Livestreaming a Convening: Out of the Frame Two

Shoshin Theatre Association in Cluj, Romania presents Out of the Frame Two International Theatre Forum livestreaming on the global, commons-based, peer-produced HowlRound TV network at on Saturday 17 September at 7 a.m. EDT (New York, UTC -4) / 11 a.m. UTC / 2 p.m. EEST (Cluj, UTC +3).

Shoshin Theatre Association is organizing the second edition of the Out of the Frame International Theatre Forum. The forum, which is the final event of the Erasmus+-funded RIOTE 3 (Rural Inclusive Outdoor Theatre Education 3) project, is primarily seen as a networking platform and an excellent meeting point for exchanging experiences and supporting mutual learning between local and European organizations. The program is addressed to all artists and cultural workers who believe in the transformative power of the arts and work for the development of participatory theatre, both at home and abroad.

Building Communities: panel discussion with the representatives of the local cultural/art scene
7 a.m. EDT (New York, UTC -4) / 11 a.m. UTC / 2 p.m. EEST (Cluj, UTC +3)

Reactor’s Laboratory for Creation and Experiment, Create.Act.Enjoy, Waitingroom Project, Magic Puppet, Shoshin Theatre Association
Doru Taloș: co-manager (Reactor)
Raluca Bugnar: public relations and volunteer coordinator (Create.Act.Enjoy)
Levente Imecs-Magdó: actor, manager (Waitingroom Project)
Silviu Ruști: actor, co-founder (Magic Puppet)
Csongor Köllő, Enikő Györgyjakab (Shoshin Theatre Association)
Moderated by Miki Braniște (cultural manager, curator, assistant professor)

No Country for Theatre? International Models and Local Practices in Rural Touring
9 a.m. EDT (New York, UTC -4) / 1 p.m. UTC / 4 p.m. EEST (Cluj, UTC +3)

A roundtable discussion with the participation of national and international cultural policy experts: Carn to Cove (United Kingdom) and Iulia Popovici – expert in cultural policies (Romania). Moderated by Tamás Jászay (Hungary)

The benefits of decades of rural touring in Western Europe for the functioning of local communities and the artistic groups that interact with them are well established. In addition to the artistic, aesthetic, and emotional effects, it is also worth taking into account the economic and social benefits of the undertakings, which of course depend to a large extent on the specific context. The roundtable discussion will focus on formal, genre, aesthetic, financial, and organizational issues. Some of the topics covered include: what is the difference between theatre productions made specifically for the rural area and the productions that are just taken there? How are independent events organized in a networked form, facilitating both performers and spectators? How can local needs, interests, and expectations be assessed? What is the role of local, regional and national decision-makers in creating and developing the network? How can a functioning network be maintained? New challenges on the threshold of a new era: how does theatre respond to new crises in the world? And of course the fundamental questions: where, what, for whom, and with whom? And what is decisive in all cases (not only in Eastern Europe): what kind of money, logistics, and infrastructure can be used to do this? Answers are sought from international experts on the subject, who will share their experiences and ideas from the United Kingdom, Hungary, and Romania.

Claire Marshall: director, Carn to Cove, United Kingdom
Iulia Popovici: expert in cultural policies, Romania
Moderated by Tamás Jászay (editor in chief, associate professor, Hungary)

A Long Short Journey: Keynote Address held by John Fox and Sue Gill (Dead Good Guides, United Kingdom)
11:30 a.m. EDT (New York, UTC -4) / 3 p.m. UTC / 6:30 p.m. EEST (Cluj, UTC +3)

Sue Gill and John Fox started Welfare State International (WSI) with others in 1968. The company achieved a world wide reputation for creating site specific theatre, fire shows, lantern parades, installations, and participatory art. They archived WSI in 2006 and started Dead Good Guides, a new, smaller company.

This work extends the notion of “community theatre” to a much wider cultural agenda. It raises the questions: whose culture is it? And who are the dominant gatekeepers?

Sue and John believe it is essential to consider these questions, to examine fundamental needs, and, if necessary, to create radical shifts in our given and/or received orders.