 Good morning. Good morning and welcome. On behalf of everyone's, I would like to welcome you. My name is Mark Murphy. I'm the Executive Director of Red Cat. Red Cat and CalArts are four partners in Radar LA, the festival and also today's conversation. Partners are essential to this process, of course, and among our closest friends are Senator Theodore Grease, Diane Rodriguez, an instigator extraordinaire, the Department of Cultural Affairs, the City of Los Angeles. The festival format is a conversation with many dynamics and today is an opportunity for that conversation to take a literal form, an actual conversation. We hope that it won't be people talking acting necessarily, but you'll engage with us in a conversation. There are reasons to gather artists and audiences together in a concentrated place. Sometimes the reasons are skateless, that's what Matt has to say, but it's such an essential, critical mass of potential, of the future of the future of our audience. We want to acknowledge our third curator, Mark Russell, who's not able to join us due to a thing he's done. It's painful, obviously, and it's not able to join us. We're going to miss him, but he's definitely here in spirit and in presence with us today. I just want to just briefly say that Senator Theodore Grease is our second partnership with Red Cat in the second festival. Obviously, the festival has grown from the first year. We've had major support that both of us will talk about more from various funders, which is fantastic. And I think that Senator Theodore Group, our commitment to this festival is based on a belief that theater is being created now by more than just playwrights, that theater is being created by ensembles or collaborators in a collective creation way. And that we want to be a part of that movement that is happening across the country. We want to acknowledge that the work is interdisciplinary, and that is really one of the themes that we're going to be exploring more today. So we have some fantastic artists that will share their thoughts this morning. Before we did that, we just had a number of other housekeepers. The interdisciplinary nature of contemporary performance is part and parcel of the core of the value of Red Cat and Cal Arts. Cal Arts is a school of the arts that was one of the first to combine the performing and visual and filming and the other arts all together. And with my colleagues from Cal Arts, we're very pleased to be co-posts. Other partners include the L.A. Stage Alliance, Los Angeles Theatre Center, where we are right now, and the National Level Theater Communications Group and the Public Theater, which hosts the Under the Radar Festival every day, and all the markets that you're in may be in. We mentioned the invaluable support of, incredible support of our funders, including the Doris Duke Charitable Foundation, Art Place America, the National Endowment for the Arts, project support from the National Theater Project and the National Dance Project, both run by the New England Foundation for the Arts and project support from the National Performance Network, especially the Performing Emeritus Program. One of the core sources of support and the first, I mentioned instigator, is Olga in her new position as the Executive Director of the Department of Cultural Affairs of the City of Los Angeles, and we're delighted to join us in welcoming her. Good morning, everybody. I'm Olga Gadi-English, and I'm the Executive Director of the City of Los Angeles Department of Cultural Affairs. The City Council and Mayor Eric Garcetti, I want to welcome you to the Los Angeles Theater Center, which, although run by the Latino Theater Company is a facility owned by the City of Los Angeles, so we're really pleased that we were able to host the parts of the whole festival here. When Mark said I was an instigator, I think that he hates me and loves me. I'm going to need a pet first, and sometimes... Most people love. I'm 9, 9, 4, 400 percent love. But when I came to Los Angeles in 2007, I was really surprised to learn from Terrence McFarlane, the head of LA Stage Alliance, and from Diane, who's obviously very active in the theater scene here, that there was 250-plus nonprofit theaters here in Los Angeles. And having come from New York and prior to that, Miami, I was shocked. I didn't realize that there was such a vibrant theater scene here locally. I think that oftentimes Los Angeles is so overpowered by the film industry that people don't realize that life theater is alive and kicking here. So having had a lot to do with the creation of Under the Radar in New York, which is going to be 10 years old this coming January, and we're very proud of that, we felt that, and we started talking about this in 2007, that a Los Angeles-centric festival of ensemble theaters really needed to happen, and it needed to have a bone M.O. in its own profile. So with our co-conspirators, we started talking about it in 2007, and then in 2008, the entire world economy actually took us a little while to get our funding together to do the first festival two years ago. So that was the labor of love, and this was a labor of, like, lunacy. We're here, I'm prepared. And we're hoping that two years from now we'll be sitting here again talking to us. We're especially grateful, as Mark said, to our funding supporters, some of whom are in the house, and my, I want to especially point out Sherily Kamiya, who is my partner in crime at the Doris Duke Charitable Foundation. Sherily Kamiya. The generous support of the Doris Duke Charitable Foundation, we've been able to have this symposium and focus on the interdisciplinary nature of this contemporary new work, because just as Doris Duke really was enamored of jazz and dance and theater and, you know, just the melange of forms, we realized that, you know, it's just no longer valid to just stick to one discipline. It's really about how do you tell a story? How do you tell a story in today's time so that it reverberates for people and that we want to bring more and more diverse groups of people to the theater. So that's one of the core beliefs and principles of this festival. So without further ado, I do want to just say one last thing. Because we wanted to make this LA centric, the work that you will be seeing is primarily based here from Los Angeles, as well as Latin America and the Pacific Center, our neighbors to the east and to the south, the west and to the south. It's the east, but it's the west, whatever. We're thrilled that we have a number of companies from Latin America, including Argentina and Chile, even Mexico speaking a made-up language, you know, anything goes. And we have New Zealand and we have just Japan a couple of times. Basil's going to talk about this piece that deals with Japanese artists. And so just have fun, go to a bunch of stuff, run to the theater, don't stop and engage today because that's what it's all about, engage. Thank you. I acknowledge a key supporter of some of the work that we're doing of many artists in the country. It's Kita Sullivan from the New England Foundation for the Arts. This is the New England Foundation for the Arts because they administer the National Touring Grant for theater. So we are very appreciative that this grant exists and that people can see more work across the country. Hearing directly from artists will be a primary activity today. Briefly the points of the day schedule-wise include Welcome to You Here, Diane will help moderate a session in which we hear from artists about their thoughts about the future of theater or what they hope for the theater. And that can become a conversation. Also following that, after a brief break, a conversation with a few artists and colleagues about the unique challenges and opportunities created by taking an interdisciplinary approach to the creation of contemporary performance, then a lunch break and we have box lunches provided and then performances. Most of you should have selected either a visit to the Tower Theater on Broadway for performance created by Wunderbaum and the Los Angeles Pompany Department or Million Dollar Theater also on Broadway, the other direction called Lisa's Tower Theater for performance El Gallo created by Claudio Valdezcuri and his company from Mexico City. After those two performances at 8th and Broadway or 3rd and Broadway, we'll convene between 6th and 7th on Broadway for the reception at Figueroa Estro at 4 and then have a dinner break before I think almost all of you are seeing tonight's premiere of a new work by Levi Potapazio, which is at the Palace Theater which is directly adjacent to Figueroa Estro. So you should be able to find your way. It's only one street and it's a tough point because it gets so disorienting. It's only that street is tough. Diane. Let's do it. I'm going to invite our Man of Pesto artist to share with us their thoughts, their current thoughts about the future moments past what inspired them. Very casual, I'm sharing. Please make note of anything that you might want to comment on after the proceedings after we hear of her and all of my artists. We'd love to just hear your thoughts and perhaps start a conversation based on what we hear today. So, guys, I'm going to introduce you all right now and then I'm going to leave it to you to just come up and make your turn. Our first presenter will be Basil Twist, who is a puppeteer and American theater artist. We have Marlene Shulton, who's from Wunderbaum Theater and Wunderpiece Hospital. We have Alice Tuan, who is a playwright and exterminator and currently the head of the playwriting program at CalWords. We have Maniano Benzotti, who's a playwright and director from Argentina. And we have Flavio Valdes Pudi, who's the director of Cielo Apigantes, the author of Cielo Apigantes from Mexican City. Great, welcome. Thank you. I'm releasing your hands. I don't like that. What you feel is remarkable for you. I mean, it would be great both ways. You have to put your mic here and you can... Okay. How is it? Here. No, I'm leaving on. Oh, here we go. You're on. I'm based in New York, but I'm native of California so I think a lot of the community included in this festival I'm in tech right now for my show so I'm totally prepared with a fantastic manifesto for you but I can talk a little bit about my work and what I think about the live performance right now. I'm a puppeteer. So that's very much what I... how I approach live performance and see live performance and there's a lot of puppetry in this festival so I think I might be sort of representing a lot of this art that's showing up a lot for people. Yay, puppetry there. I mean, puppetry is ancient and it's also the original North Cross genre all that stuff, lay, or even the original art along the genres. I, as a puppeteer, I guess... My manifesto is, you know, would be about puppetry. I create work, for me I create work coming from the point of view of a puppeteer what interests me in puppetry which in fact I think is separate from storytelling separate from theater even or dance works. It's its own experience that an audience has when something inanimate is brought. It's an ancient and profound thing. And I... As such, I've never considered myself a storyteller although I end up telling stories that I feel as a puppeteer I fall more into this category of kind of experience makers, people who create experiences. Sometimes the experience that I'm trying to create is the experience of being kind of puppet show. But that is really kind of where I come from which is you can see the intimacy, it's the wonder, it's the imagination that's asked of the audience. It might be nostalgic, it might be playing against type of what we consider a puppet show to be but I must frequently work in a way where I feel like I'm creating experiences telling stories and then stories all into place there. I'm... The piece that I'm presenting here at LA Greenbelt is a collaboration with an incredible Japanese musician Yuriko Tanaka and most importantly a collaboration with an artistic tradition, a puppetry tradition from Japan. And Japan has this very venerable puppetry tradition, very serious puppeteer tradition that's true across Asia that puppetry is considered more highly than it is in the United States although we're getting there there's a lot of important puppetry going on right now in Japan it's been going on for hundreds of years and the work that some were looking up tonight is basically an appreciation of a technique that was created by puppeteers from the island of Orochi and it's essentially an abstract technique which fascinated me by the puppetry tradition and it's... I find that when I'm doing the show I perform in the show as well as having directed it I find that I'm... and I've been doing the show for so many years now and we even have performed it in Japan I find that this performance, doing this performance of course the specific performance makes me feel this way that it kind of resonates for all the puppetry of even all live performance that I've participated in is that I somehow feel... connected to the past to something very profound this sort of... a very simple sense of magic and when I'm doing this show I think of my grandparents from southern part of Japan I think of the Japanese people who I met when I was making the show and this tradition hundreds of years ago and how much it still resonates for us now I think obviously we all probably all have a completely magical device in our pockets that can connect us to the whole world and yet there's something so incredibly magic about a simple inanimate object coming into life and it's actually much more powerful and I love being part of that tradition and just creating my work around that phenomenon and I think that it's... we are increasingly thirsty for that kind of thing in our world this much less material idea this idea of spirit that shows up in puppetry and in all of our performance Well, thank you Mark and everyone for having us here as a company about being in this absurd city I came here from a bike this morning and I was a police officer and she stopped me and I thought, oh no now she's really... I didn't have a helmet and then she said, oh my god you can't earn your bike with high heels this is really the most crazy place I've ever been and I said, I just come from Holland I guess I don't know so good morning, I'm from Holland, I love it we are here with one about working on a project together with the LAPD it's called Hospital it's about healthcare you will know a lot about it probably here in America more than we do in Holland it's a kind of a luxurious situation still I can tell you a little bit about what we are going to do I'm not going to talk about the past I'm just going to talk about the future and we just started actually in January a big project that will take the coming four years that is called New Forest and the New Forest is some kind of alternative society and we are going to build in these four years and our idea is actually to embrace all the confusion and allergies we have in that virtual slash real society what we did till now is that in our first performance we thought, okay if we have to start something new you really have to break with people ideas you really have to but to be fresh again we thought, okay how are we going to get rid of our old ideas so we took kickbox lessons to beat the old ideas ourselves and we started to think, okay let's say that there would not be a democracy anymore as in a way also in the Netherlands unfortunately social democracy is falling apart quite quick so we thought, okay from there we have to start something new that we came in the second performance called the comic of Xia Xia I should say probably and we thought, okay then the first thing we are going to get the new leader maybe she is Chinese, she is eight years old and we thought, okay maybe some hope and you know the Eastern world and the fact that she is so young and that she is not cynical about life and that she doesn't run politics because she thinks I have to do this and I have to make a lot of money but that she just is honest and trying to see the world as it is so that's what we did and then now in this third episode of the course we are making hospital we are still working on it we come and see it, it would be great but there is still work to do about it but what we try also in that performance is saying, okay healthcare in the Netherlands is going unfortunately a little bit the American way and you with having Obamacare power I mean how complex is that it's really quite confusing I think trying to become maybe more social and then we thought, okay what is a good yeah a good thing for us is to see if we can search together to kind of alternative system but always I think that is very important that is always our role as theater makers always within the fiction and we would never try we are not politicians so that's not our role I think it's our reflection on this time and so that's actually what we are going to do the coming four years we are going to build this new forest and to give you a little bit of idea how that will be after four years we will like invite all the people we have been working with these last four years and we will try to make a kind of crazy movie with them so you will have people from the LAP and play with advocates from Holland and we will have like everybody will live there in this alternative society what is now maybe I think very important I can speak for the Dutch system and the future of the art is that I think you all know that we had quite some cuts in our budget we too and I think what is going on now is that a lot of the young generation people are just graduating from academy in a way they can get some more attitude of okay then if you don't want to base money we are going to do it our own way that sounds very familiar probably and so what happens for example now a lot of these kind of pop-ups performances so in bars and in places they on Facebook they do these kind of actions and then all of a sudden there are like 300-400 people more than we sometimes have in our classic theaters just coming there and see that show and that's for a few days and then it's over again it sounds actually very positive when I realized that this was going on in the young generation before mine but you also see immediately the weakness of it because you feel immediately that if you're not supported and if you don't have a longer let's say term and you have the time to fail and the time to really develop your work you will never grow you will never go any further than that so I think what we are doing right now in the Netherlands is that we are within the system that changed a lot now that we are still trying to to cherish that luxury confronting into a lot of other countries that's position that we have and I think what we can do from our country together with the other countries is really focus much more even much much more on European worldwide networks and really really try to connect on that and not just stay in our own little part I think that's really not interesting at all maybe I'm gonna stop I want to love you America but you are acting like a cock eating pills to make you hard hard or hardest for ten hours straight and then making choices from that state of out of your mind reckless, erect, suspect can you ever do it on your own again you do not want to hear this America because you're tops no matter what you are entitled to it all I mean how did you get to claim the word American all to yourself when the two whole continents are so named time to call you something true or how is about you Esser person from the United States you Esser what you don't want to talk to me America because I'm not saying what you want to hear because of that amendment which one is it oh yeah freedom to not give a shit I've asked polite America to buy you a drink but you say you got it declare your independence yes of course remember when we talked America to each other and we could disagree and not have to delete each other out of existence I've told you this many a time how when you actually speak to me America those rare times you do it makes me wonder makes me open up makes me believe that a free land can exist and then you can't treat my words like bubbles like fluff because I'm not telling you how great fantastic awesome your ass is and if it's not about you and feeling your delusion then there is no business is there just that little wet corporation between your legs that you've been convinced and so surprised that you yourself wish could be engaged and banged tenfold more than it actually is are your knees scraped from all that investment only to be shunted aside for some other time suck I forgot you to play mouth wheel without even getting you off because I told you how great how fantastic how awesome you are do I smell a punt? I want to love you America but what is left of the funds the funds wonder if they ever existed those numbers the ones the ones that known elephants charged at heartless safaris a take and just take and just take tusks plucked to build dusty displays the carcass discarded those petty victories of petty humans qualified for credit an elephant never forgets did you I want to love you America but faith seems to supersede good as if love were not love as if God were not God but rather love and obedience and God a surveillance it's the 20's 2013, 2014, 2015, 2016 2017, 2018, 2019 the 20's seven years of 20's what shall we do? like this time that shit happened in the 20's that picked up momentum in the 20's there was this movement that started in the 20's when everyone started facing the big issues and started thinking towards big answers the planet was getting hotter the gaps were getting wider unfortunate countries burned and doomed fortunate countries wasted resources and lived in poverty ego swandered community violence was the preferred communication indifference, known truth empathy was on the extinction list it's time to hit now words towards now now words time for articulating heartbreak a large part of our art but then after heartbreak you are allowed a new plane of clarity or at least envisioning carpet dealing, yeah? right now, right this minute what can we do to make this moment count to make this thought activate now words all obstacles root from one clear maxim capitalism trumps democracy capitalism trumps democracy let's say it capitalism trumps democracy that's how it's been for the past 40 years from the time we went from being citizens to being consumers how about now? citizens head now words it won't sell tickets it's burning inside that thing you're loving you want to scream it out go ahead name all the heartbreaks break all the hearts until you have nothing left but yourself and your actions your thoughts into practice your art to best articulate what it is about now leaders stop politicizing our country away the wars in the Middle East for the past 10 years were gifts to China while we emptied our coffers and our infrastructures crumbled China had a decade to build itself up every time a leader obstructs for the sake of obstruction or cuts from social resources it weakens our democracy and China becomes more gifted please leave not delete democracy trumped capitalism but the citizens felt its leaders were making choices to buoy that good feeling we get when we stroll the neighborhood farmers market what if the citizens had space to collaborate with the city to bring its uniqueness into being had a habit of convening with citizens in a different part of the city to be resources to each other that the citizens could be given venue to express and be heard could interface their ideas and share in a civic elixir democracy trumped capitalism malls have a live performance space where folks are free to come and go to make work to express democracy trumped capitalism laundromats have a screening room for the masses of short films that existed original work original work is shown continuously a constant festival while waiting for the spin cycle and the tumble dry to finish it's called a cinemat democracy trumped capitalism empty strip malls and storefronts just sitting there not being news waiting to be rented, leased or bought in the meantime give it to artists to make and show work for a week at a time pop up storefront installations democracy trumped capitalism okay a monorail that is built between red cat and cow arts direct red cat into cow arts it doesn't go too fast 45 minutes one way it just needs to connect downtown with the uber suburbs of uber yet young artists would not be so isolated and could connect with the ascending urban momentum of downtown LA city folks could more easily go see new work in progress in that fact of creativity in Valencia sometimes you could just go look and not have to critique but know that it's going on but most importantly the conversations that will transpire the minds that might incidentally on this monorail the collaborators that could find each other to try that new work public transportation as a moving salon and to see the city from those heights articulate the heartbreak articulate your heartbreak then you will know why you none then you will know why you run then you will know why you make art it's the 20's first I have to apologize for my terrible broken English I promise I'll do my best I'm here presenting a piece called sometimes I think I can see you which is a collaboration with local writers it's an installation a theater installation that we are presenting at Brand Central Market a combination between observation and the creation of a possible story telling about all the hidden stories that remains in the public place it's really fantastic for me to have the chance to present this piece here I've been in LA two years ago with a completely different performance it was called The Passage of the Test Manual which was a stage performance and I was basically in these two different lines making stage performances and also working in collaborations with local artists to present site-specific performances and I think most of my work has been focusing on the relationship between fiction and reality and that's why I tried to write something about that human beings' relationship with fiction is quite strange we all live producing stories things that we imagine events that supposedly happens to others and most of all we invent ourselves by changing our past every time that we narrate it but at the same time we all live as the fiction has approached us to me and I'm very much interested in how our private lives has an influence in the fictions that we create but moreover I'm interested in how our personal lives have been created by fictions we all react to the experiences we live using as a model the fictions that have had a strong impact in our personality in some ways we are all as films, books and televisions as made us to be we are made by fictions I started to direct theater back in 2002 that was a year when in Argentina a huge economic crisis exploded almost half of the population went down under the minority line and it was a time with a lot of social fighting in which the streets and urban places were again the center of the political struggle from that time I remember fragmented images thousands of people in the streets near Vanua house a group of retired people who has lost all their savings trying to burn it down the bank a group of anarchists riding motorcycles to fight the riot police more than five presidents in less than a month as a theater maker to produce just fiction that context seemed really stupid not just because it would have been strange ethically and politically but moreover because it was impossible to compete with reality reality was extremely much stronger stronger than fiction I think that's maybe because of that the collision between reality and fiction is so present in some of the places that I've produced it since but of course the collision between reality and fiction goes far beyond the discussion of which one is more complex and powerful the truth is that we created fictions at the time that fictions creates our reality many of my performances use questions as starting points some of the questions are these ones is it possible in these times to create great fictions that contain what we imagine together with real events from our lives and the lives of the people that we know how does the history of our cities influence our own personal history what happens when fictions are set within a concrete temporal framework are works of art time capsules that preserves our funeral lives for posterity or are our lives actually the way works of art from eternal making us repeat things that we have seen in them hundreds of times before do our fictions reflect the world or is it the world of distorted projection of our fictions in the past 8 years I directed group performances quite diverse sometimes working in the wondrous of the theatre and mostly focusing in the mixture of disciplines in one of them 16 actors create 9 scenes which represents ordinary life situations in a real street of the city while at the same time a certain system plays on top of them tell all the stories of those characters in another one we take 10 different apartments of a real building and the expectors can enter to each of them using headphones to listen to the stories of their inhabitants in another one stage play a group of 4 actors represents and narrates on stage the stories of 4 characters from my generation during 10 years starting in 1999 in another one we represent the life of 4 filmmakers from Buenos Aires while at the same time in a parallel set we see the films that they made during one year period and in another one we install a group of writers as if they were literally surveying cameras on a public place to write everything that they see and the possible stories of the casual passers-by on public place I think what I'm interested in is the construction of mega-fictions which in the manner of the big 19th century novels might be made by completely fictional stories but also by real elements from the author's life by political and aesthetic discussions and references to the social and economic events of the place where the stories of the characters take place I'm somehow interested in an ethical tale of ordinary life I'm interested in investigating how our fiction might transform reality but also how reality might transform our fiction some of my plays could additionally be seen as a possible fictional portrait of a city a city which is also a scene of contrast between the ephemeral inhabitants and what it lasts the city itself is a space that can be narrated through the real life of the inhabitants but also through the fictions in recent years Buenos Aires where I'm based was not any more the center of constant economic and political crisis things have improved a bit there for a while for some bizarre reason it is also quite common that a lot of international films productions are being shot there I think Buenos Aires is still a cheap city and which is much more interesting to me a lot of the streets from Buenos Aires reminds to streets from other cities European but also from other places as if the city itself were also a fictional representation of other places places that in some cases doesn't exist anymore in the original cities because of wars and political changes in the last century you can see Buenos Aires as a kind of city that preserved missing cities or a city composed by several layers of different cities where fiction and reality live together by using an ethical tale of everyday life my intention is somehow to make feasible the complex relationships that connects both wars I think that's it use of English is very basic once I try to do a lecture from something that I wrote before and I was so and there was to read well completely forget the things that I would like to say so maybe I would say just a few sentences that I hope it would be clear for you and I was I was thinking about this idea my desires for the future of the theater more than talking about my work and more than manifesto I will talk about some hopes that I have for the theater and first for me the theater is an incredible way of awaking or to accompany someone to open their conscience it could be it could be it's not using it's not being using like that I think that theater is almost lost in the format in the forms in the language in a way that I feel and I see traveling all around the world with my group that most of the production is based on the language I mean the language is instead of the content so we are trying to do the most nobility the most originally thing but the content is very very poor sometimes or is even not seen by the artist in my point of view even some contents that seems to be very important at the end are just form because it's a form it's a formula that you will find a kind of success or to be appreciated by the audience for example coming from Mexico I have seen that they are expecting that we are going to talk always about rocks about the immigration problems and it's very strange how the audiences are waiting for that from us and when we are presenting a play that is about an issue from Europe they are very confused about what we are talking about so it's very complex and we have seen how this aesthetic experience has broken this paradigm in the audiences when we began with Olga many years ago with a project that it was about making context in a play for American audiences there was a lot of people asking us to present this in Latin for Latin audiences and I say ok obviously but it's not just for Latin the idea was to make accessible for American audiences all kinds of Americans but they wanted to put us just in that specific place so we have to present in Spanish for Spanish speakers but we have seen how this aesthetic experience is changing really a lot because in my point of view when you see something the theater has this great force that it's talking for your mind and for your character at the same time it's something that not other this thing could do theater has this great power as I am now trying to communicate you something maybe you are not understanding or at least you are feeling like something and it's something that is possible to have in another discipline so sometimes we are forgetting this thing this enormous force that is in the theater and it's from the beginning of the theater but again I think this aesthetic experience brought all the barriers I have seen through years how this panorama has changed this symposium is part of that I mean the art in great theater is not coming more from New York or from Paris or from London it's coming from anywhere from New Zealand, from Mexico, from Argentina from New Guinea, from anywhere that's one of the greatest things of these new nets that we could have communication with everybody in the most far away place so I am looking as a spectator facing this lack of content I am not saying that everything is like that obviously not I think that theater is the land of yes but also I mean yes, there is a lot of violence yes we have a lot of political problems, economy but also there are other things that we could talk things like the dignity of a human being that nobody is talking about our image is so damaged because we feel felt my verbs are a disaster we feel that we have made so much damage to the earth that we don't have more idea of our dignity so nobody is talking about these things and I think that also the new companies coming from the third world we are so amazed that finally Europe is watching us we are interested with interest that now we are the festivals that we are completely focused to be in that festival we are running in this area to be there to be there because they are the owners of the world that in America the other the other so we are in this idea of having to be accepted for the others so we are running for that but now after some years that we have proved that we have very adult discourse speeches in terms of form and content because Latin America has a very special force that is very connected to their context is very very landed to the immediate I mean for example in Mexico my idea of quality has changed a lot because my level that I of quality was very high but then when I went to the little communities and I see this very very basic way of doing theatre but anyway the woman that is there is laughing or crying just to understand something about the immediate immediate immediate reality is quite interesting much more interesting than the form much more interesting than to have great technology or whatever anyway I think that the great artists are a little bit lost in this language in this technology but I think it's a level because everyone myself also we are trying to find this new way of saying things that's part of our our theatre and that's our community our audience is this kind of audience that is trying to find another way to hear the same things because there is nothing here that's why we can see one million times Shakespeare's play it's the new way of saying the same things but anyway I insist because in my today's manifesto it's just for today tomorrow I will be so impressed I think that this lack of content is one of my concerns now I mean this technology these new ways of expressions has to say something so it's like like the money you know the money is just a mean but now is the end for all the world money is great as a mean as the language as this sophisticated language that we are creating is just a mean it's not the end and I think there's a confusion there and because I feel that we are presenting realities that are very cruel or good realities it's very important to show that to the others but I think that the artist because the artist is not living the rules of the society he could go here she could go above the immediate community to watch a problem and then come down and to create something but I think proposes from us, from the artist you are watching something that I'm not seeing you are making me to see a kind of reality because there's not the reality in my point of view each of you have a different reality I mean your way of perception is your reality but in this reality that we are sharing we say that it's the reality sometimes we could see something that the society is not watching so we are putting that on stage but yes or thoughts okay what's our proposal I think that the artist could give creative solutions not absolute solutions I was worried when I was watching yesterday the TV and it was Clinton was on the TV and there's this kind of very American statements that say Clinton is the Clinton is the right thing to do where is my free will the right thing to do so I insist that it can be a great tool to open cultures but also we have a responsibility we could pay, we don't have to we could pay the responsibility of giving creative proposals for this I think that the artist could change this scenario for the scenario of our daily life not the scenario because the theater is watching, is seeing theater I mean theater is making for theater makers and I think that we have all the tools we are very mature and the way of saying but now so far it's seen what's the next step not just to do great surprising things I love Basil saying that his work, he loves exploring intimacy, wonder, nostalgic the creation of experiences versus storytelling I love that he said the spirit of our work that our work the spirit sums up the nature of our work Marlene, great with old ideas to do something new kickbox old ideas out social democracy is falling apart in the Netherlands hello, what about there oh my god, healthcare going the American way so sorry if there anything left we're in the 20s the 20s 20s leaders stop politicking our country away please leave not delete the stories that take place in public places change our past every time we marry interested in how our private lives have been affected by our fiction our fiction is affected by our reality and Globio theater can be an awakening something that accompanies someone to open your consciousness the missing he's missing the lack of love and long to see the exploration of the dignity of the human being any other thoughts, anything else that jumped out actually four Americans a wonder of hand did you exist in the space of the library in the city or did you need to be in it right now the idea of the world being a sort of reflection of our fiction and that we'd be wondering about what that means if you think about that and adjust that into what it means to tell a story what is the impact that your work will have on that to slow your reflection anyone else thoughts just talk about the juxtaposition of the juxtaposition of Marlene and talking about just to speak up guys I'm stuck with the juxtaposition of the juxtaposition of the juxtaposition about feeling connected to the past and the need for that sort of spiritual connection through his work and then Marlene talking about kick-boxing passed away I feel that theater is really a place where that can happen in front of us all the time so that is starting nice yes I was really taken by articulating the heartbreak moving towards what we know what we've done moving towards the now and then connecting that to what you were saying about the responsibility of the artist to propose to to move beyond just spectacle wonder all those things that we can do into creation of content that that gives us the possibility of real transformation the similarity between Alice and some of the proposals that she put out there in terms of collaborating with our city politicians and what I was saying by being close like the field line the hopefulness of what you were saying in the sense that even in the room not just me but the joy that arose out of not really little because they're kind of huge but we see to the whole in that sense of let's put something out there it's not just about not just about the heartbreak it's also how do we how do we offer something that actually allows the heartbreak to get expressed so that we can move on to the next absolutely yes hi Marlene made me very worried because we are artists and we're always singing spaces and we're pop up and I feel like I'm in the sea of underdeveloped work now because we're called for run and I think it's a really interesting point because I look at the work we're all doing there's so much potential and we shut it down and we move on and I would love from any other panel how do we work for this cause if we don't have access to mainstream theaters or long runs to well that's a great question great thoughts yeah I think what is what I find always hard about is that of course where I work there is a completely different system I'm sorry that I'm talking about Marlene but yeah there is a completely different system so we have this system that even though you're really young you just graduate you get for like 4 years I think when we started we went to a big company and asked Camino maybe one performance and then it was actually Johan Simon who is now the director of the Cabache Filet he said no that doesn't make any sense because if you don't have a long brand you will never get anywhere and I always remember that because I think he's so right so you need I mean it's about I think it's about not only about money but it's about trust and it's about saying we believe something so it gives you space to develop and that takes time of course because we make mistakes we do it all the time so yeah so exactly what I said before I had this kind of pop ups that is now also coming a lot in the Netherlands you feel the temporariness of it how do you say it the time like I had you feel that it's a short break and then you need time to to go deeper in things I think I think that's very important so yeah is that maybe a little bit of an answer to your question or not I'll make it very deeper I don't know maybe this is another solution but I think it's a really important way I don't have a solution I can only confirm that it's not right I don't know I think one of the solutions is something that REF has and also is related and if more institutions do is the artists in residency programs that they allow the artists to do whatever they want for a given period of time give them the space and have them develop without any obligations or any further any any subjects that they put on them allow them to develop and I think we need more institutions to do that yes first of all I just wanted to say thank you so much for bringing we are all day to Los Angeles because having this international forum is probably something I moved to LA in 1998 and it's finally here creating for it so this is really fantastic because I think even though systems are different in different countries opportunity for us as artists to talk and exchange can actually bring back wherever we go information that I've taken at a political level at a non-regalable business level it's not unique here it's something that we can do I think it's something that we're meant to be doing so this is great I think I just wanted to share briefly what we want to do here in Los Angeles how we want to reform our space that's being sort of the for some time it's been an incubating space for theater companies and a rental house as well because it's very hard to sustain sustain a place that's not financially supported by any funders yet but we're looking to establish a performance research and development house specifically with that in mind so that works take time to develop also they have a format of a community so it's not just one company but at least four companies and we have a chance to contrast and compare and also take time to see where can we go because the biggest question for me as a theater artist is where? because disposable theater is wasteful we're not going anywhere and living in LA for some time I realize amazing though gets created but then it's not exposed to America it's not exposed to the state generally speaking it's not exposed to America and actually it's not even presenting on an international level and I think this is something that is important and we want to because it's really the best place in America to be the hub for laboratories to take work around disposable cultures for users I'm sorry but what's that? disposable cultures for users any other thoughts? questions? I have a question for Claudio from San Diego as a boarder city I remember before the spike as you said everyone only wants to talk about the violence and drugs and before the last spike in the drug war there was for a while there we would like to have thought that we were kind of one city with Tijuana it was really feeling like there was a lot of cross-border exchanges especially in the forming arts the fine arts and music do you feel like we're going to be able to get back to that place? I feel like Mexico City for us it's like Europe in San Diego it's so far do you feel like we're going to be able to see more cultural exchanges? is that kind of an energized feeling in your experience right now? is that kind of a more complex relation of neighbors we're very very different for luck in my point of view after a long time we would face that this complex relation is making us grow just this opposites makes you grow and we are so different but at the time I was watching how these people that is coming to the United States going back to Mexico I mean some time ago and the opposite also but anyway it's very very complex but there's a lot of energy that people has put there to make it easier this relation so I think that I have seen how this is growing more and more so this kind of art the other form is much more linked without these barriers in the mind I mean the politicians would stay with these barriers so we have as I was saying before to find a solution the solution will come from us from the armies, from the need not from them and we are doing it it's very complex to come here just to make a visa process it's a nightmare but there's a lot of people that is working I think it's changing very fast compared to so many years being isolated with these paradigms of what is an American and what is a Mexican I hate America before and I was shocked because in 11 when when they there was a friend our producer that she was shocked so she was shocked so she realized that America really hates outside she was thinking that everyone loves you because you are providing the democracy and all these things that is a kind of fiction and then when this collapse also this idea collapsed from America so then she realized that everyone hates America and I hate America so then I came to America and I just see that you are the same as me maybe you are alone but you are exactly the same and that's the great thing that we are just the same everywhere and probably not these paradigms has to pull that that's the truth even the unique ones that hate America because of this fiction about America is not because you are I mean this fiction that they are the bads that they are the power that is over us and all these ideas maybe politics but not with the people not at all not at all so it's great to see that that we are just exactly the same in essence maybe as a group as all the groups we have a lot of distortion in so with the groups has a lot of distortion religious is very distorted there is a distortion but in the essence it's very simple there is dignity there is a dignity in everyone maybe and responding in another way how do you do this one it's good actually I think on that note let's give everyone a round of applause for everyone