ETC Working Group, Kiev

Transcription

1 ETC Working Group, Kiev Recommendations for reforms of the Ukrainian theatre and its independent scene Presentation of results of initial brainstorming meetings and consultations October December / 14

2 Background The European Theatre Convention (ETC) is one of the largest networks of public theatres in Europe and strongly committed to nourish the established relations between Ukrainian theatres and artists in order to pursue a European networking that is both artistically and personally enriching. A strong supporting cultural-political policy context is an essential condition allowing further bi- and multilateral relations to grow and develop successfully. Developing transnational activities for theatres and performing art artists in Ukraine as well as good structures for creating and producing contemporary drama as important art of cultural life, has been repeatedly stated by Ukrainian partners as a fundamental need to connect Ukrainian theatre with the European theatre scene. Theatre has a long tradition in Ukraine, though its theatrical landscape is not very much known in central and Western Europe, nor its enthusiastic and talented young generation of theatre makers. With the programme Theatre of Dialogue Dialogue of Cultures, ETC sets out to support activities that are designed and dedicated to: - Improve conditions for young and emerging artists to develop their professional capacities and artistic expression in an international environment - Improve infrastructures that bridge public art and theatrical institutes with independent performing art organizations in order to create synergies and unlock creative potential based on cultural quality and originality for a rich cultural life in European societies 2 / 14

3 1. ETC working group As part of the project, ETC initiated a work group of Ukrainian theatre professionals; most of them participants of the ETC 2015 scholarship program and representatives of both ETC s associated members Dakh Theatre and Molodyi Academic Theatre. The creation of the work group is the attempt to involve members of the civil society and stakeholders in a democratic consultation process and engage in a structured dialogue between with policy-makers. The aim of the group is to further professionalize its new contacts and discuss, explore and elaborate with both theatres - new possibilities of collaboration between the independent theatre scene and public theatre houses - potentials of an infrastructure that promotes independent artists and companies offering sources of funding, co-production and space - recommendations with concrete measures to advance the work of the independent Ukrainian theatre scene both on a content and financial level with a possible action plan It is our objective, that the recommendations formulated by the group will be presented to and if possible already developed in close consultation with relevant public ministry authorities in Ukraine. It has been further agreed, that by the beginning of December 2016, the group will be presenting its recommendations and findings. One preliminary result of the group is the design of a tender for commissioning a study to analyze the independent Ukrainian theatre scene and deliver empirical and qualitative data in order to provide argumentation for further policy-making processes. Working group members Andriy Bilous and Natalia Syvanenko (Molodyj Academic Theater), Andriy Palatny and Olena Salata (Dakh Theater), Diana Aishe, Dima Levytsky, Pavlo Yurov and Yuliia Fediv. In the following chapters the ETC working group presents main priorities they identified over the course of regular meetings in autumn 2016 for Ukrainian theater development including proposals for free theater scene in Ukraine, and emphasize first steps to be made in order to foster theater reforms processes in our country. The following recommendations are a first draft that is considered to be the base for further discussions and developments. December, / 14

4 2. Main priorities for the Ukrainian theater 1. Establishment of a common platform for cooperation between Ukrainian state and independent theatres, on the one hand, and the international community, on the other. 2. Development of legislative, economic, political, and behavioural mechanisms in order to create the same conditions for non-state theatres and share independent theatre products between Ukrainian theatres and between Ukrainian and foreign theatres. 3. Promotion of evolutionary theatre movement through an on-going upgrade of the theatre system. 4. Creation of an open system of theatre education and mechanisms of its interaction with the theatre field through the establishment of new theatre ensembles. 5. Foundation of the independent theatre agency, the Theatre Institute, that will promote the unity of the theatre system, launch of independent theatre platforms, and a system of festivals and showcases. 6. Theatre marketing strategy development, positioning of Ukrainian Theaters on the international scene. 4 / 14

5 3. Proposals for development of free theater scene in Ukraine 3.1. Creation of the Free platform for independent theatre 1 option. For support and development of Independent Theatres (IT), theatrical centres (TC) should be established at least in cities with population of 1 million and more. For TC, state/local authorities provide free space with certain technical characteristics: the presence of 2-3 auditoria with seats and a large stage, the ability to install theatre equipment, rehearsal rooms. Budgetary support for TC administrative and technical staff is necessary. Selection of theatres staff to work in TC is on annual open competition. For example, in Kyiv can be: Small Opera at Lukianivka, Krakiw cinema, Bratyslava cinema, cultural centre Arsenal. 2 option. With the development of the state program for Ukrainian independent theatre, allocation in each state/local theatre of a small stage/time to be rent as overall stage and rehearsal space on favourable terms for the IT, including IT product in the repertoire of such theatres is mandatory Mechanisms for co-production: It has a wide application due to joint use of partners resources. Internal co-production: - Exchange of theatrical platforms for tours in other cities, the exchange of actors, directors, screenwriters, playwrights - Involving actors, directors, screenwriters, playwrights to create joint theatre product - Cooperation of several IT in TC, creation of joint performances, workshops, festivals - The creation of a single Internet portal for Ukrainian theatrical content - IT cooperation to create large-scale theatrical festival International co-production: - Ukrainian IT joining the European theatre platforms, associations - International theatre platforms exchange for tours in other cities, the exchange of actors, directors, screenwriters, playwrights - Involving actors, directors, screenwriters, playwrights to create joint theatre product - Participation of Ukrainian IT in international festivals, workshops etc Mechanisms for financing of free theatre scene: 5 / 14

6 There are several financing mechanisms that are possible to use under the current legislation: Private and public partnership - the state provides property, administers and controls the project, the business plans, finances, implements, manages the project, joint risks, responsibility and compensation (recovery) between them. Charity/Patronage - will be a source of financing in terms of putting into practice of efficient benefits from tax exemption of charity/patronage contributions. State funding/financing by regional and local communities - is possible under the development and intensification of effective public policy for the development of Ukrainian independent theatre. Business/sponsorship funding is possible in terms of overcoming the financial crisis and stabilizing the business processes in the country. Grant aid of foreign cultural institutions and embassies of foreign countries. Crowdfunding - financial support of loyal theatre or local community. Loans - can be used in case of a business plan for TC development. TC and IT self-sufficiency is possible in 2-3 years after the start in terms of a stable theatre audience development. 6 / 14

7 4. Proposals for actions 4.1. Conduct of baseline study on Ukrainian theater (Amendment 1) 4.2. Study visits to the Ministries of culture in EU states (Germany, France etc.) in order to be informed about mechanisms of theater scene development in these countries, namely support system for free theater scene Creation of ongoing dialogue platform between policy makers, free theater groups and state theater to develop common action plan for Ukrainian theater reform. 7 / 14

8 Amendment 1. Statement of Work (SoW) for Advisory Services in Conducting a Baseline Study on The Ukrainian Theatre I. Background information: problem identification As of today, four issue clusters hindering evolutionary development of the Ukrainian theatre can be identified, namely: administrative, economic, political, and behavioural ones. The most crucial of them are as follows. 1. Failure (incompetence) of the modern theatre system in Ukraine to integrate adequately into the global theatre context. 2. Lack of the quality legislative framework that would: - Provide a mechanism of establishment of a shared theatre product (coproduction) between state and non-state theatres, Ukrainian and foreign theatres. - Absence of a patronage law which results in a small percentage of extra budgetary funding both for governmental and non-governmental sectors. - Absence of preferential bank credit lines for non-state theatres and start-ups, launch of new projects, field trips to festivals, etc. - Absence of tax privileges in theatre activities in Ukraine. - Absence of equal competitive conditions for players of governmental and non-governmental sectors (state theatre ticket cost is significantly understated because of allowances from budget expenditures). - Absence of individual financial programmes for experimental/festival production. - Absence of theatre as a specific business model in the official register of forms of private enterprises in Ukraine. 3. Lack of a theatre product market coming from the state monopoly in the theatre field which in its turn creates an unequal access to the resource in the theatre field; lack of facilities and support for independent theatre projects on the part of the state; lack of a transparent and accessible grant system for independent theatre projects and young theatre workers. 4. Disorganisation within the theatre environment at the horizontal level: for various reasons, theatre workers in Ukraine do not enjoy the opportunities that the Law of Ukraine on Non-government Organisations, in particular, allows; thus the Union of Theatre Workers in Ukraine is still the only professional association, though dealing with neither protecting their members rights, nor lobbying 8 / 14

9 legislative changes. The trade union movement in the theatre field is decentralised; in many cases, it does not take into account the specifics of different theatre professions, new forms of workplace industrial relations, and new models of theatre management. 5. Lack of appropriate competitive theatre education: an obsolete registry of professions and educational programmes, incompetence of academic staff in higher education institutions, etc. 6. Lack of a mandatory quote for the modern Ukrainian dramaturgy in the repertory of state theatres. 7. Lack of theatre festivals/national showcase among the priorities of state policy. 8. Paralysed touring movement: there is law awareness in the capital of the theatre life in provinces and law awareness in provinces of the theatre life in Ukraine. 9. Lack of theatre centres as a new model of coexistence of state and non-state theatres. Lack of locations and access to existing locations and equipment for the use by independent theatres. 10. Lack of a systematic analytical study of the theatre field of Ukraine (governmental and non-governmental sectors, festival activities, audience, repertory, etc.) and lack of a working instrument for conducting this study (indicators, a developed system of an on-going monitoring and assessment in the theatre field (its different sectors)). In the light of the foregoing, there is an emerging demand for conducting a baseline and solid study which requires comprehensive efforts, first of all, on the part of sociologists of art (artistic culture), critical experts, managers, financial officers, directors, representatives of state cultural policies, non-government experts of different levels, and the like. Virtually the total lack of sociology of artistic culture in Ukraine (arts and theatre, in particular), which is crucial for the study of the stated problem, is relevant in this context. Since the sociological researches of theatre conducted by Les Kurbas Centre represented by Nelli Korniienko together with O. Semashko, DSc (partially with Ihor Bezhin, DSc) in 1990s in Ukraine, we haven t seen even similar attempts. II. Aim of the baseline study The baseline study aims at building the most complete and objective picture of the Ukrainian theatre for the purpose of its transformation. Definition of its practical importance and the role that it plays in the modern Ukrainian society. Definition of the development history of this importance, its organic/non-organic nature. 9 / 14

10 Identification of factors which formed the given theatre system, its genre range, the system of its aesthetical values and development vectors. Proposition of ideas of complex and systemic reforms which could promote theatre development, weather state or independent, both in terms of funding and contextualising theatre and its integration into the public life of the Ukrainian community. The theatre should transform into an institution, i.e. in its activities, it should initially be guided by strategies and plans, it should learn to perform according to the actual needs of resource saving, new industrial relations, and implement new effective models of theatre product development. III. Task specification To achieve the above, the baseline study should ensure the following. 1. Composing a map of the theatre sector of the country that will feature theatres of various types of ownership, theatre schools, theatre higher education institutions, intensity of project activities, non-repertory theatre projects. 2. Analysing state, regional, and municipal policies in the theatre field. 3. Investigating the state of theatre education. 4. Analysing repertory playbills based on such parameters as: genre, foreign/ukrainian author, staff/guest director, mean age of the play in the playbill (playbill update dynamics), and average number of first nights throughout Ukraine. 5. Studying age parameters of managerial group (governmental/non-governmental sectors) and performance ensemble. 6. Participation in festivals, tours: trip geography of Ukrainian theatres for the last year and the last five years, studying the dynamic pattern. 7. The pricing policy of Ukrainian theatres: researching parameters in the context of the general statistical data on economic indicators of different cities and regions. 8. Studying the formal variety of the Ukrainian theatre: is the genre system of the Ukrainian theatre being updated? Are new trends like documentary theatre, contemporary dance, performance theatre, etc. being developed? 9. Analysing creative programmes of acting theatre artistic directors (the programme is a part of a contract): identifying priority areas of development as defined by theatres themselves. 10. Theatre attendance in different cities and provinces, involvement of the audience in different regions of Ukraine and in the capital. 11. Identifying the needs of the existing and prospective theatre audience in Ukraine on the following scales. 1) The role of various factors in choosing a theatre product (orientation towards the genre, author s/director s/actors name(s), day of the week, etc.). 2) Expectations with regards to a playgoer s administrative support on the part of the theatre (to measure rigorously what playgoers are satisfied/unsatisfied with, what their wishes are). 3) Playgoer s attitude to 10 / 14

11 criticism institution (what is the significance of the perceived influence on the audience?). 4) Perception of experimental theatre. 5) Economic factors in choosing a play (correlation of means and preferences of the audience). 6) The audience s attitude and readiness to visit a grand theatre festival, their expectations. 7) Study of the audience s tastes and the level of their artistic intelligence beyond the pale of the theatre product (cinema, music, literature, painting). The study should be based on conducting statistical data collection, analysis of data, and surveys among different target groups and stipulates a systemic approach: 1. statistical data collection, statement verification, specification and correction; 2. development of an integral database (non-governmental theatre sector is currently outside the area of interest of government institutions); 3. analytical work on study of the genre structure, repertory policy, and financialeconomic models of Ukrainian theatres; 4. conducting surveys of administrative and artistic staff of state and non-state theatres; 5. conducting surveys of theatre critics; 6. conducting surveys of two types of audience: a) existing and b) prospective one. To attain this goal, the sample of respondents should be representative, i.e. it should include respondents of different age groups, genders, levels of education, and material status. To obtain relevant data, different survey types should be created and focus groups with each of the target audiences should be conducted. For this, two independent Advisors (a Ukrainian and a European one), who will conduct this complex study within a clearly set timeframe, should be involved. This includes the steps below. - Development of a complex methodology for conducting the study. According to the objectives, the concept and the plan of the study should comprise the following: identifying the main target audience, the administrative-territorial units and organisations that should be included in the baseline study, as well as defining the range of partners. Also, methodologies for collection, analysis, and assessment of the received data will need to be defined. - Organisation and conduct of the baseline study. Advisor should deliver a work plan for realisation of the baseline study, including the work schedule and staff engagement plan. - Progress reports on the baseline study and presentation of findings. 11 / 14

12 Proceeding from the objectives of the given study, which is here I repeat myself planned as fundamental, its intellectual and financial contributions, and its execution time should stipulate the maximum use of the Ukrainian resources and staff. Having conducted a pilot monitoring of the situation in the leading institutions the relevant institute of the National Academy of Sciences of Ukraine (NASU) and the relevant departments of the leading higher education institutions we got the confirmation of the fact that in Ukraine there are practically no scholars in this field. There is no professional staff. It came out that even in the leading scientific institute, the Institute of Sociology of NASU, there is only a division of sociology of culture and mass communication. Artistic culture (theatre) as a subject is missing. To define the main target audience, administrative-territorial units of the baseline study, the range of partners, and the methodology for analysis and assessment of findings, it is preferable to involve the following institutions (randomly, the list is non-exhaustive). 1. When selecting the methods of study, criteria for credibility of sociological information, sampling approaches, etc., it is possible to use the staff members of the Institute of Sociology of NASU (there is a strong general methodological framework Ir. Dobronravova, DSc, Bevzenko, DSc, and others); the sociologists of culture and mass communications of the Precarpathian National University (the Department of Philosophy and Sociology wherein sociology of culture is available). 2. In order to create focus groups, it would be useful to involve the scholars of the division of sociology of culture and mass communication of the Institute of Sociology of NASU, bringing, in particular, the group of Nataliia Viktorivna Kostenko, DSc in Sociology (her works are Focus Groups: Reformation Initiatives from a Distrust Perspective, Cultural Intelligence (SQS) Testing: Ukrainian Audience, Sociocultural Differentiation and Cultural Standards Dynamics, etc.), and others. These all are far from theatre but the methodology in researches of culture, the long experience, say, in the studies of cinema (1986), can be useful. 3. With regards to management issues, the Department of Management of Theatre Business of the Kyiv National I. K. Karpenko-Kary Theatre, Cinema, and Television University should be involved. 4. As actual theatre experts, art scholars from the Faculty of Culture and Arts of Ivan Franko National University of Lviv could be involved. 12 / 14

13 5. In order to ensure a representative study, the latter should be built on the data of the regional branches of the National Union of Theatre Workers of Ukraine, being the most informative and dealing with theatres directly. There are seven of them. Indicators for monitoring and defining the dynamic pattern in the theatre field, recommendations, and further materialisation of all burning needs in management, education, state and fiscal policy, innovative nature, building up non-government instruments, and business supporting theatre, etc. should be realised in several stages, brining specialists quite possibly from other countries. Treating the given problem adequately and taking into account all risks under the circumstances (the lack of appropriate staff, the war, the limited economic resources available, unpredictability of the humanitarian situation, etc.), the study should take minimum two or three years. The minimal option is possible which can fit one year and a half. IV. Expected findings 1. Obtaining a relevant analytical report based on quantitative and qualitative parameters. 2. Availability of credible objective factors in the theatre business in the territory of Ukraine, both in governmental and non-governmental sectors. 3. Development of indicators for on-going monitoring and assessment of changes taking place in the theatre field in Ukraine. 4. Provision of further recommendations on ways of improving the repertory policy of theatres, artistic load of state and non-state theatres with the state support, establishment of a large-scale theatre festival. The study will also boost changes regarding management, education, internal mechanisms of theatre work, and funds allocation for the theatre business in Ukraine. 5. Implementation of the changes in the theatre business at the level of the state policy in accordance with the study findings. 6. Mainstreaming of the theatre position in the society. 13 / 14

14 Theatre is Dialogue Dialogue of Cultures: European networking with Eastern European theatres is initiated by the European Theatre Convention and the Staatstheater Braunschweig. With the support of the Federal Foreign Office Contact and further information: Yuliia Fediv, ETC working group coordinator Tel.: For press queries please contact Teresa Pfaud, project coordinator, ETC convention@etc-cte.org, Tel: , 14 / 14