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IAM Raport.Indb Foreword Paweł Potoroczyn, Director of Adam Mickiewicz Institute At the Adam Mickiewicz Institute we believe that culture is crucial not only for a given society but for a family of societies that want to lead a happy live together. We also believe that for culture to exist it in in- dispensable to have a dynamic exchange and an open debate. Th ese are not possible without established contacts and regular communication. Having said that let me add just one more thing - as cultural exchange professionals we want to use the best tools available to pursue our goals. If such tools are not readily available, we try to develop them. Th e East European Performing Arts Platform (Th eatre and Dance), established in 2010, is a case in point. I am convinced that this platform will help us build bridges between Europe and the Eastern Partner- ship countries, that it help us gain a bett er understanding of each other and eventually enable us to create and present works that will be of the highest artistic value. I also truly believe that these works will be socially and politically relevant – and so they will help us build a bett er future for us. An overview of reports from EEPAP countries Paweł Płoski Authors of country reports Armenia – Ara Nedolyan Azerbaijan – Sabuhi Mammadov Belarus – Viktor Pietrau, Alex Strelnikov Bosnia and Herzegovina – Tanja Miletić Oručević Bulgaria – Kalina Wagenstein, Nelly Stoeva Croatia – Jelena Kovacić Czech Republic – Jakub Škorpil Georgia – Levan Khetaguri Hungary – Dalma Szakmáry, Att ila Szabó Kosovo – Jeton Neziraj Macedonia – Nelko Nelkowski Moldova – Larisa Turea Romania – Iulia Popovici Serbia – Andjelka Jankovic Slovakia – Vladislava Fekete Slovenia – Tomaž Toporišič Ukraine – Tina Peresunko Table of contents EEPAP – a platform for the development of performing arts (theatre and dance) in Central and Eastern Europe ................................................................................................................... 7 Introduction .............................................................................................................................. 9 I. On the wave of great changes .............................................................................................................. 10 II. Organizational models of public theatres ........................................................................................ 13 III. New initiatives ..................................................................................................................................... 21 IV. International cooperation .................................................................................................................. 28 V. Th e situation of contemporary dance in Eastern Europe ............................................................. 37 VI. Th eatre legislation ............................................................................................................................... 43 VII. Reforms and legal solutions– examples ........................................................................................ 47 Conclusions ................................................................................................................................................ 54 List of tables ................................................................................................................................................ 56 Appendix ..................................................................................................................................................... 57 East European Performing Arts Platform – Country Reports ................................................. 61 Armenia ....................................................................................................................................................... 63 Th e Republic of Azerbaijan ..................................................................................................................... 73 Republic of Belarus ................................................................................................................................... 81 Bosnia and Hercegovina .......................................................................................................................... 93 Bulgaria ........................................................................................................................................................ 109 Croatia ......................................................................................................................................................... 123 Czech Republic .......................................................................................................................................... 145 Georgia ........................................................................................................................................................ 157 Hungary ....................................................................................................................................................... 175 Kosovo ......................................................................................................................................................... 199 Republic of Macedonia ............................................................................................................................ 217 Republic of Moldova ................................................................................................................................ 227 Romania ...................................................................................................................................................... 239 Republic of Serbia ..................................................................................................................................... 261 Slovakia ........................................................................................................................................................ 275 Republic of Slovenia ................................................................................................................................. 285 Ukraine ......................................................................................................................................................` 293 Authors ...................................................................................................................................... 347 7 EEPAP – a platform for the development of performing arts (theatre and dance) in Central and Eastern Europe An introduction by Marta Keil EEPAP can trace its origins to a conference of Central and Eastern European artists, critics, and theatre historians in Budapest in November 2008 addressing the state of political theatre aft er 1989.1 It was there that we discovered that despite our common history we have virtually no common experience. Not only do we have dissimilar development paths and systems, but we also know surprisingly litt le about each other. In the past two decades we have observed a burgeoning growth of international theatre festivals in both Central and Eastern Europe, occasionally verging on almost absurd excess, but this phenomenon rarely translates into genuine cooperation between the artists. We do not go to our neighbour’s festivals nearly oft en enough, nor do we carefully observe foreign artists, and the interests of theatre critics and curators continues to be directed toward the west of the Old Continent. Matt ers are slightly diff erent when it comes to dance, where out of necessity international contacts are more developed (local funding is usually so meagre that only international cooperation allows the artists to be active and new perform- ances to be produced). Th e connections between Eastern Europe and Germany, France, Great Britain, and the Netherlands are much stronger. Th ey are a direct result of the soft -power strategy and cultural policies adopted by these countries. To put it bluntly and shortly, contacts and communication develop where the money is. Moscow, however, still remains an important point of reference (especially for the countries of the Eastern Partnership). Additionally, in the realm of the performing arts, Central and Eastern Europe suff er from a poor fl ow of information and a still dominant sense of isolation (especially in the countries excluded from the European cultural circuit because of their unstable political situation). Cultural production has become dominated by small, private organizations, oft en located in apartments or makeshift studios, with no public support. And those very projects, carried out beyond institutionalized theatre—in performing arts and in artistic ventures on the border of disciplines and norms—are where the most interesting artistic events take place – events that are capable of generating discussion and questioning the prevalent opinions and stereotypes. It was out of this, that we came up with the idea for the Eastern European Performing Arts Platform. Th e project, initiated by the Adam Mickiewicz Institute as part of the Polish EU Presidency, has thus far reached eighteen countries: Armenia, Georgia, Azerbaijan, Moldova, the Ukraine, Belarus, Kosovo, Serbia, Croatia, Bosnia and Herzegovina, Slovenia, Macedonia, Bulgaria, Hungary, Romania, Slovakia, the Czech Republic and Poland. Th e program has been created as a result of cooperation between inde- pendent experts
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