A renewed project for the dramatic arts and dance scene

INTERNATIONAL PERFORMING ARTS CONFERENCE

The latest survey from the Spanish Ministry of Culture shows that 19% of the population in 2007 claimed to have been to a theatrical performance at least once and 5% to a performance of dance. If we focus on artistic involvement in the arts, the figures are even lower, by a considerable margin. Furthermore, we do not appear to be witnessing a steady growth in audience numbers. Indeed, numbers seem to be declining, and it should be emphasised that the survey does not distinguish between events which are light entertainment and those which can be considered high-quality artistic performances.
Does this mean that over twenty years of democratic policies in the arts have had no effect on bringing the general public closer to the performing arts? It does appear to indicate, to a certain extent, that the policies aimed at democratising the arts in Spain have not had the desired effect, and it would not be going too far to state that universal access to the arts for everyone has not been achieved in Spain. If it is any consolation, the situation would appear to be very similar throughout the rest of Europe.
If the goal is providing society with an improved life experience which is more creative and cohesive, then the arts and the performing arts in particular have all the qualities which go to the core of these requirements. If we are to make these qualities work, we will need to re-examine the ways in which the performing arts are disseminated and displayed by seeking out new means of reaching out to the general public and involving it in the act of creation. This will undoubtedly be achieved through educating the public about the arts, developing their own creative potential and providing access to high-quality stage performances in every part of the country.

Seminar 1 - Arts centres as places of education

In order for the artistic experience provided in theatres, cultural centres and other locations to be successful, it needs to be received by a receptive audience which is ready to watch and listen to whatever the artist is offering them. The general public does not assimilate artistic content spontaneously; it does so only after a period of learning and education from which the artistic establishments themselves have the most to gain. We must therefore ask: What kind of educational content can theatres provide? Who should it be aimed at? Should education in the arts be provided in schools or theatres?

Moderator
José Vélez (Teatro Falla – Cádiz)

Speakers:
Heidi Vaughan (Oxford Playhouse Theatre – England) [ download PDF ]
Cristóbal Sánchez (La Casa Encendida – Madrid) [ download PDF ]
Martina Marti (The Finnish Theatre Information Centre – Helsinki) [ dowload PDF ]

Seminar 2 - Creative societies or consumer societies

The public’s experience of the theatre generally goes no further than being a spectator without the opportunity to take an active part. Ensuring that the experience of theatre involves people deeply, on many fronts requires them to develop closer links to the artists and to take a more active part in the whole process. Furthermore, theatres have great advantages as places in which to inculcate patterns of behaviour and creativity in the general public. Consequently, can creativity be extended to society as a whole? Should those who work in the performing arts and the theatre have a role in this educational process? At what stage do artists lose their freedom by taking part in this process?

Moderator
Javier Martínez (Valladolid Theatre Festival)

Speakers:
Chris Baldwin (Artistic director and theatre researcher - London / La Rioja) [ download PDF ]
Roger Bernat (Theatre director – Barcelona) [ download PDF ]
Venus Albeiro Silva (Theatre director and member of the Parliament of Colombia) [ download PDF ]

Seminar 3 - Access to artistic excellence by outlying areas

The inhabitants of cities are able to experience more and better stage productions than those who live elsewhere. Large countries with extensive rural areas offer limited access to high-quality performances because touring productions find it difficult to cover the whole country. How can this problem be resolved? Is it possible to replace the quality of the product with the quality of the experience or the project? If it is not possible for large companies to reach these areas, what other methods can be employed to prevent their inhabitants from being cut off from the new creativity?

Moderator
Tena Busquets (Municipal Theatre of Olot)

Speakers:
Ralph Lister (National Rural Touring Forum of England and Wales) [ downloadr PDF 1 ] [ download PDF 2 ]
Toño Monzón (Artistic projects – Zaragoza)
Olga Perevezentseva (Russian Theatre Union) [ download PDF ]