 Okay, sorry, we try to start with a little delay and also I introduce myself, I'm Fabio Tulledi, I am a director and also I am the president of the Italian Center of International Theater Institute and also I coordinate and also my experience is connected especially in theater in conflict zones and then with me is Nora, please. Yes, my name is Nora Amin, I am Egyptian, I live in Berlin since three years, I'm a performer, theater director, choreographer and writer and that's enough. Okay, it's enough. It's not that. Okay, the topic of the meeting of today is, Eurasian Trism is the new colonial and also is a provocation in a certain way but also it's very important to consider that we live in a context of global conflict and also we are not able to recognize that the conflict is global that always is connected with all the countries also especially in the European Union too and this is an aspect very essential for my sensibility and also the conflict is based also always on some crucial elements. The first one is the an idea of supremacy of one culture against other otherwise there is no conflict it's clear the conflict exists only when we have an idea of supremacy of something against something else and this aspect of the supremacy of culture that is very clear in the political and public speech in the United States and in many other very official and important level also unfortunately in Italy in this last month it's connected with a very important idea and very mighty idea of the supremacy of one culture against the other one also we have decided to because it's a very short the time to launch some aspect and also to have a ping pong with Nora too. So thank you for mentioning global conflict and I think we also share the fact of working with theater and conflict zones. I started my first project about theater and conflict zones with the German ITI long ago 2005 I guess and it happened in Sudan and after this I launched what is called the Egyptian nationwide project for theater of the oppressed right after the revolution 2011 and it expanded into an Arab and regional network of 700 activists and practitioners of forum theater and my own relation to conflict now is not so much about managing conflict via theater or performance but it is rather about the healing aspect that performance can have towards traumatic experiences whether connected to the performers to the spectators or to the society in general and in this sense and due to the last two years of work in Berlin and in between I think that this area of working with dance and trauma performance could be one organic field of exploring our similarities and our somehow universal shared pain that also transcends the idea of war zones because in each society there is internal wars and there is violence and aggression even within Europe which can be looked upon as a colonizer of war zones of old war zones and could be also looked upon as colonized but by its own internal history of colonization sorry for being too long is that topic that need of course a very long speech not so fast but also I try to come back to the problem of the new colonialism what is the meaning now of the new colonialism of course I have said the ITI activities is connected with the chart of UNESCO that was born 70 years ago of course connected with the hand of the Second World War and the birth of the United Nations to the aim of the chart of UNESCO remained very important is the mutual understanding to overcome conflict but also we have to consider how the world has changed until now and also for example the official language of UNESCO are not enough to represent all the world our French English and also the art the language of the time in which UNESCO was born but those is always is connected with a very huge aspect and also the language and the languages and also the work of theater is connected with this awareness what is the problem of the languages when we will work in the next month in Burkina Faso usually we say what is the language of Burkina Faso the theatrical language remain the French and the Ministry of Culture is the Ministry of Culture and Francophony this is the con is a very clear consideration of the condition and also yesterday and also when I'm walking in the very interesting topic of each tables arrives an element of the economical condition of the artistic work but the economical condition also as influenced always the condition to making art to making and art experiences and this is a very clear that the conflict the global conflict is not the concept not concrete is a very concrete is connected with the dimension of military intervention of the countries of European Union also Germany France and Italy and United Kingdom not only United States not only the division of Polaris of Soviet Union and United States of until the end of 80s these framework is very important to consider that we are the connected with an heritage in which the superiority of the European culture continue to be very strong usually and I pass the word to Nora when it's very strange when I say in my university in South Italy where I'm going to to work and say I have a workshop in Paris I have a workshop in Berlin I say how very interesting then if I say I have a workshop very important very strong in Tunis ah is it a danger this is the feeling is not is important it's danger and also this attitude continue to be very present in our daily life so going back to the supremacy and the supremacy of language I am I I think I think I have a struggle with the supremacy of the Western aesthetics in performance and for me this is maybe the most important challenge I have to face as an artist if I am an artist and because on one hand it this kind of aesthetic Western colonization of the stage is was present for me when I was in Egypt already where the ideal for the stage is the Western and probably European form of performance so we create and we live with the ideal of the colonizer and with the eternal feeling of being inferior and struggling to act like the French and the Italians and then even looking at our own forms of theater as folkloric which means not modern and not available for the modern international market and then we struggle and try to make also some contemporary forms with dance there is another struggle also with colonizing the the Egyptian bodies by a technique and Western vocabulary that was really born out of a history out of a history and aesthetics and culture and everything and then denying our own physicality and daily everyday life struggles and resistance and and physicality really and how to deal now with this hope of liberating the aesthetics of the stage of creating performances that on one hand the theater market does not label as exotic or like with an expectation of some kind of belly dance or oriental dance on stage or with an expectation of this like semi retarded part of the world what kind of satyr they are presenting this equality this equality in looking at creativity and artistic work is very very very rare sorry for talking too long okay I want to use an example very interesting that is connected with the economical condition in Europe especially in Italy we have an explosion of the performance of monodrama performance is connected with the very difficult condition of the cost of the company but all and in this way start to be a very strong level the storytelling dimension when I've started to study theatrical studies and at university I have read many many times in many many very important book also very good book in a certain way that in many countries in many areas in many continents doesn't exist a theater doesn't exist that a tradition a traditional form of theater but we know that the storytelling comes from many many cultures is a typical dimension of the theatrical expression but also in a certain way we have transformed this and also in the political telling start to be storytelling a dimension very important something connected with the dimension of new proposal for the new scene and we are forgot we have forgotten that the storytelling is connected with the practice of the circle not in a closed room but in a square or in a courtyard in which we start to tell a story and we start to make theater for the community this is the first aspect the second aspect that I think that is strongly connected is connected with the dimension of the audience the all the political policies of cultural things connected with the audience development as received an idea from the United States that is connected with the commercial event connected to the theater the audience is not the community the audience are the public that is paying a ticket to watch a show to stay in the entertainment also the different category of the entertainment can also involve the the high cultural production but always remain a economical product that is connected with the audience that can be reached to pay a ticket in this sense I think that to discuss on the new form of colonialism is also is a way to find a new strategy exit strategy and I think that the first answer like for high etm for iti activities is the network networking is the real dimension to create a network is the first answer to overcome the idea of separation and colonization of the some a very huge number of people so going back to the audience and I think the spectators are maybe the best solution to focus on change through creating like trying to create a human bonding with each other among the performers and among the spectators and trying through this possibility of human bonding and through connection to overcome the prejudice and the political history and even the shared pain and my experience with with with this human bonding is very strong I can quickly mention two examples if it's possible and one example is related to creating one-on-one performance earthport which was created in Berlin it has a cast of German Egyptian performers and it includes the scenes are designed as encounters between a single spectator and a single actor and then rotations according to a certain calculation in this encounter there is a really intense possibility of exchange and of seeing looking recognizing the spectator as human as a person as a person with a history and emotions and presence and a person who is able also to shape the encounter with with the actor and it also gives the other possibility that the actor becomes also human not an object for performance not a puppet not a fictional character and if we can I mean include in the topic of change just the little intimate personal momentary changes that happen to us during this one and a half hour of performance then I believe it is possible it is possible to through performance decolonize our knowledge of each other and retrieve our humanity and just the other example very quickly is a solo performance this is not one-on-one but in the solo performance and going back to the monodrama and it is called the resurrection it is made as a dance ritual to give tribute to satyr artists who died in a fire in Egypt in 2005 but this ritual expand to embrace all the survivors or victims of oppressive systems and then at the end we have a chance to put the oppressive systems away and just recognize that we are alive and together and as equal human beings okay and the other two things that I want to propose to you is the first one is connected the network live can be very effective through the mobility of the artists this is an aspect essential too and we know very well that the globalization has created a free commerce of the goods but not a free commerce of the artists and the condition of the artist is very very important in this connected with this dimension we have to launch a lot of campaign to be free to move from one countries to another this is very important is essential and also I think that the network can work in this in this direction the other aspect is connected more with the artistic dimension is connected with the mother tongue experience the meeting with the different cultures can be very rich through the practices of mother tongues that we can meet every day in each places and also I think that is very essential also my theater try to do in this way and many many other artistic form theatrical form or perform of performing arts are connected with this dimension of mother tongue practice is very important to give the full dignity of this expression and also we have to continue to increase our efforts in this direction too for me the big hope is friendship and I think the even the biggest projects of cooperation and networking if they do not include a basis of friendship and mutual understanding so maybe they will just recycle the same system again maybe yeah I just say maybe and I hope we get out of the IETM meeting as friends with new basis for equality and maybe this will be the change that we can do among us those hundred or 200 people thank you I don't know if we have finished the was a big rush for us thank you very much