 Întotdeaților dacă îmi adăugăm o până toți ingrează, eu sunt întotdeaților un decât gangsta, în mea jadră cu rău, într-apăr de apăr trebuie să mă intresc mai nouă călăție din pânălă, în preziat de păr pânălă, sau în ceată de pânălă, și îi fie întotdeaților la mea răumastră în situație cu apăr de apăr de pânălă, sau în ceată de apăr de pânălă, sau în ceată de apăr de pânălă, sau în ceată de apăr de pânălă, sunt Enică Georgiancard, și reprezent aici în societă viața Paranjoshin, Silvi Rujti și este reprezent de ator megei fame. Încă bună, la criet de conzoi, eu sunt două, da, și eu sunt de la reștoarea. Imi aș văd o dată, mă numesc, de la situația paranjoshin, project, lucrurilor și mai ești, zis, va și ne-ață în țima această. Încă bună, încă bună, toți care le zile aștept în viața paranjoshin, în care lucrurile a făcut space-ul, dar lucrurile a făcut păr pânălă, dar lucrurile a făcut păr pânălă, dar lucrurile a făcut pânălă, dar lucrurile a făcut pânălă, dar lucrurile a făcut pânălă, dar lucrurile a făcut pânălă, Ceva motivată va motivați pe care au fost in acest cateva activitate care este un foc special pe care au fost specialiate pe care au fost specialiate pe care au fost specialiate pe care au fost specialiate pe care au fost specialiate de la acest cateva activitate s-ar va motivați pe care au fost specialiate pe care au fost specialiate de la acest cateva activitate vreau fost specialiate părăsor la prețele faceți o întregă crisis și atunci mi-am dat seamate toate legăturile care sunt, că am spus în deoseamate legăturile să nu se aștepărgează, și pentru că sunt în javocă ea n-am spus deschis, că aștepărge o organizăție să îmi spunec de acolo, că aștepărge au pentru toată anul, și ca independențile a dat seamate că aștepărge au spus deschisile. Și am început de toată țeșo, și am început să mergem în satel, și să aștepărgeam seații de această anului. Și suntem de cea cea, de ce ați fum am într-o scăt, și ne-am dat seamați în anului, dar diferite credește, sunt scori și ne-am de cea o, ok, dar nu mă căci să gărată în 10 sau 20 de copii, pentru acestui foc de linia, o mă vorbă în minte un țărat sau o, te-am într-o poți și am început să am zis, ok, dar sunt totul de foc, dar nu-mi mergem să vedeți mic. Și am fost un lucru care, pe nimeni m-am afectat foarte mult pe fiecare mers. Da, m-am început, tin să vorbesc foarte mult. A fost un lucru care m-a afectat foarte tare, m-a afectat foarte mult în sectorul la o școală și clasa care era la partea, și a vrut să fie plăticor de bine de gen 30-40 de copii, dar la ferec trebuie mai rog pentru... Și a fost ca un moment așa foarte socași, o iei între fiecare fata în ceva și că fiecare să fie internație de fainte de bine, nu permit să plăticăți eu transportul să ajungi de gratis pentru a ne fie un lucru de 10.000. Adică nu pot să fac de doar de dragul de face asta, așa că nu început să scrie în proiecte. Și e pract să facem și un mare mare fond de urmăța noastră încât dacă mergem, ne știu, când o spectacolă îi umci în aceea, pentru că ține scrieptăților, și o șreie de-aia, ne-așa făcut de prea. Și atunci mergem în diferită mulțelii de spație, unde nu început să facem mâne ce am început. Și îți poate le vedea terabilizată, pentru că o apălătie nu știe, o năcă unii n-au mai văzut niciodată spectacolă, așa că, înainte de spectacolă, le-ați ajuns pentru că început ce înseamnă, ce înseamnă, ce a celălalt păbușar, s-a băgători, ce țipa ce-l puteți băgătirea. Eram scurte exerciții pe care are elecțor, înainte de ce am început exerciții pe 10, 10 minuiti, preformația. Înainte de acest lucru, atunci este că, înainte de acest lucru, am văzut faptul de faptul de fapt, la care suntem si de faptul de fapt, așa că de fapt, am văzut trecerile ale faptul de faptul de fapt, dacă ce-i au fapt, astfel nu s-a preunit. Așa de ccoltec, este ca un descopter, dacă nu am stărit băgători, este ca un descopter persisten. Deja am avut vișnuită cu ideea de cecărnităț, că am făcut de multă la un site cineva și m-am făcut ziț, așa l-am sprit la zițară din probleme inițiativ, o cuștim plăvastră, dacă n-a apărat vișnuit, se întâmplă când a făcut, se începe s-a mărșit la media și că era fără fără fără fără fără fără fără fără fără, să căl încă nu chiar de coniozare, poate ne-i zice dacă îți plăși se deschide sau nu se deschide, tot anul iat, super, super, wow, e lunată. Așa și multe alte lecții s-am descoperit comulcățile astea, pentru că am ieașut în pusicea de teatru că e ceva nou, timpul era ceva nou, nu aveau un ușei desviată și eu îmi descoperi că le-ați vărat oameni din ori la ceva care îmi atunci pe fapt de vișnuit, dacă, pentru ei, e ceva care pare poate la tenan, sau nici măcar atunci și doar dacă a făcut în pusie, e ușor. Și cuva deja am de anul de aia asta, că ar trebui să fac un ușii în altă parte, dacă nu știu ce se întâmplă lucrurile, pentru că de altfel de aici, în curioar și cu terume, chiar s-a născut la cluși. Dacă ești cineva care chiar s-a întâmplat cu uși, se țără unul măsur dintre noi, de așa, destul de mulți, dar acestuși sunt de țără unitare. Deci, nu știu, mare, poate sunt de primituri și, cumva, cred că ne române gând cu ăsta să facem ceva și pentru locurile alea de care am plecat și care m-am vrut să văd. Așa că, dacă ești criteria, m-am întâmplat ca vământar, dacă vreau să trebuie să trebuie, ar trebui să plea în spidale și atât în 2015, și am măcuvat lucrurile ca prin atribuții, până când am ajuns să premiest eu vântar, și... Dar, până când sunt în hospital, nu avem mai vizită să spuneți timpul frec, și să măsurem alte timpuri și să socializez, este cum sunt curioase. Sunt curioase și că se uită cum văd o oameni, o oameni cu o oameni, o oameni cu o oameni cu o oameni pe care nu există oameni cu o oameni pe care nu există oameni pe care nu există o oameni. În ceea ce mă colegi mă scoarte, mă putem să putem o oameni în măcuvătorul meu. În 2013, în un moment în anamalare, m-am văzut de Barcelona. Mă avem o mâne și mă spun că mă avem oameni cu 18 mânăți de mâncare, și mă avem o mâncare pentru 18 mânăți. Da. Mă faceam proiectul 13 ani înainte, pentru a crea producție în anul 2. Mă avem o mâncare pentru oameni și mă putem să-l poate să spuneți, vreau să vorbeți, așa ce este o proiectă de teatră, Mă avem o proiectă cu oameni cu oameni cu oameni cu oameni, și mă avem oameni cu oameni cu oameni. Și în facultatea, în Universitatea, mă avem oameni cu oameni cu oameni. Și am studiat acest lucru și am văzut acest lucru în practică, ce mă avem văzut în Universitatea. Mă oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni. Mă avem oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu oameni cu o a fost oamenilor projecției să fie oameni. Nu știu ce vorbesc faptul nostru. Dar acum avem oameni projecției care au fost reușit. Suntem unul aici, pentru instanța, am optimist. Apoi, bără, o paștie de un an nu îl arăt. Nu am niciodată probleme cu lăvării, dar cu mine. Mi-am zis ca cea ce levi a fost zis ca, dintr-un moment, Shoshin a fost fundat by Karuchon Koran dintr-un moment, am făcut o familie iar după care oamenii au fost urmării ca totuși a fost ușor. Deci, este făcut să facem oameni care au fost urmării? Mă dă oameni în fiecare să fie multă, când am dat acest pălăt în ultimul pânăl. Și cred că fiecare mentală și physicală de aici, este foarte important. În momentul acestui moment nu știu că ar trebui să știu că ar trebui să stiu în tâna 2 de minute să măsim unul și să băim întreabăcă de mânii. Sunt foarte importanta pentru a înțelege acest factor de joie. Pentru că îți înțelegeți ca îți găsește ceva pe care îți faceți. Foshoșin, cred că atunci, a fost când a fost conectată, sau când a fost conectată la care oamenilor a fost conectată. Așa că am oamenilor, sau ca a fost conectată la public, care îți găsește ceva pe care oamenilor a fost conectată. Așa că am acestui experienț de acest teatr, în care eu nu am înțeles pe care oamenilor a fost conectată. Și eu nu am înțeles ce a fost conectată. Și oamenilor a fost conectată. Și cred că a fost un problemat. Și noi a fost înțelegeți situație care pot fi pentru a fost conectată. Și pentru mă, acest lucru este un lucru ca să se conectă. Încă nu este teatr, este un teatr de care îi puteți văd. Așa că eu mi-am înțeles pe oameni, eu mi-am înțeles pe oameni de la public, și cred că oamenilor a fost conectată. Cred că oamenilor a fost conectată. Și cred că oamenilor a fost conectată. Și cred că oamenilor a fost conectată. Și cred că oamenilor a fost conectată. Și noi a fost invitați, acestea aici nu văd. Și noi a fost văzut să crează un enviriment pentru a înțelegeți, dar nu oamenilor nu este interesat în înțelege. Și noi a fost zis, ok, să le rog. Nu vreau să le prolongi. Eu am o oportunită să te spuneți ceva care au fost. Să-l spuneți. Și apoi oameni de oameni, multe pentru oameni. Și noi au fost oameni pentru oameni până că producția a fost rețetat în lumea XVIII în literată de Hungarian. Este o pedătă de literată care este mandătorie în high school. E un langaj archaic, pentru că n-o poate înțelege. Înțelegeți un drama national, oameni de oameni. Și noi a fost oameni pentru a pune un text adaptat. Și noi a fost oameni care este făcut în lumea XVIII, și noi a fost oameni de oameni de oameni. Și noi a fost oameni de oameni în literată de literată. Să a fost oameni de oameni, pentru că n-o poate înțelegeți, pentru că n-o poate înțelegeți. Să a fost oameni de oameni, și noi a fost oameni de oameni de oameni. E foarte greu să fie partea de această producție. Și când a fost oameni de oameni, de cea mai vizibil, nu poate să fie că acesta este o teatră educată. E interactiv în partea participării. Dar este o lumea de oameni care este basă. Și cum a fost oameni de oameni? Bă, bine, noi așa plecăm în Luz în acestui înțelegați așa de așa așa, oamenii de oameni și oameni de oameni înțelegeți, așa a fost oameni de oameni înțelegeți în caz, oameni de oameni de oameni care a fost oameni și, apoi, mără, mără a fost interescat în teatră educată care, în România, nu este foarte bine-o până e already has a very rich history in Hungary, history of over 25 years, so we got into contact with round table theater, it's called like that from Hungary, they have been involved in educational theater and they have been in contact with the forefathers in the UK, so we organized workshops with them we even had a co-production with them, it wasn't a clear cut co-production because the pandemic came so they set up a performance we had another one so not a classical co-production anyway, so yes, educational theater this is how I would define our activity as for the location, as for the site so that four wheeled event I was talking to you about well, it's very important to have a Hungarian language community without direct access to Hungarian culture and this is how we started to visit different places localities, first of all small towns well not necessarily small ones because we went to Brasov and to Bahamar as well it happened quite often that once we were in Brasov we visited the neighborhood as well and we had a bizarre story we were playing in one of the small towns in the vicinity of Brasov and we were looking forward to meet a high school team but they couldn't come because they were short of gasoline so we suddenly decided that we would go over there and have the show so as for the second edition of this four wheel project took place during the pandemic and it was very difficult for us to organize shows because the schools didn't accept us and my wife by the way, family my wife thought of calling the orphanages and we did so that's why that's how we came to visit lots of orphanages in very many places of about eight altogether and that was again an awesome experience we also went twice to a locality Close to Cluj there so it it wasn't actually us choosing the place it was the place choosing us so who would like to go on well I don't know where the reactor or mini reactor projects would fit in I guess that we are directed towards processes because all of our projects have long term stakes so along them things at stake so we are oriented towards project investigating our histories and for the next five years we would like to talk about the future together with my colleagues we would like to see how we can approach this future as a subject matter and how we could add something to it how we could enrich it and how we could reach out to the public so we are trying to set up workshops in all artistic workshops for our team but also management and cultural management courses as for the community building we are organizing dialogues with the public organizing workshops theater workshops even and we also have cultural interventions in the public space and in other communities as well and I guess that this cultural intervention is very appropriate because we are not going only once we are attempting to have several meetings with the same people Zalo Zalo is a town very close to Cluj so actually it is one hour drive to Cluj you can go there it's enough to have one day of course we have a contact contact to get us into touch with the authorities, with the town halls and so on and so forth so we tried that in Bistritsa and other towns as well in Transylvania so we've been groping around so to say so the dialogue with the authorities can be very complicated sometimes as you know but the most important thing is that we do exist and that Zalo doesn't have a theater a bit lost right now it's nevertheless true that the Zalo is close and at the first sight it seemed something very simple but in order to organize a performance you may have to be there ten times before you can actually show the people your production it is apparently simple you go to Zalo and you play but Sunday morning 6am you wake up and you need to build some efficiency around your performances because maybe once you have to play for the adults and then you have to do it for the children so it's very complicated now we are trying to see what we can actually do in order to reduce certain risks so to avoid overlapping performances n-am tomhanyura vo me ne-am niste mi-am mai visit cialiu so before the pandemic we were attempting to do seven performances a year well now we are happy if we do four so there's a lot of work and we have a place in Cluj, we would like to go to other places you want to keep yourself in the process to be involved in the process so it's very complicated people in independent area are doing lots of similar things I am here today tomorrow I will have to go to my team and to sort out some banking and cash flow issues so it is always good to have new people showing up with other targets other towns to target so in Cluj and around of Cluj oh, you have to resettle the dynamic I don't know if my generation is ready to start so we are taking a break with Zalo right now of course if somebody invites us to take a performance to Zalo we do that but actually it is everything is complicated and this summer we organized a summer camp where we joined together children from different communities this was a project that seemed very easy and beautiful but in practice when you have to organize a summer camp there's a lot of bureaucracy to deal with the fact that children come from different environments this adds another kind of risk and other complications yes so the texts how do you choose with the text or the scenes situations intervention, cultural production participative or interactive I was thinking to start with the text because they have somehow connected to the question in the sense that when we established before establishing the theater someone came to us to Florin and me and he proposed to dramatize cheapy from Fodor Shandor the giant dwarf and I said why not and that was practically the beginning of magic puppet and then we said we should go out and play in communities and then we realized that people like it and they asked us to come a second time and then we were thinking of changing some things to see what kind of the problems we have seen the first problem was superheroes are a great fashionable thing and in the meantime children learn not to beat with each other or not to fight with each other and then they are the superheroes which fight all the time so we tried to write our own texts using puppets like cluj type of puppets which are kept like this I'm showing with my hand and then puppets that are kept in a different way and let's make a magic performance or marionettes or soap balloons and diversify to show because the children who were our audience practice needed new things to see so in vain I come with classical types of shows we have to make it more diverse in order to permit in order to permit them to get access to all kinds of new things sometimes we are even perhaps too exaggeratedly interactive the public can even detour the entire show we introduce new characters we take out characters and so on and then we improvise quite a lot this means a lot of improvisation and our shows in that sense are very diverse, very different the same performance one year ago was completely different than what we do today we play quite a lot we have thousands of shows that are running actively we have 4 teams and we were playing I think the most was 12 shows in a day with magic puppets so and yes for us absolutely financial things are absolutely important for us as well but still we succeeded to put the accent on quantity to reach as many children as possible we play quite a lot our performances are taken are bought like for instance the magic show of Florin has been going on for many years and he I think has got 5 or 10 shows every weekend what I was going to say or what I want to say is that we play quite a lot and things change they are interactive and we adapt ourselves and the show to the children in order to make it the artistic part to make it more accessible or to transmit the message more clearly or if we have something that clear educational purpose we would like to see how the message can get through to the children who are our audience and the spaces the places where you perform how do you choose them just like my colleagues had told before it depends on the distance as well how you can reach in the morning maybe you get up at 5 o'clock in the morning and I can return to clues in the evening so the farthest distance we succeeded to reach was Oradia and by 3 o'clock we returned to clues to do the dishes at home so it was really very tiring indeed but later on we became better known by the people and they are we started to be invited and then we had to extend ourselves and then we discovered that there is not much to do in the summer and then we came up with new ideas we participated in various festivals in untold, in never see and then going into shopping malls in during the summer or street shows so that all these occasions help us maintain our shows and this is how we succeeded to extend all over Romania from Bottocent to Constanza and Arad and a month ago we've been to Alexandria for instance so we have practically covered the entire territory of Romania we think that Florin and I think that we are not really good in advertising ourselves and the people come to us but in order when we organize ourselves people maybe don't know about us that much and we are trying to find the resources and the people to help us in that respect but in the meantime telephone rings all the times and we have got events all the time so somehow people find us anyway and then it is hard to organize all these resources and the cars, logistic problems to reach each and every location and the artists last year as I have mentioned the two directions theater for children educational part and how we are trying to combine these two or complete them and do street performances for instance last year for instance it was the pandemic and it was a moment of break and we said to ourselves that it would be good to create some shows for the adults for the adult audience and we last year succeeded to organize four such shows for adult audiences and we started to write projects to obtain some funding from the town hall and to extend ourself, expand our activity in that area I think puppeteering is not only for children and this is really a work that is hard and we need to carry that out but I think this is our direction so we were playing in the morning for children like children at the patarut at the garbage dump of Cluj and in the afternoon with a completely different audience so the situation was really completely different and where is our target because we can't really be available for everyone and then we need to select somehow and then we said we are doing puppeteering puppet theater with all which is which is good for each and every child irrespective of the language sometimes we improvise in English then I started to speak Romanian and they were all strangers and then they asked I asked them do you understand Romanian and the audience said no and then I started with English and it worked it was very interesting it was an interesting issue and on the side of adult performances performances oriented to adult we tried to make shows that can be played in various places in other places right now we can only do it in our own room, in our own hall on our own stage but we want to diversify diversify that it was very interesting to hear it but then you should say and then Raluca hasn't answered this question either so we choose our places of performance depending on our possibilities and the needs, whose needs your needs or the audience our possibilities and the needs of the communities we are trying to address of course so I think where do we work it greatly depends on our relationships with let's say so international relations jungle worked quite a lot went to many workshops and me too and we made contacts with people with whom we made great relationships and we really liked and enjoyed what kind of practices they use or how they approach the whole issue our association Shoshin is very much influenced by these practices let me give you a concrete example we had a workshop or a residence three, four years consecutively and in these four years some kind of a cultural barter was introduced Chongor saw something at Odin at Odin Week and he liked it very much and we tried to implement it here and there are many different practices like that we felt that it's good to try to carry out those things at home and experiment with those things and we think that we never tried to have a show in which we impose ourselves or we don't have a competition with anyone because we know that we cannot really compete as an organization we are too small to compete with greater managed to higher we managed to rent out this place which looked terrible but with some colleagues from various places like even colleagues from the patar it's non-functional for us because we don't have right now we don't have any kind of performances here about a year a year and a half ago and the waiting room came in and they used this space but we are very proud that we have this space we don't have our own productions but still we used these activities and we were we were involved in various European projects there are villages in which we work five, six, seven villages around Cluj and I think we will talk more about that in the afternoon maybe maybe you can say a few words about the villages how they were chosen based on the distance efficiency and the logistical issues are very important we try to identify a person with whom we can have a good connection a reliable person a reliable person with whom we can work together and there was another there was another issue we tried to find at least one village where shows could be carried out in Romania or in Hungarian because we did not really want to close ourselves into the Hungarian audience only so therefore we chose a village where Romanian is spoken our experiences are very connected are interconnected and a lot of ideas came into my mind as I was listening to my colleagues and we all practically went through those stages that you have mentioned in the beginning in 2011 when they started and when I was in the team myself as a friend and could really see their problems and the thing the difficulties they had to face and they wanted to create something of their own and this is art therapy started in one of the hospitals in Cluj because a door was open for us there and we stayed there and we have been there ever since and after that first episode the first project the association was born and the founding members wanted to establish an independent theater and film company that was the initial slogan it took quite a lot of time to achieve that and it also meant that there was a space that was needed you were somehow connected to a black box that was a really hard job to find and identified many locations were changed it was very complicated to pay the rent for such a space and get the necessary funds to maintain the places we did not really have many performances that generated incomes and then we were focusing on identity and we know how all these things changed the children got on the stage at Urania for instance and for a long time it was the accent was was placed or emphasis on theater because we had more collaborator actors and dramaturgy experts and in addition to our vital projects that was to which we tried to focus and then things have changed and we we told ourselves we have to go back to the essence we have to find unconventional places why should we why should we link ourselves very much or anchor ourselves to a space so we should go out to the community and find the places there find the suitable spots where these cultural interventions or participative art projects can be carried out in most two years is the house of tales for instance and all these houses could turn into some kind of memorial houses but we want to transform them into playgrounds there are shows that going on installations artistic installations special music going on there in addition to the theatrical performances all projects in which you somehow get closer to the personality who stayed in that house for instance doina cornia's house then on racovica street or cincius montoduca street we have got six such houses already in our portfolio and what I like very much is the issue of going out to a place which belongs to everyone but somehow not everyone has access and then we can revendicate or take it for ourselves occupy it it can be a cultural center in borcea or the house where doina cornia used to live but it belongs it somehow gets we succeed to obtain it the whole community and in that sense it also helps us in with our financial issues and we renovated these spaces we painted them and it was a hard thing to do and now we identified as a community art organization and that's what we are focusing right now and that's the path we are following thank you very much you know that the microphones are available for the audience as well if some of you would like to ask questions to the participants here I have one more question left but then I am relying on you if you have questions I would be interested very much to hear a little bit about your relationships between a relationship with people or communities that are not privileged and as Levi has said they would like to return and there are some connections that have been made they would like to return to such communities like some kind of recurrent meetings it is important to see from the connections that you make how many of those connections are kept or remain and can be used in the future and now not everyone has to but if you have got something to say about that I would be really interested to hear them and you can talk about the effects of your work and how and maybe you can talk about the impact with your own terms and in your own words what you feel like an impact regarding connections and relationships yes the idea is to maintain all these relationships keep them alive from all kinds of relationships we have in life relationships with friends maybe you want to keep or maintain relationships with everyone with whom you were friends in high school but life goes on and then you don't have the energy and at one point you don't communicate that much with them anymore and it's a similar thing there are certain contacts needed which are beneficial for maintaining the relationships and in if we are really wanted at certain place we are invited again and if we also are funding for that then the relationship will exist or will thrive and will go on but if some of those aspects are not available it's not always easy for instance when we went to Vilca with art therapy we used actors there trying to trying to create a community of artists there so that they can overtake the projects later on but nobody really wanted to overtake the organizational part and there's a lot of work involved in that I could see that Patsanka have a keyword the difficult part of the hard work was not really something very popular to be overtaken so or taken over so there are places to which we cannot physically return anymore because it's just not possible and there are places where we really want to go back the transfer is a difficult thing and the second question what was yes it was related to impact, the issue of impact in the community with your own words we do it very classically we have questionnaires and we work with collaborators who know how to design a questionnaire know how to ask the questions, the right questions and so on and they can do it really in a scientific way we have collaborators from the psychology faculty from the education program of the university and from that we try to draw conclusions that can help us improve what we are doing and we try to gather the data from the people themselves qualitatively rather than quantitatively I assume well both in fact because with hospitals there are really a lot of questionnaires that are distributed like many are collected the hospital we are working the rehabilitation hospital inclusion has got seven floors so we have got quite a lot of people involved and many questionnaires you have to go back to a community several times I guess that we all know this so we organize this residence programs in Kira where we set up a space for this actually it was a one week workshop where we invited people from different places in order to act as trainers and it was always the village people who were invited it was public of course where people from the village came and after three or four years only we started hearing that they miss us they are missing us they are waiting for us and they would like for the event to take place again quite unfortunately we couldn't go back to Kida we went back to another one actually it was two and I don't think that it was good for us to make this switch but we were forced to anyway we could see how relationships between and among people are being built between ourselves and the community and that's why I say that we unfortunately had to give up on on that project sometimes we meet people we used to work with and we tell them that we had couple of successes by using this and that and actually this is what we can call impact so we do not have a public saying us oh what a beautiful performance you've had we meet several people we work with and each of these people take something with themselves and I guess that this is why it is worthwhile for us doing it I remember that at some point you worked with pensioners and you set up a production with them yes it was the Mera project so it wasn't only pensioners it was all age groups including pensioners but there were also children and we had a community performance inspired by the myths living in the locality and inspired by the stories of the people there and that is why the whole performance was very touching and personal for them and they took it very personally actually it was because they went to see a performance in which it was their neighbor acting on the stage or playing on the stage and the public, the people in the public could see their own neighbor from another angle from another point of view and actually everybody heard their own stories but the story might have been told by the perspective of another person I guess that performance was played twice if I'm not wrong in Mera we had one with Mera with pensioners and one at the transit house in Cluj Did you have a different type of work in Mera than the same performance in Cluj I couldn't work with the pensioners because I had to babysit my children and that was we had a project we loved we had partners from the UK and from Germany and we would have like to put up a small show with pensioners from Cluj it was either myself or Chung-Wol entering this project I ate it project because one of us had to babysit our children at home yeah it's very difficult to assess impact in these places because we have different kinds of financing but you need a very deep strategic thinking you have to prioritize yes and you have to include everything yes, it takes a lot of work a lot of effort so what I would like to underline as a result is that as compared to the first tours after that it was a lot easier to organize the performances because um we've already had our contacts we've already had our key persons at first we had to call these persons six times and introduce ourselves and after a while they knew who we were and this is a very important impact but what is nevertheless more important is that is that the quality that you have already mentioned the impact is the direct impact on the children only a couple of examples we played in in Budapest which is totally different from our projects but we played in a sports high school where they trained future world champions and before us starting the literature teacher came to us and she told us these kids are dumb they don't read sorry I must apologize and I need to say that the performance was great it was everything was alive and we felt that although the children live in Budapest they have never been to the theater and especially because they didn't read the whole performance was more alive and we've had several such examples in vocational schools different kinds of profiles waders and brick layers we were always very anxious before the performances but the performances came out great these are not long term projects we would like to have long term projects to go back to talk to these young people time and again but even the carpet dm was something awesome thank you are there any questions in the room? hello there you talked a bit about the impact of the pandemic but how has the behavior of the public how has it changed after the pandemic and how has your team changed after the pandemic and I'm also curious to know if you have any intention of dealing with the digital environment some of you did have digital presence during the pandemic so what is the participation of the public I can feel that participation of the public has changed greatly but I would like to hear you as well well, from the point of view of the events I can tell you that this year we've had more events than ever if before the pandemic we had a team of 10 plus people and 7 or 8 collaborators once life became free again well at some point drew the line and we realized we have realized that none of us in the basic team but we've had 45 collaborators and a lot more events and I'm telling you this because there have been lots of events because we have been called invited and where we met a lot of people at the theater in the theater hall for instance well I cannot give you any figures because we opened before the pandemic and closed and then we have opened only a couple of months ago so I cannot really talk about the public or our public it happened once that we only had 2 people in the public and we had to cancel the show so if the world knows you actually we used to be known by managers but not the public and if theater or festival managers knew us they invited us but the people didn't come because the people didn't know us so it's been very difficult for us to promote ourselves as for the virtual digital environment it's kind of a disappointment for us because once with the pandemic we had over 50 online events that is at the very beginning that was a lot we kept allocating resources we drafted episodes storytelling and so on and so forth and we didn't actually earn any public so we hardly earned any and yes those shows are interactive and as a parent or as worker with the children so to say and there was some kind of cognitive dissonance so I'm saying that I will not allow my child to sit in front of a monitor all day long but then the kindergarten was online so we were trying to reduce the duration of the performances maximum one or two events 30 minutes per week so I personally didn't agree to invite the children to sit in front of the monitors for hours after the events public theaters so I decided to put on free shows so our shows were not exactly free of charge in the sense that they were on donations so we had to stop at some point I don't know I guess that we had some things to earn because we saw that people from all over Romania were watching us and even people from abroad but we didn't realize how we could ensure the quality of the image, the pixels how we can offer the same quality online than the quality we can offer in a live show so it's very difficult easy but it's difficult here we work with we adapted that classical Hungarian text we played it several times in different towns but we also had online presence so actually we played online it was a live show broadcasted online and after a while I realized that I'm saying the monologue but I see myself on the screen so I have no idea of how the public reacts and then I lost the appetite although this performance is highly interactive and there was the possibility to make comments however it wasn't the real thing we do feel the negative impact of the pandemic lots of things happened it's not only the effect of the pandemic in May this year we had an opening it was full house and then the second performance the next day there were 20 people in the public so before the pandemics we used to have public it was very difficult to join people together so I'm quite disappointed because during the pandemic people didn't realize people realized that they didn't actually need theater not that they didn't miss theater and this has been a big disappointment for me, for us something strange happened in the pandemic we had a story house it's the memorial houses in Cluj and creation workshops in Cluj and the trips for people to discover these memorial houses and then it happened that we went into the countryside and there was no internet of course we didn't want to choose another school now that school has a little bit of internet not too much and the road has been fixed as well anyway we haven't chosen that school for it's accessibility but we fell in love with that school couple of years ago but instead of going online we had to find a solution to go physical so we had to go to hospitals and we had to go to different places to be there a flesh and blood because we could just switch to online in the hospital wards for instance patients needed to see us live because there was no infrastructure for online performances of course we had workshops that weren't joined by the public but we had to get creative because our public from the hospital wards didn't have online access anyway so all these seem very useful for me for us we need to organize virtual tours as well of these memorial houses because you may be from another angle of Romania and you are curious how this memorial house inclusion looks like so you had to ensure the audio material so digital material so I guess that some parts of the online are really really worthwhile keeping there was a problem there many people were really thinking what will be especially in the expensive towns what the future will bring for us and our projects and some kind of a deep professionalization form appeared and the pandemic it had some good aspects like asking ourselves the questions what we want to do what is relevant to do in that point or after that moment everyone found themselves on a very predictable terrain or grounds there were certain anxieties there and we are still working to sort out those problems the pandemic is over but its influences and effects are still here we need to ask the questions to ourselves related to our work and the efficiency and the effectiveness of our work in the spaces we try to reorganize and restructure our activities how we can maintain our energy keep our energy and produce even better results this is how we succeeded to reach the idea of producing less and maybe not every performance need to be performed 5 times in a row and so on and we we have two shows going on in series of two shows playing a performance in a day the same people in very different things repeating it because they are working in putting it on the stage playing in it and then removing everything and this is how we are trying to organize our activity better and in that sense we did not really feel that the audience was missing at that point for instance in reactor on the 21st of March and then in April we played it again only was something beneficial for us people, I repeat feel very differently about it and they have got their own anxieties they don't know what will come out of that where this thing leads us the future is very dim and difficult for us I've got two more questions more complex questions because I'm trying not to ask seven different questions you're talking about your activities and your educational theater and I would like to ask first who in Romania is really doing that job is there a faculty pedagogy psychology faculty and what exactly the educational part means what does that mean you are talking about educating the public and how do you identify the needs of the children do you have case studies how do you know what their needs are and what do you produce shows for them I know that educational theater does not exist at the university maybe this was the first year when they had some program in the university this is something new that was not yet experimented and we don't know how it will be we hope it will be ok it will work but we don't know that educational theater in our work and in my colleague's work in these activities in these practices are present and that's all I wanted to say when I'm talking about educational theater I'm thinking of a very strict genre I'm not sure if I'm not sure if all of us understand the same thing when we are talking about that because there are these terms in Hungarian and English what exactly it means for us I'm talking about a show, a performance not necessarily in the most strict sense of the world a very participative one with a lot of interruptions when there are conversations going on with the audience and the public and I would really be interested to hear your opinions and you as viewers or you as the audience what do you think about that about various aspects improvisations and so on and all of these events that I would like to call events here have got a theme a very clear theme for instance to give you an example we have got a show about Carl the Little Crow we played that for smaller children but we also did that for bigger children it's a crowd that cannot sing because it's a crowd and this little crowd is sent to a musical school because his parents want want him to become a singer these are the expectations it's about the expectations of parents about young people how they deal with that how they can accommodate you cannot talk about these things directly but through this tale of the little crow they somehow get in touch with the topic I wouldn't say we are experts of the field but we are very interested theater is there as an actor and you need to be very much available in that particular moment but on the other hand you need to be present for them as well and you have to maintain a conversation with them that's what they do we couldn't really hear the question I was saying that theater in education is something that should be done in the school not only on the level of theater that's why I was asking if you are thinking of that how do you see this project of theater in education just a little because that's the important thing we are talking about different things what you are talking about theater in education it's something different different from what Levi has just said I wouldn't say it doesn't exist in Romania in Cluj I was referring to the fact that at the University of Cluj it has just been started I will return a little bit to the notion of education I was I think there is some legislation needed a little something that is a little above us so that we can have access to the classes and be introduced in the curriculum I think it's illegal now for us to enter to the classes and be part of the curriculum full of time being it's not possible I think it's more important to have a dialogue and the process of documentation somehow a performance that is dedicated to a younger audience and I was always asking to myself whether my projects are for my generation or for other generations to bring younger people to talk about their needs and for that indeed more serious documentation is needed I am not able to go and do education in school although all our projects are contemporary dramaturgie and on the needs of the people and somehow they have got an echo I am thinking of answering the question in the beginning this had very much to do with us what we did not really like in the school so that's why we created a show or a performance of scientific experiments which looked a little bit like a class we didn't know at that point that there is such a thing as fun science and so on and so forth we wanted to organize a class in which you experiment various things in various fields and domains in the beginning there were 10 minutes of mathematics 10 minutes of drawing 10 minutes of chemistry 10 minutes of physics so something like that in the meantime we changed it and what did not change though was that we were requested to go to the school and the performance was played for children from very very low ages like 2 years still 8 years or 18 science can be entertaining in that sense there are all kinds of experiments included in the show that are explained in the language in a language or in a way that is understood by the audience, by the children to learn from the mistakes for instance to encourage questions and all this part with the school and science can really be an entertaining thing if you try to look at it from a different perspective that is perhaps connected to the question there was another question regarding to the theater yes personally I also worked an animator in parties at parties in order to obtain some money and I learned what is going on in a party where children meet each other the difference between magnet children for instance or very rich children and how you can involve them into various small games to play or in the villages what can I do there in a community like that so do it a little bit differently some kind of exercises in acting and so on and so forth and in that sense that kind of activity existing to diversify it and collect information right on the spot we did not really ask them directly but we really reached some kind of a conclusion based on how they behaved and that's how we succeeded to obtain the information in our case it's not we don't have a methodology in place some kind of didactical things for activity with youngsters we try to create equality between the audience and the trainers and us trainees and us in various places actors coordinated such activities we could not imagine what kind of local values would come out in various places whether we organize an exhibition or bring a sheep or bring a grandmother who is doing needlework or knitting we did not know what are the objectives what are the specific topics that come out anything could come out of it that kind of freedom we had we had acting or class or dramaturgy class all kinds of tales with various characters could be placed on a board and they could carry on with the story in whichever direction they wanted to it wasn't something very specific really premeditated before I think it's very useful and it's very valuable that they produce things they don't usually do to come up with new ideas maybe one of them go to a theater and they will go to another course that they like more course of photography you have got that kind of openness of mind so you can choose what exactly you are interested in and want to learn more about and before we had these theatrical performances we went very much to various subjects that were important for certain category of people what the relevant one of the most relevant shows was entitled 3 million that was before the referendum about the gay marriages there was some kind of theatrical performance based on various resources and various interviews and if you looked at the performance or watched it you could really take the part of any side it wasn't really visibly given any kind of direction that you had to identify with this or that view that they were very finely and beautifully constructed these shows so that you can find yourself wherever you want in that issue the liberty of expression and the liberty of affiliating and the liberty of asking questions and after that during the conversations we had it was interesting to see that they really raised the question of whether they were right or wrong in their perceptions or their ideas beforehand it's more like that in our case not really connected to the school curriculum I understand that our time is over we even past it we even exceeded our time for this discussion a couple of key words I would still like to hear and while we are waiting some kind of cultural policies that would take more in serious our work I would like you to say a few key words that are connected to your work and thank you very much for your presence here your teams, I mean keywords that are relevant for your teams so that your work is more financially supported or more recognized as a public service more visible and so on and so forth stability predictability perhaps two very important keywords money time and space five keywords money of course that's important we have all kinds of funding sources but we never know what comes next we would like more dedicated funding and more more tailored to our needs money that's true important keyword and maybe a better organization of communication we still meet each other every now and then and we know of course each and the stories of each other and this happens in various places in the country on the other hand we don't always know what kind of real needs are with the NGOs and there are a couple of couple of counties where there is just one or maybe two the NGOs connection connection would be an important keyword I was going I was thinking of teams teams and I think a psychotherapist or a psychologist would also be needed especially after this very difficult period that we had lived through and I don't know perhaps it's strange some kind of an organizer I think it is needed that an organizer that wouldn't do anything else but organize because we all do all kinds of things and then we reach burnout and I think someone would be needed to be paid and expected to organize so the rest of us can really take care of the things we are good at let's not do each and every of us all the things by ourselves ok thank you very much for your participation in our meeting and I would be really great it would be really grateful to sign the list of participants it would be very important for us for documentation purposes the list is there hello everyone my name is Tomas Gass and I am a moderator from Hungary thank you for inviting me to moderate this discussion and I introduce very shortly our guests today Claire Marsha is from the UK and as you can see already she is representing Khan Tukov which is an organization part of the national and she looked out very soon some more details on it we have Yulia Popovici here who is a Romanian performing arts critic and an expert on European and Romanian cultural policies and who is I'm sorry, I just couldn't manage to memorize so part of the national recovery and the resilience plan somehow but she will tell us what does it mean practically and we have chocolate curler as well here and actually in this brand table you are not representing Shoshin but you are here because you know some more rural touring models from Europe that can be interesting for us and I am very grateful for Yulia Popovici and our previous participants previous discussion because during this very exciting and interesting talk there were some keywords if you like that are closely connected in our topic just to mention a few like reaching the audience or returning to the community where it shows easy to set up what about the institution or background the new ways or new forms of communication between audience and spectators the needs of the communities and the reliable person who talk about this as well so these are just a few few terms a few keywords I think we will rely at first or and we'd like to ask Claire to make a short presentation of what is Carthacov because she prepared the wonderful and of course we'd like to know more about the national rural touring to speak to you today because I love rural touring I'm very passionate about it and continue in the UK so I really want to keep our connection with Europe especially now we are part of the European family so it's really important to me to keep our connection and I think there are a lot of connection in our rural communities in the UK and across Europe so Carthacov is the scene that I run and it's in Cornwall which is a very far south west tip of England it's a bit that sticks out into the bottom Carth is a Cornish word for a hill and a cove is a Cornish for a beach or a cove where the sea leads to the land so Carthacov reaches the top of the hill right down to the sea and we have a network of community spaces and we have been running our rural touring scheme for just about 20 years and we have run a network of similar schemes throughout the UK so there are about 30 rural touring schemes working from the tip of Cornwall up to the tip of Scotland the Highlands of Scotland up there in the north-east and we are overseeing all this sort of brought together by the National Rural Touring Forum which was set up around 30 years ago to act as a sort of unifying voice for all of the different touring schemes and they advocate our path and they work so it's a network of networks so Carthacov is a network in Cornwall and the National Rural Touring Forum is a network of all the different rural touring networks so I'm mainly going to talk about Carthacov and the model that we run because obviously that's what I know the best but all of the touring schemes really run on a very similar model in the UK so my presentation is really to remind me of what I do to show you some pictures so I've got to navigate now pressing the buttons and speaking to my friends to get with amazing so Carthacov is called before me to ask him so we're one of a national network so it's just a lovely picture to illustrate but a bit of a Cornish landscape so we're a very rural part of the UK there's a lot of economic deprivation in Cornwall, it's seen as a beautiful place because a lot of people are on a day there and it is a beautiful place to live and then I go up there and I leave there but the population for are large parts of our population live in poverty and there are people who are formals away from the beach in terms of beach so it's a a county of extremes there's a lot of wealth and second homes are a big part of our economy so lots of people come there on holidays and they buy homes at the level of the country to buy so lots of our villages are suffering from the sort of drain of the population and we exist in a way for the Cornish populations so we our program is generally in the non-tourist season so our program is primarily for the local population not that we don't love the tourists we don't so as a national and luckily an RTF has around 13 member schemes as I say, from here on up to Scotland and the whole of Wales as well and so on a local we might be very small scale in our village halls so on the scale of the work that we program is small but as a whole we have quite a large voice, a large footprint and a lot of the turnover is generated in the work that we do so as you can see area 30 speeds 1650 promoting groups that are primarily volunteers so promoters are volunteers who live in their communities and they give up 110,000 voluntary hours and we show our rates to around 330,000 people and over a million so this is in a typical year and this is basically pre pandemic numbers, we're still struggling and we're going to get back to those numbers but we exist in order to enable the communities to present something that's a little bit different to what they should do so we financially support them we're funded to do that and we kind of our resource is very much doing with not doing to so we work with the communities as I say, they're volunteer promoters who live in their communities they change what they want we don't tell them what they have to program it's very much done at the grassroots level but we are funded so that we can pay the artists a professional fee so that we don't subsidize the artists we pay them for their wage but we subsidize the communities so that they deny to pay financial risk on the team on a professional event we kind of feel that just because you live in a rural area there's no reason that you can't have access to really high quality professional touring work so that we work so that we can bring performers to very small communities and as I said we subsidize that risk for the promoter so how does it work asking works and as I say, most of the work are on the same name same models, we as an organization and we're very small scale it's myself and one of the first in our team we put together a program of events and then you can call it and we put that together from seeing work having contact, having networks and having the experience of what companies there are companies that work in rural touring throughout their career so they are they create their work with rural touring in mind so you don't see that as a limitation and you don't see the impact that it's small scale and not rural as a limitation on the kind of work that we offer we try to challenge our audience as much as they do so we put together this menu we try and get a broad range of different types of events and then we offer these out to our promoters we invite them to a menu party we come together twice a year in an event just like this I'm standing here with the power of the week they're setting their listening tour everybody brings a plate of food we share everything or artists come and perform or extracts or speak about their shows and they meet the promoters during the break and this has really got these public conversations and we really kind of get to know each other a bit better and then they choose one event per season at least sometimes and we encourage them to look up so we've got experience promoters in our network and they are quite happy to take the risk on certain shows that they know that they can sell and then ask Artico to support a little bit out of their confidence and that's what we love is when we offer our range of things so it's kind of different to subsidize the model so that's just a little picture of our team we had four of us, now we have two and we made a film so if you're interested in seeing it it's a sort of love later really to come to know that we made last year on our anniversary so it's on our website so please have a look and watch it so a typical so here are some stats I always love stats we take a lot of data from our audiences and from our promoters and artists and every now and again I approach those and I look at the pictures and the graphs and I think it is amazing what we do so we typically have around 8,500 people attending around about 115 events a year so we average about 72 audience numbers in each show and that varies because some of our forms are tiny and in maximum capacity it's sell out audiences 50 people and then we work in terminals as well, it's larger so they can have up to 400 people but it's generally our average of venues as I said before we pay artists of full fee so they don't have to take the risk or do a box office split with promoter we spend around 65,000 pounds of our budget each year on artist fees which is about what over half of it and that's then on artists that are from all walks so we have quite healthy network of artists making work in core but we also, we kind of see it as our job really to bring artists from up the line to mix and serve outside of within the UK and even internationally we bring artists into core so that we can give our audiences access to what can really well tell from all over ticket sales are the second biggest part of our budget so we get funding from the government and we ask councils so we have public funding money which we put into the scheme we're also supported by a local authority and then we generate excellent income so the way the finances work is the village hall will pay us 80% of the box office takings that they made on the show and they keep 20% of the box office of their own community event so the interval everybody has a cup of tea, a piece of cake they take part in a raffle I don't know if you have raffles here but they're really important in the UK you buy a raffle ticket the same prizes go around you go to family again, everybody wants the wine when it's left at the bubble bath nobody wants so it's something we have to do for the next time but you have to do it and that generates income for the people who think that it's important and we generate about 55 different artists different companies in our two seasons we always talk to our audiences we like to know what they like we use the data in our programming choices I don't know if you can see this but the biggest response we had was to come to enjoy the atmosphere so even though the program is really important quality of the work is really important actually coming out and being with friends and family in the community is really important to our audiences our reputation come to those reputation and performing arts is an important part who I am these were scored in highly nobody really comes to our events but the nice thing about seeing a show in a village hall is that the audience generally always know each other and they feel the sense that it's their space and that the artist has been invited into their space so when you're an artist performing in a raw drawing venue then I imagine it's quite a different experience to work in a campus theatre you're going into the space the community come out and see you they kind of own the space they want to talk to you because you've come into their space so it's very rare that an artist will come in and leave without having a social time of the audience to help them clear away again they want to help or not sometimes they can stay overnight in the village that will be given a bed in a promoter's house or somebody in the village and they'll be given a hot meal in Cornwall in Cornwall we have performing arts university we have a few universities and we have quite a lot of young artists coming out of there new graduates and emerging companies so we'd like to support those in one of the platforms so that they continue to work in Cornwall so we support artists throughout all parts of their career there are some really established artists living in what in Cornwall as well doing rural touring small scale theatre performances all their careers and there are others around as I say around in the network and as I said at the beginning it's really important for us to feel that we're connected internationally so we have as a south-west region in the UK we have a really close connection to our south-west neighbours and we often go around tours from European companies who've toured the south-west so they make a good tour and it makes it much more valuable and cost effective for the company to come across the channel and we are also mindful of our place in the cultural sector of Cornwall because Cornwall is the creative industries are quite important to the local economy and we don't have very much industry but creatively we offer opportunities and so we can't co-work as we are a network we can actually co-work cultural sectors in Cornwall that's the end of that can we talk about starting but hopefully that will give us a general idea of what we do and I think it gives more than a general idea because so I'm actually sending to your presentation from an Eastern European perspective you know it feels like we are in the realm of utopia so thank you very much and that's, I think it was a good decision a good suggestion from to start with this presentation today because now the question is on the table are there any other countries in other systems you know that are so mighty leveled and that so many promoters and artists and everything that were in a so complex network like the UK models or whatever you were Julia, I ask you about the Romanian situation and then we can start talking I have to start by saying that there is no country that is being very small to have developed a wonderful system that I'm bringing about I'm talking about Estonia which has a system according to which each theater that receives a subsidy has to perform to perform tours in the countryside so that it is a national scheme because Estonia, again, it is very small so that each person can have the access to a performance within 50 kilometers of its residents so there is a national planning let's say there are certain productions that are done especially for touring because not every villager has a infrastructure for each same design and so on and there is a sort of a co-top of tours that the company has to do according to its size the subsidy and so on but this is and there is a certain seasonality touring in the summer but it is done so that it is ordinary and it covers the whole country but again, Estonia is the size of Cluj the Thai store well, in Romania we don't have a system here we don't know how many people have access to a theatre or within no matter how many kilometers but we have a plan the planning in general there is a history of it it starts in the dark times of communism when theatres were supposed to work asked to tour and there were 12 events in the 1980s so starting in 1984 first they had this obligation of touring and then starting in that year they had covered their expenses up to 70% which meant that the touring got a new a new importance because it helps somehow together with the money it covers such a large percent of self-agency but at the same time it was a time when there was no thinking and electricity in general is a matter of the painting something that we all remember in common context which means that the professional artist in that context the professional artist in theatres in public theatres developed sort of a intense hate towards touring especially in the countryside which coupled with another event something else that is related to the second part of the 70s and 80s which is the festival a national white festival called the Song of Romania that put on the same level and amateur artists which developed for the professional artist a frustration towards amateur theatre it means that we met at the 1990s with professional artists that hated during the countryside and hated having somebody without a film up the theatre general despise towards amateur theatre is still very evident almost feel it from the part of the kind of professional theatre the artists that are actually involved in big production themselves well, but in the same part in the countryside countryside has a large infrastructure the famous houses of culture so jumping to 2009 sort of 20 years after when the hatred towards touring in the countryside inside of the little or there was a new generation that didn't develop such a hadn't developed such a as a group of independent artists first developed a violent and then came to the Ministry of Culture the new important Ministry of Culture the new proposition of public policy for the reintegration of these houses of culture for touring theatre the product was called touring in the countryside in the countryside it was part of a whole vision about building communities through theatre by a group of young theatre makers from countries through the United States at that point Alex Monica Maridescu some of them some of them developed some other lines working strictly related to this reintegration of the houses of cultures first the pilot program made that they produced a certain performance which was based on real facts or something that happened in a small countryside power school and then they presented it in part the rural communities communities in which they had let's say some connections so they wanted to help the rural community not present them an outside artistic project so somehow they relied on personal connections the birth village of the father of one of the artists and some of the candidates and actually one of the things I was several such performances in the rural communities and what was absolutely marvellous it was the fact that activated different generations of members of the community some of them having memories about the cultural activities in those places in the houses of culture which went from theater performances from the city to popular music in which they were involved but then the minister of culture was changed we had a special change minister of culture in socks and everything done in terms of aspiring animatics a few years afterwards there was another initiative that celebrated the 10 years last year called culture in the bar cultural which is somehow similar in the idea of presenting a performance not a educational project not a therapist thing not something related to vulnerable groups but without using the infrastructure because whatever between 2009 and 2015 something like that was that some of the houses of culture were rehabilitated but without the very precise purpose and others somehow disappeared into the night of the waiting times some of these houses of culture were very politicized by the connection to the local political something they are doing this in the 401 of one person of a village or another they are not coming to places where they have personal connections they develop these connections they install themselves in the 401 of a local and they work with locals in development of the performance that is actually done by them they are they are professional actors but in the new definition they are not important and the addressability that is because they are developing the performance there because they have a reference on several things and they want to adapt to the specifics and the needs of the community and the addressability is as large as it is possible so from children without the children's theater so let's see what they will show the two older people so which means that a certain language is required and that is it with some financing from the national culture and a variety of local support but actually different from what happened with to bring in the countryside they don't want the policy and they don't want to be in the state they are receiving these funds from the national culture fund which the maximum for performing performance performance production is 70,000 euros that's the maximum and you have to cover anything and because it is the only national source of money the competition is harsh so now with 70,000 euros we have to buy the cow feed the cow kill the cow sell the cow that's all they receive this money because at some point those in fact are to do it introduced among the criteria priority criteria to find as projects in AFHMA this contributing to places that don't have access to culture usually it means developing educational projects but the problem with educational we do have a line of production in theater based on educational projects but again this is something that is disconnected for everything else so there's no policy on we don't even know what part of the men is covered by these projects you don't know now happening in some places we even live to see a situation where in the same village in the same community after a bigger project was developed there three years afterwards there was another project going there because they didn't know what happened previously so it is very disconnected because the house communities are chosen by the operators is very random independent communities name where local authorities are not open where the distance is reasonable from where the artist come from because it's 17,000 euro from the rest of the most positive when they reach like 14 years there's nothing over the future what's going to happen is our episode for those who don't know and I don't know who doesn't know it every country in the European Union has this recovery in the Brazilian plan and in the with money from the European commission and in the recovery in the Brazilian plan of Romania there's one very small thing which is a pilot program of financing for country projects in places with less than having less than 50,000 people living on where there is no matter how many the whole financing from the local authority is local very local and the fund is for this pilot program and also in extract data about where these projects are what's the national distribution so which will also gather information where are those local authorities willing to support them and it has a budget of 4 million euros which is more than the funds for one session of the GNA for all the arts so that you have the level of poverty here and why we are trying to well turn one cow in 10 cows in 70,000 so whoever are you be interested in this program there's the draft of the guides for this program in the GNA and it will happen because we don't spend this part because that's the best part if you don't do it and if you don't spend that money all the financing starts so not doing this this program for financing in these all communities maybe I won't have money for highways excuse me can you speak please in the wireless mic ok yeah well it was very intense yeah it was very intense that was the word i think maybe i will stop a bit because I think it makes sense to just to show how things work in Hungary actually I brought, it's not present but I can hire it to you it's called the GNA it's a promotional material for the GNA program which is just take a look at it which actually was made in 2020 to to send theater shows in Hungary to the countryside and in very light Julia mentioned some historical rules of the Romanian situation just a few words also the old times the old times in Hungary because in 1950s from the 1950s to the 1970s there was a theater called state theater in Hungary and its aim was to send shows to the countryside for those who do not know daily made she was an actress translated as Mrs. Dery she was an actress in the mid 19th century iconic actress of Hungarian culture I think the name of the program also gives an impression what what history, what tradition it goes back to it and this new Dery program founded in 2020 it was made by the national theater in Budapest in Hungary in centralizing everything so nine member committee closely connected to the management of the national theater they decide which shows to present in the countryside and so on and now I just check out their homepage and it says that in this season so the 2020 or 2023 season you in the or anyone in the countryside can order a show they have like more than 100 shows online and you can choose from if you have a venue and you can order these shows there are different rules I won't go into details but you know what is interesting and maybe later we can talk about it that the Dery program they pay for everything I feel I mean for the artists for the venue they pay every cost when I go there as a spectator I have to pay for a ticket for 200 forints which is half euro so it's practically nothing you know the average ticket price Seattle ticket price in Hungary is like 8 to 10 euros or for the more expensive shows it's like 20-25 euros so you can compare it with this half euro price and where do they play this network of houses of culture we also have in Hungary from the dark times from the communist times in the last 30 years we use them actually because you know they are huge buildings we know in real function so these shows are invited many times there and you know it's a very I think it's a very exciting initiative because in Hungary practically there is no cultural mobility so everything is concentrated in Budapest in the capital of Hungary and in the countryside it's very very difficult to see small independent productions of course we have the system of the so called spawn theaters made after the Second World War and you know we always say that the biggest marriage of Hungarian theaters is the system of these spawn theaters the ensemble the repertory and so on but in the last decades nobody wanted to deal with those people in the countryside we do not have the chance to see high quality theaters and they in a program wants to do something like that but there are many many problematic respects of this thing and there are very I would say spectacular numbers of course for the last season and they have huge plans they have their own company they have a brand new venue very close to the national theater actually they have all the money they need but it's it comes all from above so it has nothing to do with the communities with their needs their desires someone from the center from the national theater decides what is good for you and what is not which is a I think it's a very special Hungarian model of course ok so of course you don't have to go into details with all the other models you know from Europe I know you have some knowledge about Italy and the Swedish the Norwegian model as well but so how can you connect to these these thinking ok so yeah one of the models that I know of besides besides the UK model is the Swedish one which is also a national network covers the whole country in existence for several decades as well one of the differences compared to the English model the Swedish one is called Riksdater the big national one and then this Riksdater has smaller agencies in the different regions so you will have Riksdater in Babylon and so on but one of the big differences compared to the way it works in the UK where you are practically trying to collect a pool of artists who they all develop their own work wherever they can is that in Sweden this Riksdater has a very big factory in Stockholm of several levels where they have rehearsal rooms and studios for artists to work in so they basically commission artists to do new work with rural touring in mind so specifically for rural audiences and they give them these spaces in this four or five story theater factory they give them the money to pay themselves for their rehearsal work for their creation and they give them the money to make these productions which then get in the network and this is all state funded and so you don't have to always put forward an application and so on this system is rock solid it is funded you can count on it as an artist that if you wish to engage with this kind of work if you are not only thinking about Milano and Sydney and New York then you have the opportunity to do it and this is it's work you can live from it and it has value another model that I know and I would like to mention is the Norwegian one which they have a program called the cultural rock sec this is a program destined aimed not at adults but at children they work together with all the schools in Norway again it's a national model with national funding with regional agencies working with the schools in their region and this cultural rock sec basically allows each school in the country to host at least one professional performance a year for the pupils so what is valuable for me in this model is that the way the pupils get to see a performance and come in contact with the artists and with different art forms not just theater but also dance or music is not accidental is not relying on if I know school principle in the school where I used to go I still know the principle so I will go to her but if I don't know the principle in the school next door then I will not go to them so there is this accidental is it going to happen so here you would have schools where the pupils have the chance to watch and know five or ten performances per year in their own school so they don't have to go to a theater theater comes to them and then there are schools where they don't get to see any performances at all so this is why such a model for me is very exciting because again it gives continuity and it gives ability to guarantee that you will have access to it every year year by year and then another model is the Italian one I received a PowerPoint from our Italian partners but maybe it's maybe we can just see a few slides from that this model in Italy they have regional organizations so one of these is Amat asociazione Malkigiana Actività Teatrale so they work in the Marque region of Italy and there are several other similar agencies or organizations in other regions and these organizations again they receive money from the state in order to fund and finance artistic activity in their region so this model is not just about rural rural touring here you can see the region where Amat develops their work and the different problems that make up the region it's not just about rural touring so going to very small villages you would have towns bigger towns, smaller towns but again it's this idea that you don't have to go to the big center to the big cultural center for instance like Krush or to the capital to the best Bucharest and so on but you can have access to art and culture in other smaller towns and villages as well their funds come from ticketing, income from spectators sponsors public money from the Ministry of Culture and this money goes into making new productions into programming and other activities pedagogical educational activities here we can see that in 2019 for instance Amat had 823 shows in that year you can also see the funds that they were dealing with so again if I compare this to 17,000 euro and as I said it's not just about theater it's about music about circus, contemporary circus different interdisciplinary projects contemporary theater contemporary dance contemporary music circus and so on these are some of the projects that Amat was involved in European projects one of them is the sparse which you can see in the red corner is one creative euro funded project that Shoshin was also involved in in the last 3 years where we were trying to develop and implement a similar model to the English one and they are there of course other kind of projects as well projects for the elderly they are trying to make one of the towns of culture so this is the presentation that our partners sent through which I wanted to show you briefly these are the models that I know of that I can think of and I can talk about generally not too specifically and also maybe just shortly to add to what Julia was saying is about the culture in sugar for instance Shoshin we are trying to develop this model for us for instance it's important to have this state funding it's important to have a network it's important to be able to count on that money so from this perspective even though being guerrilla is very inspiring and romantic I would still, me personally I still believe in a system, a network which is publicly funded and which guarantees access to people for people to culture and arts again so that it's not accidental and I just wanted to add one more thing to this model of the 80s touring there were state vietars in Romania which continue to implement this model even in the 2010s for instance the theater from Bercurian Csuk I don't even mind giving speaking theaters because they serve a community so this could be yes but Bartolis Copping is a member of this theater from Bercurian Csuk is here with us so maybe at a certain point we can connect her to say some words about did they really hate doing it and where the theater is today in 2020 with regard to to this practice there were there are several theaters gymless theaters that are still doing it outside big cities for instance the audience theater in Bureș which also is bilingual and being funded by the original council it takes it seriously so it takes seriously that it serves a community, a religion not only the city of Bureș something that does happen when the National Theater in Bureș which apparently serves the nation of Bureș the same group in Bureș where we have several seven nations served by the national theaters but individually and let's not go into this you know there is a large bibliography about how much they hate are actors hated going into another side it's stuff of religion and definitely it definitely affected how many because it's a long story we played here between 1990 and 2004 with a leg in 2008 we played here the centralization the centralization the centralization game we chatted up with theaters being allocated to one authority or another according to whomever authority wanted them so there's no playing one theater is subsidized by the local council and another one by the county we don't even know where we have seven national theaters but let's not go into them into that issue we have one national theater which is national but it's subsidized by I don't know the local yes the city city and the city so it's a mystery but because the only reason was they played hide and seek with the theater in galax for instance in 1999 so it was given first to the county council the regional council then it was the county council said we don't have money anymore so you take a city hall the city hall took it and get rid of the manager the second day after but the only reason was because the county said we don't have money this year so we take it so there's no in the logical things according to the local public policies and blah blah blah the local theater should serve the local community the county theater should serve the whole county and the national theater that's like what it stays a question in other areas in the last 200 years so we still don't know the answer I wanted to ask you guys because for those still not sleeping so so you know there's a question that raises so all these models they are very different but there are some for some parallel situations and some parallel solutions so there's a naive question why don't these countries communicate with each other and maybe it's time to speak a bit about spars if I am right this initiative tries to to take this whole thing into the European level and I don't know if Clair or John Boer will share some ideas on the work of spars because if I am right it leaves behind this national context in a way so spars is a project it the name spars stands for supporting and promoting arts in rural settlements of Europe and as John said earlier the UK was a lead partner not can't cope a fellow speed was the lead partner in that project and we our role was really inventory of Romania, Italy and Romania to set up rural touring models in those countries based on ours because we have had this long-standing established model so the beginning of the project all of the organisations visited Cornwall and identified local promoters within their regions or their countries in the stone areas a national project as you say and the promoters came to Cornwall and we gave them a trip around and we took them to see a show we introduced them to our local promoters and some artists so we kind of for three days we kind of immersed ourselves in all things rural touring and the local promoters from each country got to know each other and their fellow promoters and then they went back they took back learning to their own countries and then they set up these three tours of the three tours in their own countries and they were all slightly different depending on the needs and the parameters of their countries needs so Estonia, our partner was the National Dance Agency so they focused on dance performances that they were national in Lithuania it was a regional project in basic private around the question of Lithuania jobs the Romanian model and as you've seen it was in the market and the project was three years long the pandemic was a little bit so it kind of impacted the activity and the numbers our target numbers that we made a film traumatic the evaluation of the project and I think when we entered it at the end of last year we were walking in together with the partners and the reflection was three years there being one amazing journey we've been on and the network now will continue the creative Europe project has ended and the UK input has ended because of our already mentioned exit but the network continues we're inviting more partners but I think we're waiting on the results of the funding in response to what that will become and how that will develop with additional partners so, I don't know Yeah, maybe just that Sparse was the project funded by Creative Europe but during the project other organizations from different countries approached us saying we would like to take part so basically at a certain point we created what we call the Sparse network which is a network of about 25 organizations in different countries in Europe it's not a formal network but it what connects us is shared aims so this is something that anyone can join and we would be trying to see in the future how we would function as a sort of a platform which would advocate on a European level for more serious funding for parts in rural areas all around Europe so this was the Sparse and its little offsprings and potential potential for developing So there is the European dialogue or there might be a continuation of this dialogue but it started with Sparse so not only these separate models national models which is good to hear and of course there are many many questions rise but I strongly recommend this 9 minutes long or short film of the YouTube channel of Cantu Cove celebrating the 20th anniversary and it gives I think a perfect impression on your work and there are some very interesting details for me for example when there is a sequence about the genres and there is a circus artist speaking that with the help of the National Laboratory Forum they they approach places they've never imagined before and I was thinking about so what are the ideal genres for your touring what is your experience because for example circus and dance as you mentioned in the Italian case it sounds evident amazing for many people and I think it would be nice to hear a little about about the shows themselves so what are the selection criteria genre wise or length wise technical wise and so on personally I don't think there is any show that can't be shown in a rural context really some need more work than others but actually I don't think it should be a negative in any company the typical rural touring show is something that will go in the back of a van and can be driven by the actors who are also technicians and stage managers so there is a kind of requirement to be flexible and to get on with you might have an overhead light you might have a rig but you can't assume that you're going to have anything so you need to be able to put your shell on with what you can carry with you but in terms of genre we have done circus tours and we've had Chinese halls in the little halls we've done workout doors and we've had contemporary dance which has been personally I feel that watching contemporary dance performance in a village hall is the best place to see it you're so close you can see the sweat on the dancers' faces you can hear the feet on the floor in your culture when I see a dance show in a big theatre now I feel so removed it's a different experience so there is an intimacy in rural touring but I don't think it should be prohibition to anything really being on the program and we have had really successful there is additional funding required to tour a dance show because it has more infrastructure and costs are larger but anything can be possible What about the artistic side? I'm in the artist's side so you just mentioned contemporary dance and I think creators and artists of contemporary dance they are used to different conditions much different conditions so what are the feedback what is the feedback from for example that I think it's fair to say if you're an artist who is new to rural touring there is an element of learning that you have to go through and so when we did the rural touring contemporary dance project there was a lab that we set up for artists who haven't worked in rural touring before but were interested so it was a residential lab for three days where they came and they met volunteer promoters and they went to the seat village also and they kind of understood how their work might need to be adapted for a rural family not having a dance school is not impossible because sometimes it does need a little bit of work and you need to kind of tour around for the dance floor and it kind of adds on to that thing so there are acceptations I think that need to be managed sometimes I went to the Edinburgh festival in August and I met with some companies and they said to me, come and see my show I really want a rural touring and then you go and chat to them and you kind of think it's alright, they were their show to be brought to theatre spaces in rural locations but we don't actually have them so you kind of have to talk to them about what is actually possible with their big sets and their large cast and the requirement for addressing them or anything like that I think I just mentioned before a discussion to John Ward that it might be a very historical moment right now on the edge of everything the economic crisis the pandemic the war and everything and this is a time when for example in Hungary at least some theatres had to be closed down because they will not be able to pay the charges because of electricity and I think that's why talking about this different models make very strong sense today because as far as I can see and that is my question to you as well to all of you it might so this kind of rural touring might show the escape route for theatres in a way I think there's also the environmental kind of consideration touring is not completely free but it's a lot cleaner than running a big theatre so the portrayal of rural touring takes the show to people there is that kind of offsetting so it's obviously economical the economic factors the environmental factors really do stand up so I'm curious in this topic so I think what my impression is that on the one hand there will be a forced green transition for the film theatres and development of other forms of work because ok touring has a lighter climate footprint yes yes but not if you take a big truck running on gas from cruise to Yash and then you come back because you only have one presentation there so there's a whole thinking about how when extending the network can also be climate neutral as possible yes but of course if you go there by a big truck and if you have like four or five performances in close range so it's not by itself by itself nothing is guaranteed not to mention that well the whole global theatre was running on touring but it was touring my plane which is not free at all and so that on the other hand we will see in the face of the use of technology on the part with going back to the analogic but it doesn't prevent the need the forced need for the big theatres to just change their production models and to change their well the whole thing with the big theatre because you know it's not doable to just imagine that you take all the artists out from Bucharest to just spread them doing rural theatre around that's not going to happen including because it's not financially sustainable and the financial sustainability human sustainability human resources sustainability are also important again just changing the value in the whole of the big sets and the big theatres going to smaller things all of a sudden has an impact on certain theatrical professions on all the workshops on all the production of those big sets because they are not probably doing that so far and certain professions and yet we still have to I think everything will change but I don't know how pretty everybody is because in Romania at least everybody is hanging from the doors of the big stone theatres and they are still waiting for the state to pay the huge gas and electricity bills because we don't want to think about changing the lights of projectors because no LED projector doesn't go black with enough speed and things like that and again yes in Romania we have this and it's the same in Hungary and all over the region we have this very big stone theatres built in another time with halls that are too large for one because because the production is changing now so that it's very difficult to find something to do something for a thousand spectators at once so we are moving with the inclusion because the hall is so big we move the spectators on the stage and the same in Romania and in a lot of places in Romania but they are still hitting the hall it's very actually very delicate and I think it's a good moment to just put the foot in the door I absolutely agree so what about your foot in the door Chamborda? Absolutely couple of years ago I was envisioning the same thing for myself ok no this has to stop at some point in the future state theatres, these rock theatres they will have to realize that you cannot do sets with 150,000 euro and then play that performance three times and then take it off the program and you can do 150,000 divided by 17,000 how many affectionate projects can you do from just one set playing three times almost that so somehow we have to be forced into finding new ways and I was thinking in the next 10-20 years this change has to happen and just the things and the critical moment that we are living is not very nice but in a certain sense I am happy for this that maybe as you are saying maybe it's just the circumstances are just forcing us to do this and then there are some questions which we cannot escape from anymore and it should be time to look in the mirror and start answering these questions the problem is I think there is still and there will be a lack of communication between the upper levels and my foot so I don't know I can try to keep the door but I I keep getting the impression that I am kicking a door which is actually a wall and I want and the porter said oh yeah there is the door that's what I wanted to say in Eastern Europe first you have to find the right door or put the foot in all the door for this you have to be a sort of a superman because in the previous handle we heard from the colleagues how difficult all this is so it's still a mystery to me even though I think yes the time is maybe it's good because of the circumstances and to me whether we will be strong enough have energy enough we will have the critical mass for instance we have this pilot project with 4 million euros which is very nice we have to spend it because otherwise we will not be able to do our highways but this is a pilot project what is going to happen afterwards this is my question are the people who give the money will they ever think about oh how nice we should do a second, third, 30th, 50th as you know I have what it proves a huge burden to find enough local authorities interested in giving 5 euros because you know it's something for the community we cannot keep on finding communities by deciding from the above and from bugle is what they have to do within their own communities that's the whole idea with the local co-financing because they have to be willing to have this within their community you know if this pilot proves that there's not enough local authorities willing to do it because it's European condition has had a number there it's not like we give you the money and we are making some between the European Commission and the media imagine so there you come back and you come and beautifies you the opportunity you define a strategy in order to increase the interest either through or the stake for the local authorities because all the data that's a pilot it gives you data it gives you information and then you can go further you don't do the second one the same you take the data from the first pilot and you adjust it so that it can work and it can work can be done with the money enough can be done in many many other ways you know it's like jumping to the next level let's see what this this program brings back as they do because if it proves that the local authorities don't want cash there to come back and find it a way to either convince them or force them or combination of those ok, guys chump or we will fire me if I don't stop this conversation me be me no, he will fire me no, I change my mind ok, and maybe it's a time when we can ask for me if you have anything to add ok, chump or we will translate ok o sa spun ca o sa fie mai bine a spunt toata ce am spus e nu prea am foarte multe de ani de a jugat doar ca cazul nostru in cazul acolo a fost ultima adica una, cu treaba ultimele trearne care am mai avut urmai in salte am avut un sistem de abonamente si dupa ce am aspectat dar am trasportat la salte am avut ca 5-6 salte o decat de 3 spectacole de ani problema era ce s-au omzit ca aici acolo conditiile precare care am avut acolo trebuia sa asteptam sa ai avacile sa ajung la casa ca sa putem sa spunem ce are spectacoli si toate astea poate nu cina am fost asa o mare problema dar aspectacole din concepute spatiul pe care le-am avut mai am avut la miarca la ciun acest aspectacol in spatiile astea am mai nici s-am determinat foarte mult si din punct de vedere artistic a fost noi actorii afectati pentru ca n-am dus sa sa ajungem la performance cu cazul de anței la zi insa am fost într-un ver am convens ati de reația din punctului care le-am luat si cu aspectacole s-au de obicei nu aveau nevachina nu aveau nevachina am putut primi cu drac si n-am ajutat dupa dauna ce a fost? ce a fost? a whadzutänd costume nu aveau nevemusic pe care a fost si ce trebuie sa ai nu aveau nevi nu aveau nevi nu aveau nevi sedacii esgate Lub answer e unul care enta serba înicky nu bat în sp Consultul din locul care a fost așteptării sălătate și să văd și să văd și să văd și să văd și să văd și să văd și să văd. că actor, așa din auzite știu, părtă am avut un fel de compensare financiar din partea o sinură lui jugețean, care a ablătit transporturile și întotdeauna acest, deci direct în nostru aplicat și după aceea s-a scrimat și o lucră de orașului care este bine la conducerea vechea orașului stabilitul trețelor pentru spectacole și, în stabilitul, iutem să ducem spectacole doar dacă aceste sate pot făcti prețul spectacolere care era enorm, deci s-a oprit pe acesta însă din patea primarilor, din aceste sate, dodeauna, din timp de atunciu de barea, iutem să mergești un pădată, deci este o necesitate și este o dorință din partea acestor sate, și și castelă de lucrură a fost renulite din funcțuri orașuene, deci sunt mult mai unei condițiile, așa că ideea a fii ca să intre un proiect odatului să preluăm odată alte condiținate de ziun dacă trebuie continua acest proiect, în varea foarte bine că am auzit de aceste condițiile și vă chiar vreau să cănsic directorilor să se colostastă de aceste posibilitate. Așa, această practică a învățat în 2018, când a fost directora de fiecare și vreau să mulțumim și până luăm ziunul pe care îl facem unul dețiilor, și also a fost unul dețiilor și am văzutofire?.. Și a fost o distrație cu care a fost unul dețiilor și dar a fost unul dețiilor și a fost unul dețiilor și a fost unul dețiilor și a fost unul dețiilor pentru că nu avem mai mult lucru. În timp, măranii sunt stilli încă că dacă dacă vreau să vădți în faptul și etc. Iulia văd să văd în mără, dacă văd să văd pără. Deci exact vreau să văd în faptul că văd să văd în faptul că văd să văd în faptul că văd să văd în faptul. Și în timp de tine căvră mă ducă că în timp de timp acestea care au reușit în rândul acestui cultură, în acest rând, am mai avut o conție să facem o cună de mai multe practice. Și cred că Clown, a fost un oameni. Trei seama, dar când e fost. Iar nu cred că oamenilor, oamenilor, oamenilor, oamenilor, oamenilor, oameni, oameni, oameni, oameni, oameni, oameni, oameni, oameni. că se poate să se înțelege cărție locală, încât să se înțelege în dispensă. Are încâtării care nu au mâncare pentru oameni care au încâtării. Nu am încât să se înțelege călătatele care work în政府 locale și călătatele de direct încâtării. Deci, a fost încâtării în catele În următării, în următării neoarătării, special de acest lucru a fost subțitat în următării sau în următării. Pentru că managerii au un program neoarătării, acest lucru a fost activitării. În următării, of course, acest lucru a fost activitării în următării. Aceste lucruri sunt poți să creăm frumos și să se gătim în diferite. Nu știu. Sper să se gătim de această. Da, dar nu acest timp. În următării, pentru că am încercat acest lucru, cred că este foarte important. Și avem o experiență de acest lucru în următării, cu oameni de oameni care se vedea în următării, acest lucru se vedea în următării. Și nașterea cu lucrură, în următării a fost activitării, fost activitării. Și dacă noi acest lucru a fost recent, și dacă vor să vedea că, după această online, se vedeați o teatră de schimbă, Dajea. Asta o sa umeaza despre cum l-am dus de rand de decizion. Un moment nu se va dumnezeu sa o mereu. Ok. Multumesc foarte mult pentru Clianas, ia Popovic Dark, Gengor Kuller, pentru a fi de aquí. Multumesc pentru toate realityi, am aluat sa-mi spun state-o, dar avem sa facem asta acum, pentru ca Gengor avem 2 putere rețete, a stat femeile 5 minuti, ca stiu, ca? Da, pregain ca s-a realizat... Și vă mulțumesc, este o okă? Călături 2-6? Și apoi facem o prezentăție de 15 minute și apoi, o poveste. Călături se stăte, dacă vă place, vă mulțumesc translatoria și apoi, dacă vă place, vă s-a spus că se stăte de aici și apoi se stăte și stică și încât se întâmplă. Ok. De acest rețet, că acest event este organizat, este că Sosin Theater Association este partea proiectul european Erasmus Plus pe proiectul fundat care se spune Riote. Este acronia care se spune Rural, inclusiv, outdoor, theater, educația. Acesta era o tită de proiectul. Ce a fost proiectul este aici partneri după diferit până a fost organizatării și a fost așteptării oamenilor oamenilor proiecturi care poti încerca oamenilor până și oamenilor organizatării s-au fost oameni în acest până și așteptării a fost așteptării cu o grupă de locuri în a încerca în area rurală preferabilă outdoor. Așteptării a fost a fost a fost a fost a fost a fost oameni locali, să le outpută un joc de șofare până portoară în acest acer acest act și în final, să fie o performanță cu toate de care oamenilor fost ea actorsă în performanță. Ce important este că această performanță nu este orită was not going to put on a play. We were going to approach it from the keyword, The Myth. That's why this trend of the project had the title, The Myth behind the community. Based on this experiences, the partners did this output which is a PDF. It's a digital book which can be downloaded from the website of the project. care este reocte.org, dar also from the websites of the participating organizations, so Shoshin will put it on our own website. What you can see here now is the English version, but we also have a Romanian version and the Hungarian version. These are not online yet, but they will get online in what remains from this month of September. So by the end of the month, we should have all the versions. So this output is the myth behind the community, an anthology of theatrical experiences in rural areas. And as the subtitle suggests, we are dealing with a collection of texts written by all the partners and divided into chapters of which we have four, participatory theater in rural areas, theater as a tool for intercultural dialogue, interpretation skills development and street theater techniques, and caravans as a main concept for rural touring and connecting communities. Plus an introduction and closing thoughts. Going to the introduction a little bit. Apoi, at the end of the story, I would like to read out the very first paragraph, and also see it there of course, theater is based on citizenship, as Stefano Rodotta said, theater is the police. In its main characteristics, it has the function of collecting the legacy of ritual, of celebration, of mythology, through which the community represents itself, se reprezentă, se narră, se celebră în rămâne socială și ideale. Teatră și procesul educării se întâmplă în dimensiune socială, socială și comunitării. Călătorie, emoție și aspecte physicale se întâmplă. Călătie în care rămânești dimensiune multe dimensiune în care se întâmplă. Călătie în care se întâmplă în creație și esthetica. Așa că, acest lucru este foarte faptul în care rămânești încă aspectele de acestui șapte. Când îmi pari, nu este, pericu, unul de rămânești de Angării, unul de rămânești de Angrii, Sinun, au făcut acest lucru local, comunită local și un actual rămânești, unul de rămânești de Angrii, unul de rămânești de Angrii, dar, pericu, noi, în Merah, avem rămânești locali, rămânești de orice, rămânești locali, rămânești de orice, interționat în poate personală de participări. Acest lucru este de mără, rămânești de orice, rămânești de orice, rămânești de orice, rămânești de orice, rămânești de orice. Când îmi pari, nu este, ea este de orice. Când lăstării Moșană, poate să lăsați un poate mult mai mult, urmări, oamenilor, oameni congregate pe oameni, mult mai mult, oameni zilele, Dar, în urmă, în urmă este purăților, o dăvăță de war, o dăvăță de discorție. Călătării care, în urmă, rețete, rețete și rețete, generă o poțiție care se răspună și defini o sistemă socială îl împărție un urmă în caz în care se întâmplă o communicăție de humă. Încălătării care se înțeleg oameni, oameni, oameni și socioeconomii pentru a merge în formă simbolului. Într-o narrăție, fără, muzică sau fizică, comunită se înțelege și să se prețește themselvesa. Apoi, acest lucru, de atât de detație, de diferent acest lucru a făcut de partnerul, îți găsește un sort de strategie colecțională. Călăției de partner în capterul respectiv Călătării de la ceea ce s-au apăsit acest lucru de la Markelia, de la UK, călătării de lucrurile care au făcut în Smautown, în Samoset, în care au făcut-o, ce a fost arhistice, ce a fost arhistice, ce a fost arhistice, ce a fost arhistice, ce a fost arhistice, ce a fost arhistice, ce a fost arhistice, ce a fost arhistice, și de la care a fost arhistice. Deci, a fost arhistice, ce a fost arhistice, și ce a fost arhistice. Și după aceea, avem experiențe de Soscii în ruralei, a fost participatorii de la Călătării, de la ce a fost arhistice, de la care arhistice oamenilor, de la care oamenilor oamenilor se pierdală după care a fost arhistice la jaștrii, după ce a fost arhistice. Și dar, a fost arhistice, a fost arhistice, a fost arhistice, a fost arhistice și de la care a fost arhistice, și a fost arhistice, a fost arhistice. Și acum, circulați, oamenilor, dacă au sprit unain, unain, unain, oamenilor, a fost o profesia de treptor, o coacala si partea你的 cultura locala. Deci, am vrut sa dedica acest lucru, ceea ce a fost lealalt in Mera, care a fost lucrurat in cremata la o gruppie cohesiona, în unei grupi care avem o participa de 77 de ani, a fost lor, despre care a fost repris acest lucru, este cea de vizionare, cea de vizionare în situație în care n-a fost nul hirac, între celele lorile și lorile de lorile de lorile, în situație în care răspunările s-auași să o placă, în care lorile de lorile și lorile de lorile, după cei mai mai lorile lorile se poate să mădă seamări, să se mai putește să se opere și să se putește. into what they are doing together. So this is basically detailing our experience. Then in the second chapter, our partners from Slovenia and from France, they go more into intercultural aspects. So a lot of their work is dealing with, for instance in France, working with immigrants and local community. So how to make a theater project where you take immigrants and you take the local people and try to find again the bridge between them, how to connect them. And you have a lot of descriptions, a lot of ideas, a lot of tactics, concrete strategies, concrete exercises employed. For instance, table theater is a practice run by our Slovenian partner, which is that you take a table, you go to a certain community and you may introduce with them about the problems of their community. It can be people who are living in one apartment block. For instance, what problems do they face in their normal interactions and life in that place? And then you take these interviews, you devise very simple interaction, theater, but not so complicated, not so complex. And you invite these people, but usually it would be 5 or 10 people. It can be 40, it can be 50, but it works best with, for instance, 10 people. And they sit around the table, they watch the play, the drama that plays out, which was built on the interviews made with them, and then they enter into a discussion about what they saw, about how they understand all this and what their input would be and so on. So this is a very small scale thing, but extremely powerful. Precisely because it works with not so many people, so the effect can be much stronger. The partners in France I've already mentioned. And then in this third chapter, the focus is more on street theater. So we have the input from our Hungarian partner, the German partner. We have also, again, a lot of, especially in the German part, a lot of exercises, concrete exercises that describe and that can be taken and used. And then in the fourth chapter, as I said, is this idea of the character. As we discussed in the previous panel, you take one performance to one place, but it works the best if you take one performance to different places. So this book is sort of, I think, a practical guide, a hands-on guide, which can be helpful to students or artists or people who would like to work in the field of engaging communities in cultural practice. As I said, for now it's a digital book, so it's a PDF, but we do have plans to print the Romanian and Hungarian versions. For now, please feel free to download it. And please feel free to share it with anyone who you know that it could be helpful to them. Ok, and then just very briefly about the other input, or the other output, sorry, my input about the output, is this is about, so within this project we received some things that will measure what is called HRD, Heart Rate Variability, which is the little, very little difference in time between two heartbeats. Probably we do not sense that there is a difference, but there is a little fluctuation. This is a relatively new thing in science, and from these fluctuations in your heart rate variability, they can give you a lot of clues about how stressed you are, about how fit you are, about how well you rest and so on. For instance, I'm just going to cut to one. So this is, and we had the opportunity to test this. And then you have this nice chart. So here we were all writing a little journal, what we are doing, family dive for 15 minutes, 15 minutes, so on. And then from the measurements we can see our stress levels. The red is not, the red is stress. So we can see here that the person who was wearing this had a very, very stressful day in which he had just very, very short moments of not stress, of recovery. And then a lot of stressful experiences. And this was the most 15 minutes with the strongest stress reactions. And you can see here this is a meeting, which lasted 15 minutes. So we tried this on, and it was, it was just, you look at it and you're like, oh no, no, no, no. We also tried these with the participants that we worked with. And there was another gadget, which is called the polar. And this one doesn't measure just the individual, but it can measure the collective. So we put it on all the actors that participated. But also during the performance where we had audience, we put it also on members of the audience. And then this allows you, and I will just show you a few charts. This is, for instance, this is too complicated. Ok. So this, for instance, this line is the workshop leader. You can see that at the whole time he was relatively stable. The situation was he was giving instructions to the participants, but he was not engaged in it himself, physically. He was just watching them, which allowed him to be relatively stable. And you can see the participants heart rate changing while they were doing the exercises. So you can see that kind of like the same thing is happening to most of the people at the same time. Of course this is connected. Here probably there was an exercise which involved more physical activity. But at the same time it allows for synchronicity in the team to develop. And then Nicolai, Nicolai. Ok. And here is another trainer. She was doing the exercises together with the party. Or maybe he and the other one. He or she, you can see the link. He or she was doing the exercises together with the participants. So you can see, as opposed to the previous example, she is also fluctuating together with the group and a little bit above it. So I am not an expert of these charts, but our colleague from Utsasa, which is one of the Amirian organizations present in this project, he was the one who led this part of the project. This research. And he was the one who wrote this output, a 90 cents. This is also being finished and translated. So hopefully we will have it by the end of the month. And this also can offer insight into what exactly is happening in physiological terms in the individual and in groups in the act of theater. Which can also be helpful, I think, for artists and of course professionals from other fields, as well. Who are interested in this. Ok. This is the end of my part. Thank you very much for being here. Please download the books. Of our event. For me, sort of a highlight, I introduce you Suir and John Fox from Fan Good Guides and formerly Welfare State International. I am very happy. In the name of the whole team, I can say that we are very happy and thankful that you accepted our invitation and that you came here and that you will give this little talk about your affinity. And also there is a short film and I think some surprises as well. From your whole good world birds where they start falling down. Just from an organizational perspective, I would like to kindly ask you, at the end, if you still haven't completed this participants list, my colleague Yulio, at the center, will come around and try to ask people, have you completed? She will try to do this. And if you haven't completed, please try to be helpful with her. Also, I repeat our invitation today. And I would like for you to work with Suir. I'll give this to you. Well, hello, thank you. Just to say before we start, we'd like to give some thanks because we've been beautifully, wonderfully treated here by a lot of people, Conga, Colin, Holly and Eunice and about 12 volunteers working their socks off all the time to help us. And I'm not going to read out all the names, so I won't remember them. But there are a lot of volunteers, a massive amount of help from people here. We started off this morning with a little workshop and this is the collapsing bird syndrome. We also produced a piece of epic theater with a unique production, certainly a world premiere of the relationship between a vacuum cleaner and a knife and fork. Truly epic. Those of you who were here were certainly epic. We have one absolute agreement. There we go. And we also had a song. We learned it in about four minutes this morning. The words are, because we're going to sing it two or three times, it's a very short song and if you felt comfortable, you are welcome to do it. Oh, hello, your song. So the words are my poor bird, take thy flight high above the sorrows of this dark night. Those are the words. Put the singers, please, come forward. I think I have our orchestra here. The first 16 of us. This is me. But you can't see me. I'll sing it once and then you all join in and we'll go around and listen to it. And I'll say last time but if you want to join us. I imagine you're processing around with these wonderful words and the likes of great gentlemen. He's very melancholy. Let's sing it once in a note. In 1968, we started creating our first street theater and our manifesto were making an entertainment, an alternative and the way of life. 22, 54 years later, our age is surprisingly similar, although a way of life is taking priority. It's a journey of many endings and new beginnings. John Fox and I started welfare state of international known as WSI with others in 1968. The company achieved a worldwide reputation of creating site-specific theater, fire shows, lantern parades, installations and participatory art. We archived WSI in 2006. We started a long story and started Dead Good Guides, our new smaller company. Whilst we will reference a little of our own events, we will concentrate mainly on our work with communities in and around Oldstone, in Cumbria, that's the Lake District, north-west England. Mr Sir, I'm not sure the trigger is working. Shouldn't it be working now as it's coming on later? No, I know. We're going to show you a film at the moment, which was about our last show. It was called Longline, the Carnival Opera. Now, this show lasted three hours and it was performed four times in a circus tent in snow in March 2006. It was prepared and researched over three years, building trust and skills as you all know, within a community network takes time and patience a multi-skilled artist who will listen and who are happy to work with different generations. Over three years, we researched the history and the ecology of Morgan Bay, talked to many people, produced exhibitions, a song cycle, a preview theatre piece in a cockpit arena which is a building we got with a lottery funding which we'll show you at the end. We developed a whole Young People's Theatre Ensemble and we published a photograph, text, book of Bay characters and their stories. So, here is the film. It was a difficult gig. We were doing Plains of Sex and Landers and all the landers were in no way. It was so unexpected. It was the effort of doing a gig in March. People said it would be too cold. I can heat a surface tent. But we'll never get to do around here in March. We should get the first snow for 30 years around here. It's been a few problems. First, the generator went, so we lost all the electric in the tent. And we were filled again so we didn't know what the king was and how to take it. But that's fine because we have a little spice. We try to help as much as we can and do a lot of rigging and try not to get that mucky. It's not working. We've got musicians in there who are playing this way but in the meantime you put that side back and it says that. And we need to prepare for that and then we're going to do a run through and then we'll show up in the try-out. I'm going to close it up with me. So we're going to open the whole sign. And I'll just put a bit of an envelope on. I'll do a drawing for you. It went on and on like that. We then had a chrome bar and sights. We had to have a ton of gravel delivered in order to stop the flooding. Then we had to build drains and we had to put pumps in and so on. That's well first aid, boy. Well first aid. We need to... I think it was fine during the master. We were very forward. Very like a bit of a breeze. All right, so if you then crouch down and the room is ready and you put your foot in this pocket to conform and I was trying to get it in. Now can we get the... I was searching for the dragon to go to this point. On the news group. We were 13 on the other street. Why don't we go? We are on here. Dialogue was therefore When the sea swam. Yeah. Well, you see, you do want my cruise. Yes. Well, no, what I ask you is are you going to put the film on? No, I think that it's going to make up music. Keep it clear. All right, so we then go to the footage and bring it down with the guide. I was going to write a poem on a speech. And again, some kind of sense of how long that lasts. Because that's no matter what we're about to show. Do you need it? How do you need it? We'll have to time that for the actual. Yeah, I just need to know again. The running order of the show is here. Right? Please take into consideration. I will cue you in plenty of time. Tomorrow, in mind, I think it would be really, really good if you guys could make it here for 6.15. Tomorrow is the opening night. If you could make it here for 6.15 tomorrow night, that would be brilliant to go through some of the bits we have as well. I will see you tomorrow. Here in the space quietly. Thank you. It is a prophecy about the history of the Bay both in the deep past and the present and the future. I think to be moved where I am pleasantly surprised at one move by, as I would say. I was ready to be moved, but just take full of surprises, full of surprises. I am enjoying it very much. It is a combination of all the things that we have done through the years and we have done it together. Meet in the street afterwards, as we are part of the production here, and you see that we are at the butcher shop over in the queue at Aston. Watching the ship of fools come off the stage, I was sitting next to a small girl, she was about 3 years old, and she burst into spontaneous applause which made me cry. It was a very moving performance, the whole thing. Well done, well done, let's say. There are different stories that John has taken as a director and merged them together. It is a bit wacky at the end of the scene. We have these little bum-racking puppets which are tiny puppets which you put your feet into and operate. So you become a puppeteer. There are four puppets and at the end they all come round the rock door which suddenly changes into a ship. Focs in single year on the full world of life and the rock will be a part of the world. Tell me that it's come with an own mind and be prepared to be entertained. And yet there's something that you don't understand, there's something that you do understand, there's something that you can't relate to and something that you definitely can relate to. And that's what's good. That's why I like doing what we do and I like what welfare stage is. You're living in a coach where the people's imaginations or certain democracy are stimulated and then people are silvered in the backing end and they're silvered through very expensive forms that they could possibly advise by making themselves. It's about a way of connecting people through the hands of their hearts and their needs in a way that's really important to maintain. I think a lot of what we live in is a fake democracy. It's also a fake realist and people are persuading their fantasies and man, or hypocrisy of an arms deal and guess where if we don't sell arms somebody else will. But it's working in a more state of extreme apathy and fear by manipulation through say terrorism or through mortgages or through propaganda so that they're not able to be free to connect with their neighbors to make things in a more local way. By a sense of everybody, 200 people hanging out of it, there was a big anger that got it wrong if you threw it in the air or felt the anger it would be a total disaster. So by all those people focusing concentrating with great dedication, commitment and generosity, they kept the anger fine in the form of the anger and I think that's a kind of critical statement. It's perfectly possible to do it and it doesn't happen often enough because people are divided and ruled by failure and greed. That's here from the small ease, like right up to the biggies to the green and the atmosphere that's created out of those thoughts and I'm sure I've been thinking and feeling about this company for many years. It's had a huge, huge influence and I've made great friends and I feel my work and my life has been challenged and altered by it really. To the welfare state in terms of thinking and cultural policy and local government level right away through it's one of the 10 principles that welfare state has founded on the fact that art is good for you. It's mission accomplished, that is now a mainstream government policy and that's the impact we welfare state has had. But you can say it's all over because these are just like seats that have taken place and I'm sure it'll go into something big. There is a certain community within the arts and the arts can actually be part and parcel in the same thing. It's already happened. Many companies out there that have learned from this and a lot of people have gone to our social school. It's a way of creating arts in a way of being art in the community which I think is self-evidently needed and there's a huge network of people who are musless people that you saw working with and often do it far better than me. And that's great because they're following the spirit and principle of creating energy. It takes many forms in the end but it's this essential commitment to broad and accessible making of arts with people that put it in cushion. Like all welfare states work, Longline is different from most theatre. It's about people not product. It's full of colours, acrobats and junk puppets. It's empty of polish and ego. It's loud with the sound of brass bands and mask choirs and soft with whispered memory as if it's trying to uncover a collective unconscious buried layer beneath layers of sand and rock. It comes from the community and speaks directly to it drawing on the geological and social history of the area surrounding Morecom Bay from millions of years ago to tried and submarines and globalization. Because it is so specific it has a place universal it's inclusive in every way. This show is alive with ghosts. The 19th century mil-children left to drown in the quick sands. The Chinese cocklepapers sent out in darkness by gangmasters who lost their lives in the incoming tide. Gladys, the woman who tried to say welcome to the pier and who lost it watching it blaze tap to pink like her own ruined childhood dress. Longline is about what we've all lost and in its quietly moving high ritualized second half about how we might retreat. Ragged round the edges chaotic, unfinished and untamed all the wobbly bits are in plain view but it's so full of invention and puppetry it makes the Lion King at London West End show look cheap and doubly. Go to Longline make sure you take your one best your boots and your heart. Longline is an old market town population 14,000 located on the western edge of Morkham Bay. The town used to depend on fishing for shellfish, farming and water-powered mills but in the 20th century it changed to chemical and high-tech industries many linked to armaments, nuclear power and tribal submarines the main source of employment now nine miles away in 1978 we stopped our nomadic existence touring with our circus tent and convoy of ten caravans and our family settled in a house in Auguston the town was in decline with 44 empty shops and a miserable atmosphere now it is vibrant a trendy place to live proclaiming itself the festival's town over recent decades we and the arts have played a big part in its cultural revival our cloudy outdoor events such as dancing traffic cones would derive multiple ever-changing road works we started Flag Fortnite with locally designed handmade silk flags to fire both shop fronts for two weeks in May new flags are still made year by year walking along the cobble street it is like walking inside a Matisse painting family flags were popular flower are popular flying in good people's homes designed by school children they celebrate the work of their parents I'm proud by dad as a firefighter and I'm proud that my mum is an ambulance driver coming street later devised and rehearsed in public workshops frequently with novice performers as included wheelbarrow formation dancing inspired by vegetal shows traditional and silk opera in the local culture participants become giant characters and front passengers our early rule in the 1980s was to initiate events, supports and handovers of the community felt the right time then step back Su and I both play saxophones in Blast Furness Furness being the name of the location as opposed to Blast Furness the name of a steel kilm the street band that has been going for 20 years which always gets a gig at local festivals and shows WSI was invited to an international theatre festival in 1982 Way up in the north of Japan where we made a version of King Leo on a mountainside we were lucky enough to experience an extraordinary Shinto Lantern Parade as we travelled after the festival returned along to Oberstern we invented and started Oberstern's Lantern Parade a year later we experimented with willow sticks work, wet strength tissue paper glued over and lit by candles inside this worked perfectly from small beginnings this festival has grown and spread worldwide in Oberstern every September we closed the streets to traffic for one night as for parades, for rivers and lights led by four bands flow from all quarters of the town the things different every year hundreds of mountains are constructed and thousands of residents and many visitors congregate for an annual moment of belonging and excess it's only in aid of itself entirely voluntary homemade, although with the inherent skill of local engineers in the family multi-generational and a seasonal, optimal right of passage to celebrate family and friends and belonging before the dark days of winter a classic model of community art now a digress now time in the UK this actual week actually today no, this actual week sorry, thousands of events are being cancelled sports events, cultural events in line with the death of the queen the Lantern Parade team in Oberstern adonized over what to do and decided to go ahead not to cancel as this moment brings people together and will offer a focus and a moment to be together a local artist has been commissioned to make the unique lantern in the shape of a royal crown which will lead to one of the parades but this actual time tonight falcos will be coming out of their front doors with their children with their lanterns so to their star points the bans will be warming up so for the last 34 years john and i have never missed so tonight because we wanted to be here we are missing and we are afraid about it entertainment, as we said earlier an alternative, a way of life yes from the top of a nearby hill a monumental lighthouse looms over Ulster it is a memorial to Sir John Barrow an 18th century imperialist Lord of the Admiralty who was born here an important principle of criminality art is to use a local theme so the lighthouse turns to be various guidance and so it is said of the ghost of the queen probably Sir John Barrow saying he can't be having this nonsense and all of a sudden he is going to recruit imperialist soldiers and stop them so an important principle of community art is to make sure your birds don't fall over especially of course when you are marking something like the millennium 2000 now community art or social engaged art in the current jargon should be strong, original poetic, surprising and engaging and necessary not social work or sentimental ginguistic reinforcements for the millennium we had to be very wary of being used for the wrong political reasons but at least we persuaded hundreds of people to walk at the lighthouse hill some for the first time in their lives to see the longest flag in the world and experience our local skill of mountain climbers costumed as six think your barriers abstain on route from the top of the morning a short diagrational upon a time WSI toured to many countries with many shows we lived collectively mostly pair bonded in a mobile village of caravans in the 1970s we thought more theater troops would follow but few did in working and living together we discovered occasional ceremonies and restaurants in our lives some of this legacy has since become mainstream and we'll return to that topic at the later we educated all the companies young children ourselves on the road in a world we've created discovery hands on learning practical art making and working to earn a living it was successful these young people well some of them are in the 50s in a professional world as artists, musicians a legal aid lawyer an environmental project leader an animator, fashion designer and a tv production manager our big spectacles such as theatrical setting fire to a representative of the houses of parliament for an audience of 12,000 were challenging so it was raising the Titanic in an international London theater festival for 10 days each evening on a dockside in a line house in a 3 hour carnival performance for our 300 seated audience we demonstrated political links between the class ridden disaster of the Titanic Margaret Thatcher's capitalism the Falklands war and the gentrification of the very dockside we were working on with this expensive new apartments where local people were now excluded and where as we were working to live in our tents such powerful let's just say a little bit about these slides this is from the we use containers which is one of the reasons the dock was changing from the old shipping hardware and we use the containers to use them like a doll's house and slide through so the image you see here is that the stokers underneath lighting the fires and the rich people were both having a fancy dress party the ice giants the iceberg intrude and there was a question at the end of essentially the children why did you allow the Titanic to sink the Titanic of course being in our case an alivary for the political situation that we were in so there was a challenging question and then these sharks or the dockside come lumium at the end of the particular event so such powerful site specific theater received very good reviews and we had a reputation and we were getting grant but we traveled, we camped created something new and performed then we left memories and rumors were established and enjoyed but what remains radical as they were were still products entertainments to be enjoyed and consumed we were looking for something more satisfied more long term sustainable for ourselves and for the communities we connected with so we abandoned nowhere and settled in Alderson in 1983 we also began a seven year residency in Barrow in Furnace where the town builds our nation's nuclear submarine and we had a huge challenge for our anti-war policies in all the years we never accepted funding the policy billion pound company made a system but we did constantly connect with individuals who made with the workforce in the shipyard as it is always referred to so in 1983 Barrow had strong amateur theater and music societies taking classic well known plays light operas and musicals off the shelf but no contemporary arts policy and no locally created new original work we started the ball rolling with a punk film casting performers from the community am I wrong? we started the ball rolling with a punk film casting performers from the community based on Shakespeare's King Lear and written by Radical poet Avery Mitchell he reversed the name from King Lear to King Reel King Reel and the Woodlands was a madman's provocation which kept a lot of adolescence off the streets because we started serving breakfast on site at 8 o'clock in the morning to get them the cast to turn them and their mothers just sent them out so I'll feed you of the streets and it starred a mad king in Lucrea Summary it caused a fury so to replicate critics in 1987 we decided to design an ingratiating Sonnet Lumière to mark the Centennial of Barrow Town Hall featuring Queen Victoria there she is on the poster she'd been invited but she'd failed to attend in 1887 so we thought it was time to put her in charge on her elephants gun carriage so that's the town hall this parade is of the refuse collectors who turned out on the Sunday and had decorated their refuse cards we had to give a few what's of the paranormal to get them there but they came this is Queen Victoria you see on the top of her gun carriage there are an elephant gun carriage and there's a pair of the boomers flying in the back of the carriage that's the bee because they could have imagined Barrow was a bee and an arrow very simple we call this a bit of tattoo day and we threw out production values like no one in Barrow had ever seen before including a huge day like pyrotechnic display from the top of the town and there's the niggas flying as well a number of our key artists chose to live in Barrow this commitment was crucial and helped us to initiate the choir, theatre workshops writing workshops the carnival parade bands cabaret evenings in pubs and poetry performances the work Roastal Clamhacks in 1990 with a tapestry of shipyard tales presented over 10 days mainly in the civic theatre with the proscenium stage because that's the council that builds the watches that are used and it was in the theatre that theatre piece we did so in that theatre we did a number of pieces but some pieces were outside the tapestry contained 11 original theatres chosen 10 entirely divided performed by local people and genres included sitcoms the brexit documentary The Children's Opera The Shadow Factory a song cycle about working in a wire factory a street play with mothers a full scale pantomime and Lord Dynamite it was tricky to set two critical and two obviously critical of BA insistent so we did it to Lord Alfred Nobel Lord Dynamite as we called it because he kept saying the biggest stick of dynamite will stop the war because he made his fortune with dynamite and he tried to buy his way out of the peace prize so it was appropriate to treat Lord Dynamite Alfred Nobel as a symbolical character in the context a recurring feature also featured a greedy cuckoo who was invading the nest of innocent birds while a mad scientist built a wall to stop the cuckoo leaving claiming this will keep the summer hidden forever Our leading gift was the golden submarine a one soft ex-jumbo ganza performed once on a rainy evening in the grounds of an ancient abbey for 3,000 spectators After a chronical overture of dancers costumed as the streets of terrace houses on came fantasy cars hurtling around the arena which should be made and driven by shipyard welders who had taken their annual holidays so they could be bought Next, you see Lord Shelbent a mostrious capitalist burger with a detachable bloodstained hand instructs a tower of aristocrats to build two larger submarines Too drunk to aim straight they missed the submarine and launched the huge submarine sheds instead which move aside to reveal a monstrous cuckoo inside maintained eternal summer under golden fleece for a barrow based on armament and fields chaos ensuze until the passing of female cleaners with a giant practically cleaner built on a car overcome Lord Shelbent and bring the show to an end with the unique comrade in three pink where ok, e missin a slide there of the cleaners from the factory with massive 3 pin plers dancing at dross with electric wires during the arena during the early invention of the crazy and inm Ident dance now you have seen the film I just mentioned it again I have not mentioned it was made by Wojtarn Treski you can get it on în 2006. și a văzut să marc mălțiuni în mălțiuni cu dignitatea, cu nevoie și în distinție. A fost adevărat că, când suntem în rând, a fost adevărat să marc certul mălțiuni persoane, ceea ce a fost nevoie de mălțiuni când a fost adevărat, betrogilor, bălătate significanti, sau fumilor. Călătatea care a fost adevărat în rând, să fomilor lucruri local, că neatid ce a fost CVRI, a fost adevărat să mălțiuni deişte según tipul acestcă. Cea fost Exhibită. Și bioidecărătatea face un competition de coffee hermani a Switzerland. Vi-a nego mountat cermineOOO, sa rep reinsur tocmai, că votați vannyul. De ce ar fi că te punem în la deepurul Products? Să te le convinerosc 정me fața vânt. Nu uitați să se adăugă o cară de tine. Acum, este foarte interescut că oamenii cu o apără de tine oamenii, cu o autonomie a făcut să se văză. A fost prețat de la Fumeralul vii care a fost o apără. Și oamenii vau să gătească despre o apără de tine. Oamenii a fost oameni de la captaini de la nevoie și a fost oameni de tine. Și a fost, cum se văd, o apără cu o apără. și atunci cât de scop, când a fost lucrat de rău... ... Deci vreau să văd asta... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... Bău, băa, că trebuie să văd oameni, și așa o palăție de bine indețiți, veți să lăsați. Așa este așa Bona House. Bău, băa, că lăsați. Avă, văd un proiect de brăgușat forecasts că a construit o bucură. În aceștia sprită, am mai văd iubăt a băuti ca bine. Bona House, atea ține trebuie să fie tradiție. Trebuie să dă o ușescă, o bună, în un pă poblat... Dar acolo este o bună. Iti face o oameni carpacă în acest stailul. Și lăsa tecapă în o oameni carpacă. Și îmi faceam 11 ani și nu a fost mânăților din perio caused. Și îmi faceam ea că a fost mânăților din pălă în pălă, unul de un mânăților în frecție după pe care este apoi, la pălă în pălă în gunută trebuie să se rădă în dintr-o înveță. În două pălă în decept unei, Buna, vrei sa astea voi in centresa summara? Roda, dar sa-l persoati... cand 다-mi la gasit si atunci, a apäta. Iar.. ...a schimb, atunci, atunci, atunci, atunci, atunci, atunci, atunci, atunci, atunci, atunci, atunci, atunci, atunci, atunci, atunci, atunci, atunci... Hello, I've written and published a book, which is my memoir, so, like, all that like, loads of people have written about World of Six international academics with it in words as I've never seen on a page before, I can't understand what the words are. This is my story on the inside, so it is partly about that nomadic life, but it's about adventures, and it's particularly about the life we're doing now, and that's called in all my born days, so that is also just out, and it's on my website. And John's put out a songbook as well, you'll find it all on there. It's called Foxy's Songbook, it's a 51 songs from the years, and I've picked the songs that are more accessible, and not just linked to shows, so they could be similar in a rowdy entertainment. So, the questions we've been asking really about the nature, the notion of community theatre, and I believe we feel it should be extended to a much wider remit altogether. It's really about a cultural agenda, and that becomes, in the end, probably quite political. It raises the question all the time about whose culture is it, and who are the dominant gamekeepers. We believe it is essential to consider these questions, to examine the fundamental needs, and if necessary, to create radical shifts in our given or received order. This is important work, to use an old-fashioned concept, which is revolution. So, let's get on with it. To you all.