that the timetable that as I mentioned that hopefully will launch early part of 2021. Can we say that. No we cannot say anything at the moment because yeah the budget is not yet approved you know I know I know but you know we are on our way right. Of course, let's stay optimistic it looks good. Good, good, good, good, good. I have another question here in the top and my iPod went off. Sorry for that. From the live stream. I am a national coordinator of a committee of the Ministry of Education in Italy. What is the importance of the music. Do you think it's important to have a European point of view about education and performing arts. I think it's safely to say that that is what we've been discussing this morning that it is important to have a European point of view so I'm going to take the opportunity and say yes on behalf of all of us. However we might differ on what is the importance and what to come first. And then we have a final question and we only have a few minutes left. And that is also from the live stream. Does any country think about open open call for theatrical science paper works. The next question is about the sort of more academic research science parts of theater. Is there, is there somebody that would like to respond to this final question that we have. For me again. Yes. From our national perspectives and the European Association of Independent Performing Arts gathers all of these national perspectives. It is much more about to open in general the funding structures and to allow every kind of artistic reflection if it is an artistic production if it is a research if it is theoretical approach or whatever. If it is digital if it is live whatever so this is one of the main challenges I guess and before the near future to reformulate the entire funding structures national funding structures and keep it as open as possible. And I would like to add to that that this is also an opportunity this question for those theater makers that are here in the room to think about the opportunities that they have as theater makers to apply for horizon funding programs and sort of more the academic site of the European grant system. And we certainly are not excluded from that part of the system and theater makers could be thinking much more towards those funds, as well as the ones that we may be most of us know better. Well, I think we are going to finish well on time, dear people. This has been a good round. Thank you very much. I have a few important things to say to you. Before we finalize. And that is that this is not at all finished, you can actually continue in the fun places in the dressed in theater, because there are these networking rooms available to all of you that feel like talking more and feel like talking, and you can now go back to the auditorium website and find your way if you want to talk about working conditions, you go to the ricking loft. If you want to talk about co creation and international collaboration and education, you go to the stage. And if you want to talk about accessibility and diversity, you go to the bar. That's a good one. So ricking loft states and the bar. I thank you on behalf of myself on behalf of all the speakers, but I am going to give the word back to Ian and Gina, who are going to tell us about the afternoon sessions. Thank you very much. Thank you. At this point, we want to thank actually everybody for their attention during this very intense, dense and exciting morning of the European theater forum 2020 European performing arts in focus. We will now close the live stream for today. And we meet back tomorrow at nine o'clock for a day.