Thèmes

Les « thèmes » sont un contenu généré ou créé à la fois par le personnel de l’IETM et par nos membres. Ils se penchent principalement sur des sujets qui nous semblent essentiels pour le secteur des arts du spectacle actuel : la relation avec le public, le passage au numérique & les arts en direct, la diversité & l’intégration, les arts engagés socialement, la durabilité du secteur, et la valeur des arts dans la société.

Parental Ctrl by Ferenc Sinkó in collaboration with kata bodoki-halmen, Kinga Ötvös, Krisztina Sipos. Producer: Kinga Kelemen/GroundFloor Group. Photo by Roland Váczi.
corinabucea
IETM recently hosted its Plenary Meeting in Bucharest, Romania, with a particular focus on the current position of the artist in contemporary societies, as well as on the financial and social conditions of pursuing a career in the arts. This series of articles reveals what is to be an artist in today's Romania. From the perspective of the self-proclaimed (and later, experience-proclaimed) cultural manager, there is a small detail about my field of work that has constantly made me wonder about our status: the fact that our backgrounds and the paths that brought most of us here are suspiciously...
Joris JANSSENS
In 2017, Joris Janssens (Flanders Arts Institute) was invited at the Producers Network Meeting & Forum in West Kowloon Cultural District (Hong Kong) to share the experiences from Flanders and Europe with international networking since the 1980s - in order to inspire the development of this new Asian network with European experiences.
Iulia POPOVICI
Iulia Popovici describes the challenges faced by the independent performing arts sector in a country where public theatres monopolise the majority of fundings.
Ai Weiwei and remnants of an installation for the Venice Biennale in 2013. Credit Gilles Sabrie for The New York Times
Elenq
We need the arts because they make us full human beings. But we also need the arts as a protective factor against authoritarianism. In saving the arts, we save ourselves from a society where creative production is permissible only insofar as it serves the instruments of power. When the canary in the coal mine goes silent, we should be very afraid — not only because its song was so beautiful, but also because it was the only sign that we still had a chance to see daylight again.
Daniel Gorman
Art can ask difficult questions and help people engage with complex topics. With conflict and political divisions spreading across the globe, it’s vital arts producers find new ways to bring people together.
fbittencourt
This political moment is the opportunity of a lifetime to change our business practices, to call for organization, discourse, and reform within our own community. We can “drain the swamp.”
Paul FINEGAN
On Saturday 5 of BFT's staff in Belarus were arrested as part of a major clampdown on peaceful human rights protests in Minsk. Our actors and playwrights had been taking part peacefully in the Freedom Day protests calling for the resignation of dictator Alexander Lukashenko
fbittencourt
In what has been named the largest refugee crisis since World War II, more than 65 million people have been forced from their homes. Around the world, one in every 122 people is currently a refugee, internally displaced, or seeking asylum. There are refugees fleeing Syria, Kosovo, Iraq, Afghanistan, Sudan, Nigeria, and dozens of other countries.
fbittencourt
In the two years since the beginning of the ‘Arab Spring,’ North African theatre practitioners have successfully invested the stage to open new spaces of public dialogue and debate, using the Internet and new media (Facebook, Twitter, YouTube) to further promote their work and to galvanize the youth.
fbittencourt
Taiwanese’s identification has been inherently problematic and lacerated, and raises many questions that have become inseparable from the main concerns of Taiwanese theater artists: Who are we?

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