Theatron Project Description

THEATRONENGAGING | NEW | AUDIENCES

ODENSE TEATER

THÉÂTRE DE GENNEVILLIERS

SADLER’S WELLS

STAATSSCHAUSPIEL DRESDEN

DIVADLO ARCHA

UPPSALA STADSTEATER

AALBORG TEATER

FREIE UNIVERSITÄT BERLIN

SHEFFIELD THEATRES

HELLERAU – EUROPEAN CENTER FOR THE ARTS DRESDEN

AARHUS TEATER

FONDAZIONE ROMAEUROPA ARTE E CULTURA

TABLE OF CONTENTTHEATRON PROJECT OVERVIEW

THEATRON CONCEPTION: THREE DIMENSIONS

THEATRON ACTIVITIES & OUTPUT

THEATRON WORKPLAN

THEATRON PARTNERS & EXPERTISE

“All

one has to do is sit in a theatre

and see the way that human beings within

a microsecond of the house lights going down

coalesce into a society, into a discrete entity that didn’t

exist before.

The audience and the actor and the play, it’s an instant com-

munity. Theatre is an irreducibly communal event, and it’s

proof of what Marx says: that the smallest human unit is

not one but two people, that one person is a fiction;

there’s never been – and there never will be any-

where in time – one person.”

Tony Kusher, playwright

THEATRONDIMENSIONS

1CREATIVE COMMUNITYENGAGEMENT

VISIONWe aim to jointly explore &

develop innovative forms of

production. Forms that active-

ly engage our communities in

the creative process, and lead

to highly relevant, collabora-

tive and artistically excellent

performances.

EXPERTSThéâtre de Gennevilliers, FR

Sadler’s Wells Trust, UK

Divadlo Archa o.p.s., CZ

Hellerau, DE

THEATRONDIMENSIONS

2INTEGRATED AUDIENCEDEVELOPMENT

VISIONWe aim to explore new tech-

nologies, tools and methods

for integrating strategies in

audience research, customer

relationship management,

education & outreach, com-

munication & marketing in a

way that enables us to create

lasting and meaningful relati-

onships with our audiences.

EXPERTSAalborg Teater, DK

FU Berlin, DE

Sheffield Theatres, UK

THEATRONDIMENSIONS

3FOSTERINGBEST PRACTICE IN EUROPE

VISIONWe believe that the Theatron

discussions and findings are

too important to keep within

this project. We therefore aim

to actively engage other orga-

nisations & experts in this dis-

cussion, ensure that the

results are available and that

the next generation of

‚creatives’ can bank on this

repository of knowledge.

EXPERTSStaatsschauspiel Dresden, DE

Uppsala Stadsteater, SE

Aarhus Teater, DK

Fondazione Romaeuropa, IT

THEATRON CONCEPT

THEATRON COORDINATORWe pledge to do everything in our power to make Theatron the success it deserves to become. A joint vision & continous, content-based interaction are the keys to collabora-tion success. Theatron already managed to establish both through the preparation pro-ject of the last 18-month. Today, we are more excited than ever to make this happen.


Live performances are not just happening on stage, the audience members with

their reactions, moods and rituals are a central part of the experience. The

Theatron members agree that there is no good production without an audience.

In this project, we want to explore the many ways in which this relationship can

used in the production process to inspire both artists and spectators.

We all know of the important role theatre can play – not just as a place of

community and shared experience, but also as a space for the review and

artistic reflection of our lives – removed from everyday reality and put on stage

– 'mimesis'. In order to do so successfully, performing arts professionals have

to engage in a true dialogue with their audiences and their stakeholders. A

dialogue that goes beyond marketing and extends to the entire creative process

from programming via the artistic creation, performance practices and commu-

nication.

Theatron aims to engage theatre professionals, theatre audiences and theatre

communities in an open dialogue that covers the entire creative process from

artistic programming via the artistic creation, performance practices, communi-

cation, outreach and education. This dialogue aims to (1) bring the community

into the theatres, (2) the theatres into the communities and to (3) jointly discover

new loci of interaction. It aims to do so both in the real, physical world

(community outreach, ambassador programmes or places for performances)

and in the virtual sphere (social media platforms, new programming for creative

exchange).

KEY TARGET GROUPS

artists, directors and creative workers in the Theatron partnership audiences of Theatron partners European artists, directors & ‚creatives’ with interest in the topic

OUTPUT

Workshops and Conferences Int. Expert Workshop on Co-Productions Int. Expert Workshop on Community Engagement 2 Theatron Camps

Output in Networking, Training & Exchange 10 production visits 7 residencies 5 Theatron Fairs

New original works & tours 7 co-productions in 7 countries 10 adapted productions 12 toured productions more than 300 performances in 7 countries

Publications 1 e-curricula on creative community engagement 1 Theatron Workbook & factsheets on audience engagement 40+ podcasts, videos and presentations online 1 TV documentary

THEATRONDIMENSIONS


VISIONWe aim to jointly explore &

develop innovative forms of

production. Forms that active-

ly engage our communities in

the creative process, and lead

to highly relevant, collabora-

tive and artistically excellent

performances.

EXPERTSThéâtre de Gennevilliers, FR

Sadler’s Wells Trust, UK

Divadlo Archa o.p.s., CZ

Hellerau, DE


THEATRONDIMENSIONS

2INTEGRATED AUDIENCEDEVELOPMENT

VISIONWe aim to explore new tech-

nologies, tools and methods

for integrating strategies in

audience research, customer

relationship management,

education & outreach, com-

munication & marketing in a

way that enables us to create

lasting and meaningful relati-

onships with our audiences.

EXPERTSAalborg Teater, DK

FU Berlin, DE

Sheffield Theatres, UK

During the last decades, it has become more and more apparent that the

traditional performing arts like theatre and dance have been met with tough

competition from other media like film, television and new media. Theatres

cannot take their public for granted any longer, and need to know more about

their current and potential audiences in order to engage with them in a meaning-

ful and sustainable way.

There are many tools to audience development – ranging from quantitative

research and CRM systems to outreach and community arts activities. In

addition, new technology enables us to engage with audiences in new and

exciting ways. In this second dimension, we aim to jointly explore how to create

synergies between different audience development strategies and how to use

new tools & technology in the most beneficial way.

The collaboration itself will also make full use of new technology, creating a

‚Theatron Online Platform & Social Network’ through bing. This will be a place

of virtual meetings, chats, blogs, publishing of content and shall become the

virtual home of Theatron. While most ot the tools will be limited to full and

associated partners, some areas of the platform will be available to a larger

public.

KEY TARGET GROUPS Theatron professionals working in marketing, audience development, sales,

education existing and new Theatron partner audiences European experts & students in audience development

OUTPUTWorkshops and Conferences

Int. Expert Workshop on Audience Development Int. Expert Workshop on Audience Research Int. Expert Workshop on Performing Arts Marketing & Communication 2 Theatron Camps

Networking, Training & Exchange 50 online help clinics 10 mentoring programmes 10 3-day staff exchange visits 8+ Theatron presentations at meetings

New Content 5-year study & data on Audience Research at 11 European houses 50+ white papers. reports & guidelines online

Publications 1 e-curricula on integrated audience development Theatron factsheets on audience development 2 best practice reports on audience research & marketing


THEATRONDIMENSIONS


VISIONWe believe that the Theatron

discussions and findings are

too important to keep within

this project. We therefore aim

to actively engage other orga-

nisations & experts in this dis-

cussion, ensure that the

results are available and that

the next generation of

‚creatives’ can bank on this

repository of knowledge.

EXPERTSStaatsschauspiel Dresden, DE

Uppsala Stadsteater, SE

Aarhus Teater, DK

Fondazione Romaeuropa, IT

EXCHANGE FOR IMPACT & SUSTAINABILITY

Any undertaking is only as good as the people who drive it. To ensure the

success of Theatron and its long-term impact, we want to share our expe-

riences and findings with the widest possible audience. To achieve true su-

stainability, the findings and results have to be discussed, refined and passed

on – both to fellow experts and to the next generation of theatre professionals.

PUBLICATION & DOCUMENTATION

Documentation is a means to record both processes and outcomes of the

project. This includes the artistic, audience development and educational as-

pects of the programme. Theatron documentation will include programmes,

reports and publications, promotion and press materials, surveys and case

studies, recordings and digital content. The material will be reviewed by the

editorial board and made available to a larger public through presentations,

conferences and the online platform. In addition, the project will be documen-

ted, creating a TV documentary that will be offered to European channels and

made available on DVD or online.

QUALITY ASSURANCE

Through the establishment of quality assurance into the project design, The-

atron has integrated an ongoing, structured process for monitoring, reporting,

evaluation, feedback and adjustment in its project design. Both qualitative and

quantitative results will feed into progress conferences and workshops, allowing

for a clear mutual understanding of the project status and for planning the

necessary adjustments.

KEY TARGET GROUPS European Performing Arts Professionals European Performing Arts Students Theatron audiences General Public

OUTPUTWorkshops and Conferences

Int. Expert Workshop on Development & Sustainability Int. Expert Workshop on Publication & Documentation Int. Expert Workshop on Training and Education 2 Theatron Camps

Outreach and Network Sustainability 8 Theatron presentations at European Conferences, network meetings, etc. 2 creation and launch of 2 e-curricula 1 virtual collaboration platform with partial open access 1 Theatron Workbook & factsheets on audience engagement 40+ podcasts, videos and presentations online 1 TV documentary 50+ white papers. reports & guidelines online

THEATRONENGAGING | NEW | AUDIENCESACTIVITIES

THEATRON CO-PRODUCTIONS (7 IN TOTAL)

Artistic teams of at least two partner organisations creating a new, joint production based on

Theatron methodology and objectives. This leads to ca. 145 performances of 7 co-produc-

tions in 7 partner countries (plus additional international touring):

creative collaboration for 3+ months

20+ performances at hosting house,

3+ performances on tour

THEATRON ADAPTED PRODUCTIONS (10 IN TOTAL)

Partner adapting a Theatron best practice production of another partner for their audiences.

This leads to ca. 200 performances in 7 countries:

Creative collaboration for 2+ months,

20+ performances at hosting house

THEATRON TOURS (12 IN TOTAL)

Partner hosting a Theatron best practice production of another partner. This leads to a

minimum of 36 performances in 7 countries.

PRODUCTION VISITS (10 IN TOTAL)

2-day visits of 12*2 partner stakeholders to observe and learn from the production or

audience development practices of another partner. A production visit includes the atten-

dance of performance, rehearsal, workshop etc., 'masterclass' with the hosting production

team and in-depth discussion of practices.

INTERNATIONAL THEATRON FAIR (5 IN TOTAL)

Annual project production fairs to discuss upcoming season, select best practice examples,

allocate creative grants and present planned projects and productions; attended by two

representatives per partner.

EUROPEAN STUDY VISITS (5 IN TOTAL)

Opportunity for the extended creative team (director/ dramaturgy, audience development/

community outreach, marketing/communication) of the visiting partner to observe the wor-

king processes of the extended creative team of the hosting partner during a critical

production period. 3*5 selected theatre professionals participating in 5 three-day European

study visits.

CREATIVE RESIDENCIES (10 IN TOTAL)

Allowing selected creative director of the visiting partner to work intensively with hosting

partner for a period of two weeks – either for a limited project or to explore the viability for an

adaptation or co-production. 10 selected directors/ artists participating in 10 two-week

creative residencies in 4 countries.


THEATRON ONLINE HELP CLINICS (50 IN TOTAL)

Regular monthly online forum that allows Theatron staff to present and

discuss the latest ideas and challenges. Topic suggestions, questions

and answers on the Theatron platform forum are complemented by 10

annual public tweet-ups moderated by project and guest experts,

allowing for real-time, multilateral discussions. The clinics and tweet-

ups will benefit 500+ theatre professionals (80% project-internal, 20%

project-external) to network, exchange experiences and ideas.

THEATRON CREATIVE CAMPS (2 IN TOTAL)

Public European meetings to discuss the future of European theatre in

the context of collaborative creation and audience development. Con-

ceived as a stage for presenting the latest knowledge and a platform for

networking and exchange, the camps combine a traditional 'keynotes'

with open space approaches and creative elements. The camps will

attract at least 250 performing arts professionals from at least 12

countries (2* 30 partner participants, 30 invited experts,, 65 registered

attendees) .

THEATRON EXPERT WORKSHOPS (10 IN TOTAL)

Expert workshops focussing on different aspects of community engage-

ment, co-production and audience development, ensuring that all The-

atron members responsible for these aspects in all partner

organisations benefit from the same knowledge and have the opportu-

nity to network.

Expert workshops invite external experts to share their expertise with

the Theatron partners and are complemented by online fora and help

clinics to ensure continuity. 150 theatre professionals participating in 10

expert workshops on the core project topics in at least 6 countries.

THEATRON MENTORING (10 IN TOTAL)

Mentoring allows a less experienced or less knowledgeable project

member to benefit from an intense, personal developmental relation-

ship with a more experienced or more knowledgeable colleague at a

partner organisation during a sustained period of time.

Mentoring needs will be identified during study visits, expert workshops,

help clinics or during committee meetings and will allow up to 20

Theatron members to engage in one- to two-year mentoring pro-

grammes as mentor and mentee.

E-CURRICULA (2 IN TOTAL)

Theatron believes that the knowledge gained and the standards deve-

loped in five years of intensive collaboration should be made available

to the next generation of performing arts professionals in Europe. In

close collaboration with the participating schools and universi-

ties, key elements of the project outcomes will be used to create

courses and materials for training creative, education and admi-

nistrative professionals in the performing arts.

Creative Community Engagement: Methods, techniques and

best practice on how to tap the creative potential, ideas and

interests of audience segments and communities. Innovative

practices to increase the value and legitimacy of artistic work by

employing the collective creativity, knowledge, experience, skills

and enthusiasm of people from both inside and outside of the

theatre.

Integrated Audience Development: Include aspects of marke-

ting, commissioning, programming, education, customer care

and distribution. Methods, techniques and best practice on how

to promote an organisation-wide commitment to engaging with

people, whether or not they are currently attending perfor-

mances, and developing long-term relationships of mutual re-

spect.

THEATRON WORKBOOK ON COLLABORATIVE

CREATION IN EUROPEAN THEATRE

Instead of a project report, Theatron aims to publish a workbook

that allows other European performing arts institutions to benefit

from the project experience. The book will compile methods,

techniques, tipps and best practice examples on all aspects of

collaborative creation, including strategy, programming, commis-

sioning, quality assurance, marketing, education, customer care

and distribution.

The workbook will be published in English with a suitable publi-

shing house, and 250 copies will be distributed to European

theatres, arts councils, cultural ministries, EU experts, specialist

educational institutions and libraries. In addition, it will be availa-

ble to a larger public through print on demand.

THEATRON FACTSHEETS

Theatron Factsheets summarise key tips and techniques publis-

hed in the Theatron workbook on a few pages and provide links

to further information. Theatron Factsheets will be created in

Danish, French, English, German, Italian, Czech and Swedish

and distributed to 100 key stakeholders in each project country.

In addition, they will be made available to a larger public through

placements in expert journals and online download via the The-

atron Platform.


THEATRON REPORTS

In addition to the knowledge in creative community engagement and audience development,

Theatron will be able to present important results in:

joint and comparative European audience research practices

the use of social media and web 3.0 technologies for engaging performing arts

stakeholders

These results, as well as tools, methods, techniques and best practice will be published in

two reports. 100 copies will be presented to key European stakeholders in the media,

performing arts organisations, cultural policy, arts education and management. In addition,

they will be made available to a larger public through presentations at conferences and

expert meetings and online download via the Theatron Platform.

PROJECT DOCUMENTATION

Special resources are dedicated to a thorough and accessible project documentation. This

multi-media repository will form the basis of all publications, and provide a wealth of

knowledge to other projects. The documentation includes:

50+ reports and documents: best practice examples, white papers and guidelines

40+ podcasts, videos and presentations: master classes, keynote lectures and

presentations

30+ activity reports, fora and project logs

After intellectual property right handling, editing and categorisation, these will be made

available to interested public via the Theatron Platform.

PROJECT DISSEMINATION

Through a well-managed dissemination and regular contact with external experts, Theatron

ensures an impact far beyond the geographical or temporal project boundaries. External

stakeholders – communities and groups on the local level and fellow creative workers on the

European level – are invited to actively participate in Theatron at all stages.

On the one hand, the project invites them in – as audiences, experts, creative camp,

workshop participants, as users of the plattforms or the tweet-ups. On the other hand,

Theatron goes and visits external stakeholders in their spaces – through new performance

locations, the distribution of books and reports, speaking at expert conferences, educational

material and by 'entering people's living rooms' through a professional TV documentary.

RESEARCH AND QUALITY ASSURANCE

5-year study on Audience Research at 10 European houses

continuous project evaluation feeding into project reviews, adjustments and deve-

lopment

The project governance structure includes

a Theatron Steering Committee with a sub-group on quality assurance

12 Theatron Experts and 8 Expert Committees based on the core activities

up to 5 adhoc technical advisory groups

a project management team focused on the day-to-day project administration.

Regular face-to-face meetings are complemented by web-conferences and specific

committee workspaces on the Theatron Online Platform.

THEATRONENGAGING | NEW | AUDIENCESWORKPLAN

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YEAR 1

Focus on Audience Research, Creative Agenda Setting and Project Governance

Collaborative Creation Focus:

understanding stakeholders

Cooperation Focus:

exchange, agenda-setting, gover-nance

ACTIVITIES

Kick-Off & Steering Committee

Theatron Fair

Int. Expert Workshop on Co-Produc-tions

Production Visit

Int. Expert Workshop on Performing Arts Marketing & Communication

3-day study visit of Marketing, Commu-nication, Education Team

creative residency

Int. Expert Workshop on Audience Re-search

Int. Expert Workshop on Community Engagement

Production Visit

Int. Expert Workshop on Audience De-velopment

Int. Expert Workshop on Publication & Documentation

YEAR 2

Focus on Audience Communi-cation & Creative Coordination


informing stakeholders (touring crea-tions, marketing)

Cooperation Focus:

coordination, training, documentation

ACTIVITIES

Steering Committee Meeting

Theatron Fair

creative residency

Production Visit

Int. Expert Workshop on Training and Education


1 Tour

1 Adaptation

creative residency

Production Visit

YEAR 3

Focus on Audience Develop-ment and Creative Cooperation


engaging stakeholders (adapting cre-ations, audience development)

Cooperation Focus:

cooperation, best practice exchange, professional development

ACTIVITIES


Theatron Fair

creative residency

Production Visit

Theatron Camp

Int. Expert Workshop on Co-Produc-tions


2 Tours

2 Adaptations

1 Co-Production

creative residency

Int. Expert Workshop on Performing Arts Marketing & Communication

Production Visit

Int. Expert Workshop on Development & Sustainability

The partner organisations believe that, to guarantee a successful implementation, both the depth of the collaboration and

the nature of the collaboration outputs should start at a realistic level, to then be increased continuously over the project

period. This approach has two advantages: 1. by slowly increasing the depth of the collaborations, partners are given the

time to get to know each other and develop a real understanding of each other's work. 2. by slowly increasing the

collaboration output, partners have the time to catch-up and develop a similar knowledge base before jointly facing new

challenges

Due to this strategy, each year builds on the previous, ensuring a smooth development of both the content and the structure

of this collaboration project. A detailed overview of the activities can be found in the previous section; below is an overview

of the annual foci and work packages.

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YEAR 4

Focus on Audience Engage-ment and Creative Collaboration


involving stakeholders (collaborative creations, community engagement)

Cooperation Focus:

collaboration, dissemination, evaluati-on & review

ACTIVITIES


Theatron Fair

creative residency

Production Visit

Int. Expert Workshop on Audience De-velopment


3 Tours

3 Adaptations

2 Co-Productions

Int. Expert Workshop on Training and Education

creative residency

launch e-curriculum 1

Production Visit

publication of 1 best practice report

Int. Expert Workshop on Community Engagement

publication of Theatron factsheets

YEAR 5

Focus on Continuity, Renewal and Dissemination


anchoring & developing the new practices (co-creations, publications)

Cooperation Focus:

documentation, publication, consolidating & renewing cooperation

ACTIVITIES


Theatron Fair

creative residency

Production Visit

Theatron Camp

Int. Expert Workshop on Publication & Docu-mentation

creative residency

3-day study visit of Marketing, Communica-tion, Education Team

3 Tours

3 Adaptations

2 Co-Productions

Int. Expert Workshop on Audience Research

creative residency

Production Visit

publication of Theatron book

launch e-curriculum 2

Int. Expert Workshop on Development & Su-stainability

publication of 1 best-practice report

launch TV documentary

3 Tours

1 Adaptation

2 Co-Productions

Final Press Conference & Evaluation Meeting

WILLKOMMEN, BIENVENUE, WELCOMETHE THEATRON PARTNERSINTRODUCE THEMSELVES

ODENSE TEATER

THÉÂTRE DE GENNEVILLIERS

SADLER’S WELLS TRUST

STAATSSCHAUSPIEL DRESDEN

DIVADLO ARCHA O.P.S.

UPPSALA STADSTEATER

AALBORG TEATER

FREIE UNIVERSITÄT BERLIN

SHEFFIELD THEATRES CRUCIBLE TRUST LTD

HELLERAU – EUROPEAN CENTER FOR THE ARTS DRESDEN

AARHUS TEATER

FONDAZIONE ROMAEUROPA ARTE E CULTURA

THEATRONPARTNERS

THEATRONPARTNERS

As early as 1796 Odense Teater was engaged in producing theatre on a professional basis. In 1914 Odense Teater was established at the present location in Jernbanegade, home to Hans Christian Andersen. Being a theatre for the province of Funen, Odense Teater is under an obligation to produce a comprehensive repertory consisting of Danish as well as foreign classics and contemporary plays consisting of performances for children and young people, musicals as well as dance performances. The artistic manager of Odense Teater is Michael Mansdotter. Odense Teater has an ensemble consisting of about 25 actors who work continuously during the season. The entire staff consists of more than 100 people. In 2011-12 the yearly turnover is app. 75 mill DKR (app. 10 mill Euro)

The vision of Odense Teater is to develop its role as a cultural dynamo with Vision and knowledge. The mission of Odense Teater is to contribute to cover the needs for theatre in the entire county of southern Denmark by presenting a versatile repertoire consisting of older as well as modern dramatic pieces. Odense Theatre lead and participate in experiments and special initiatives, whose goal it is to attract new groups of audiences. So far Odense Theatre have identified and launched activities for: 1. People with other cultural backgrounds than Danish, 2. Young People, 3. Men

CTHEATRON

COORDINATOR

Over the past six years, people have been meeting at the theatre de Gennevilliers through artistic projects, creative workshops, and open rehearsals. The theatre has developed an ensemble of crossings between the different arts, in both conception and realization, and is without doubt, the only one to propose: theatre, dance, opera, children’s theatre, film shoots, contemporary art created onsite, philosophy; as well as, open rehearsals, writing workshops, “non-professional” participants in performances, open from noon to midnight, restaurant, “free” library, free Internet access and posts for people in Gennevilliers.

The T2G does not randomly select within the field of living arts but, on the contrary, uses a strong critical approach to the annual productions, both French and international. Thus, it assembles theatre, dance, lyrical art, cinema, visual art, writing and philosophy. Playwrights, choreographers, composers, filmmakers, philosophers and visual artists (living artists – an important distinction – French and from abroad) nourish this project, meeting, influencing and collaborating across the various disciplines.

1CREATIVE COMMUNITYENGAGEMENTExpert on TheatronAdaptations & Co-

Productions

Théatre de Gennevilliers, France

Odense Theatre, Denmark

THEATRONPARTNERS

THEATRONPARTNERS

Sadler’s Wells is Britain’s premier venue for dance in all its forms. It presents an exciting international programme of visiting companies alongside the best UK contemporary dance companies. With a turnover in excess of £18m (2010/11) Sadler’s Wells has had strong artistic and operational leadership by Artistic Director and CEO Alistair Spalding since 2004. Sadler's Wells is uniquely dedicated to bringing the very best international and UK dance to London audiences. From contemporary dance to tango, hip hop to flamenco, tap to kathak, choreographers are reinventing dance and undertaking bold collaborations with visual artists and musicians. Sadler's Wells is playing a leading role in making this happen through the commissioning of new work.

In addition to the talented visiting companies presented on Sadler’s Wells three stages, a group of associate artists and companies feature strongly within the creative learning programme. They include Matthew Bourne, Sidi Larbi Cherkaoui, Jonzi D, Akram Khan, Wayne McGregor, Jasmin Vardimon, Sylvie Guillem, Russell Maliphant, Kate Prince, Nitin Sawhney and Hofesh Shechter. Sadler’s Wells has run pioneering audience development initiatives in dance. Breakin' Convention, the International Festival of hip hop dance theatre has been produced annually by Sadler's Wells since 2004. In March 2009, Sadler's Wells launched the Global Dance Contest - an online competition to find new dance talent from around the world.

The Dresden State Theatre (Staatsschauspiel Dresden), founded in 1913, ranks among the most important German drama theatres. In 2009, Wilfried Schulz took charge as the new Artistic and General Director. Resident directors are Julia Hölscher and Tilmann Köhler. The ensemble comprises 37 actors, and the annual schedule includes around 25 to 30 new productions.

In the season 2010.2011, the Dresden State Theatre welcomed a record high of 211,500 spectators, and played abroad before. It also houses a “Citizens’ Stage” (“Bürgerbühne”): the public is invited to actively participate in the theatrical arts. It has since gathered about 500 participants in its first season. The “Citizens’ Stage” is the largest project of its kind in German theatre education, and, in addition to c.10 theatre “clubs” (“Bürgerclubs”) it brings out 5 full-grown productions per season.

The Dresden State Theatre has two performance venues: an 800-seat theatre and the “Kleines Haus”. Apart from contemporary drama and many international projects, the “Kleines Haus” maintains a focus on experimental and documentary theatre (e.g. Rimini Protokoll and others).


Staatsschauspiel Dresden, Germany

Sadler’s Wells, United Kingdom


Theatron Expert on Creative Learning

Theatron Expert on Community Engage-ment & Sustainability

THEATRONPARTNERS

THEATRONPARTNERS

Archa Theatre is a dynamic place where artists and companies from around the world can meet and actively cooperate. The Theatre serves approximately 40 000 visitors with 200 performances per year. Its staff consists of 13 fulltime employees and dozens part-time and external collaborators. The joint performance of Min Tanaka and John Cale, which officially opened the Archa Theatre in 1994, was a clear hint about the future direction of the theatre's dramaturgy. The encounter of a Japanese dancer and an American musician symbolized the connection of two cultures, two genres and two continents. Archa Theatre strives to examine art’s possibilities, to provide a space for innovative ideas. The Archa Theatre has introduced many leading artistic personalities from around the World to Czech audiences, including director Robert Wilson, choreographers Wim Vandekeybus, and Jan Fabre, musicians David Byrne, Randy Newman, Philip Glass, and many others. The American poet Allen Ginsberg gave one of his last performances at Archa Theatre.

Home-grown projects by young artists are conceived and developed under the auspices of the Archa.Lab. Many of Archa’s projects have met with international acclaim and have been presented at festivals in Bonn, Johannesburg, London, Kyoto, Tokyo, Belgrade, Brussels, and Berlin, Seoul, New York and other cities.

Uppsala City Theatre shall be Sweden’s foremost/prime artistic theatre – a new type of local scene with international collaborations

Uppsala City Theatre’s vision is about putting creativity up front, the residents of Uppsala should have access to an open, challenging and lively theatre, and the theatre should be a pride for the city and help contribute to the cities long term development.

We believe that a city theatre shall be a central meeting point where both local and national issues can be dramatised and processed in different ways. Uppsala city theatres role is both to be totally present in our age and in our town but also to give free rein to the yet untried even when it may appear to be uncomfortable or even ugly, to deal with issues and art forms that may only affect few people in the audience but thereby start a butterfly effect. The theatre has 4 different venues and produces around 12-14 own productions each year. In addition to our own productions we also host guest productions, have collaborations and produce the international performance festival TUPP, for an audience of about 60.000 people each year.

Uppsala Stadssteater, Sweden

Divadlo Archa Theatre, Czech Republic


Theatron Expert on Social Audience

Engagement


Theatron Expert forPublication &

Documentation

THEATRONPARTNERS

THEATRONPARTNERS

Aalborg Theatre has an obligation to contribute, covering the need for theatre in the North of Jutland by producing a wide range of quality theatre put together from the old and the modern repertoire and with a priority of Danish drama, and especially new Danish drama. Aalborg Theatre should, as part of the production, develop the art of theatre through experimental projects and initiatives.

With unique theatre performances Aalborg Theatre intends – as the national stage in North of Jutland – to be among the best and most inventive theatre producers in the Scandinavian countries. Artistically, Aalborg Theatre wants to be the biggest and leading producer of theatre in the region (North of Jutland). They want to be the place where the audience get more and different experiences than they might have expected.

Aalborg Theatre wants to be one of the most attractive and dynamic artistic business companies in Denmark. With high demands for quality theatre, they want to recruit and develop the best and most talented and well educated people and base their production on a large ensemble of actors (right now the biggest in this country.)

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INTEGRATED AUDIENCEDEVELOPMENT

Theatron Expert on Marketing

Since 2008 the IKM has concentrated its research on transformation processes in culture and media. Its Center for Audience Develop-ment (Zentrum für Audience Development, ZAD) is an interdisciplinary, practice oriented institution within the Institute for Arts and Media Management at Freie Universität Berlin. Objects of the work of ZAD are the conceptual and organizational prerequisites that apply to attracting, retaining, and developing cultural audiences of today and tomorrow. Audience development is thereby understood as a holistic term which denotes mediation of culture as the the core mission and nominal goal of cultural institutions.

ZAD´s work focuses on empirical studies, cultural market research and audience research, analyses of cultural institutions’ demand and visitor orientation, presentation of best practice examples of groundbreaking cultural mediation across all artistic genres, and the development of its own concepts of audience development. The main focus of interest are institutions of the traditional fields of culture, such as music (musical ensembles, concert halls), theater (including opera and dance), and art/history (museums, monuments).

In addition, the IKM is core of and platform for various transdisciplinary and practice oriented research and consulting activities in areas of media research, the media industry, and cultural education. These are usually undertaken jointly by teaching staff, graduates and current students.

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Freie Universität Berlin (IKM), Germany

Aalborg Teater, Denmark

Theatron Expert onAudience Research& Quality Assurance

THEATRONPARTNERS

THEATRONPARTNERS

The UK’s largest regional theatre complex, Sheffield Theatres is comprised of a unique arrangement of three different venues: the Crucible (1,000-seat, thrust stage), the Lyceum (1,100-seat, proscenium) and the Studio (flexible space with up to 450 seats).

The organisation is a source of great local, civic and regional pride, and enjoys national and international recognition. Its distinctly broad and ambitious programme of work is based on the values of BOLDNESS, PASSION and ENRICHMENT in order to produce for its audience (sometimes by its audience) world-class theatre of the highest order, made by a combination of leading and emerging artists, alongside a dedicated and highly skilled core team of craftspeople.

Sheffield Theatres is proud of the value it has brought to the city, the region and the country. In November 2011, the Crucible will turn 40 and will stage a host of productions and events inspired by its reputation for staging great classic plays and dazzling musicals; its commitment to developing artistic talent and offering a place for local artists to explore the arts and its ambition to remain at the heart of the country’s cultural life. The Crucible began its 40th birthday season with One Monkey Don’t Stop No Show, a co-production with Eclipse Theatre in the Studio, and its first ever production of Shakespeare’s Othello in the Crucible, with Dominic West and Clarke Peters.

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As long as 100 years ago HELLERAU Festival Theatre earned its reputation as a “Laboratory for the Modern Age”. Inspired by the Lebensreform (Life Reform) back-to-nature movement and the Garden City concept, new ideas on rhythm as an artistic concept fell on fertile ground and a space to grow in HELLERAU.

HELLERAU has set itself the ambitious task of becoming one of the most important centres of the contemporary arts in Germany and in Europe once again. Focusing on contemporary dance and contemporary music, but also with modern forms of theatre, and as a centre for the contemporary fine arts, HELLERAU aims to re-establish itself as a “Laboratory of the Modern Age”.

At HELLERAU the main task is and has always been the Contemporary Arts. It is all about turning HELLERAU into a lively interdisciplinary arts centre that is modern, sophisticated and successful in every respect: one that is provocative, radical, global, European and situated at the geopolitical point where East meets West. A working environment for the arts, a site for intercultural and interdisciplinary exchange; a place where the arts develop, are created and displayed, but also a place for reflection, contemplation and looking ahead. The arts cannot merely be self referencing, related to appearance, beauty and form. The arts should and must become involved elsewhere. The major topics and problems we face – hunger, poverty, the climate, regulating globalisation so that it is compatible with human life and makes sense for society, all profits aside – these topics too will be addressed.”

Hellerau Dresden, Germany

Sheffield Theatres, United Kingdom

Theatron Expert on Customer RelationshipManagement

Theatron Expert on Creative Audience

Engagement


THEATRONPARTNERS

THEATRONPARTNERS

Aarhus Theatre is the biggest theatre outside Copenhagen, founded 1900 and consists of 5 stages. We produce up to 15 performances every year; we have a permanent ensemble of 16 actors and 30 actors on production contracts. The theatre in all has 130 employees and up to 500 people that passes through the house on different contracts each year. Aarhus Theatre also runs two schools: Aarhus School of acting (4 years) and The drama School, for stage writing (3 years). Each school has a principal reporting to the artistic direc-tor. The leadership at the Aarhus Theatre since April 2009 is the Artistic director Stefan Larsson and Henning Kærsgaard, Managing director.

Aarhus Theatre mission is to create artistic theatre of all forms and genres in accordance to the theatre law. The art and theatre has the task of discussing the time and the society we live in. Optimally, the theatre could help people to see contexts in their own lives, understand themselves and others better and to contribute so a society with a great degree of tolerance. Art is man´s hallmark, and Aarhus Theatre should perform a role model for democracy, an image of a well-functioning modern democracy.

Fondazione Romaeuropa is an Italian foundation active in the field of the production and dissemination of a broad range of cultural and creative events and is involved in the promotion and diffusion of contemporary art, theatre, dance and music. Originally established in the mid-1980s, it gradually developed into a Rome-based international network with partners from 40 Countries. Romaeuropa participates actively in the major European cultural networks, such as IETM, Reseau Varese e temps d’Images. The main project of the Fondazione Romaeuropa is the Romaeuropa Festival, the highlight of the Italian cultural scenario. Both cult and trendy, the Romaeuropa Festival has acquired a loyal public which is still growing steadily. The festival aims to bridge the gap between ‘niche’ and ‘mass audiences’ with a strategic mix of sharing, merging and interlacing varied and different cultural and expressive languages.

In 2004 Rome III University entrusted Romaeuropa with the artistic and general management of the Palladium Theatre: whose priority for the artistic season is to offer a platform and greater visibility to the best of contemporary artistic performances. Now a reference point as a leading and innovative contribution to the Roman cultural scenario, past seasons have featured extraordinary artists such as Alessandro Baricco, Peter Brook, Marina Abramovic, Sidi Larbi Cherkaoui, Patrice Chéreau and Emma Dante.

Fondazione Romaeuropa, Italy

Aarhus Teater, Denmark

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FOSTERINGBEST PRACTICE IN EUROPE

Theatron Expert for Training & Education

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FOSTERINGBEST PRACTICE IN EUROPE

Theatron Expert Networking & Development

Documents

Theatron Project Description