DOCSLIB.ORG

Digital Theater

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Digital Theater Digital Theatre A Casebook DIGITAL THEATRE A Casebook CONTENT 50 75 The re-invention of Making art through 4 29 surtitling. A new technical technology Foreword Virtual meets real: the approach to the by Amund Ulvestad European Theatre Lab: synchronisation of AR and international market Drama goes digital live acting by Jonathan Thonon 79 by Heidi Wiley & by Michel Didym The Croatian National Serge Rangoni 56 Theatre stages 31 Do you speak Tech? Report Henrik Ibsen’s Peer Gynt 10 Get out of the box: New from an interdisciplinary and in Zagreb Why every theatre business models and cross-cultural partnership by Ivica Buljan needs a digital strategy international co-operation by George-Albert Costea by Simon Mellor by Nutsa Burjanadze 84 62 Where do we go 16 33 How to breathe soul from here? What theatres Media artists working into a machine! A plea for by Marie le Sourd expect from digitality with cultural institutions: more digital tenderness and what digitality opportunities by Christian Römer 90 expects from theatres and challenges ETL Teams by Dick van Dijk by Chris Ziegler 66 Kinetics of Sound: 92 22 38 Kraljevo and Peer Gynt About the ETC Stage Your Decide how to decide. City Managing processes 70 94 in international Kinetics of Sound Partners & Contact 26 interdisciplinary projects by Anders Hasmo Can digital communication by Pam de Sterke be an aesthetic 73 empowerment of the 46 Move the sound! Directing audience? IDIOMATIC / Dub it: with new technology by Jan Linders One voice, many languages by Erik Ulfsby FOREWORD The two-year applied research project European Theatre Lab: Drama goes digital set out to research a digital strategy for the major state-funded theatrical institutions of continental Europe with the goal of expanding access to the arts via new technology. Under the leadership of the European Theatre Convention (ETC), the cross-sectoral project united artists and public theatres from seven countries with research institutions and researchers from the fields of technology, science, media European and the performing arts. Digital Theatre. A Casebook is about sharing knowledge with the creative community; it is an invita- tion for artists, scientists, theatre professionals, and cultural Theatre Lab: and societal decision makers to learn from our experiences. What does theatre need to remain relevant in society in the twenty-first century? Both as an art form and a public cultural Drama goes institution? What conditions for digital innovation in theatre must be met? What skills and partnerships are needed? How far can we stretch existing infrastructures and working mecha- digital nisms to embrace cross-sectoral collaborations? How can we tackle urgent social issues and use the live character of theatre, aided by digital tools, to create opportunities for intercultural — dialogue while creating a more inclusive notion of theatre and community throughout the EU? How can digital technology add something to the magic of a theatrical moment? Guided by an interdisciplinary advisory board of experts, we formed three creative teams of our theatre partners, who in an OpenLab process tested new methods for using techno- logy in creative work and outreach. The European Theatre Lab: Drama goes digital resulted in seven OpenLabs, three new BY creative collaborations, two conferences, one showcase, and HEIDI WILEY & SERGE RANGONI new performances that tested and applied new technology at theatres in eight countries. 5 The enclosed white paper Drama goes digital vs Theatre invades digital presents suggestions and recommendations we identified for publicly funded theatres, policymakers and funders on the local, national and European level to tackle challenges for theatres while addressing digital transformation. This work would not have been possible without the incredible commitment of all our partners willing to take risks as well as the European Commission, who believed in our idea and provided the necessary support for us to engage in this unique international cross-sectoral artistic and technical research project. Thank you! Heidi Wiley Serge Rangoni ETC Executive Director ETC President OpenLab 3 at Teatrul National “Marin Sorescu” Craiova, Romania, 2017. Image © Teatrul National “Marin Sorescu” Craiova. 7 EUROPEAN THEATRE LAB: DRAMA GOES DIGITAL – THE PROJECTS Stage Your City Idiomatic / Dub it Kinetics of Sound: Kraljevo and Peer Gynt Top: Stage Your City premiere, CDN Nancy Lorraine La Manufacture, France, 2018. Image © Serge Martinez. Middle: Technical device, Idiomatic/Dub It. Image © Transquinquennal. Bottom: Kraljevo / The King’s Fair [Den siste kongsfesten] premiere, Det Norske Teatret, Oslo, Norway, 2018. Image © Siren Høyland. 8 9 ADVISORY BOARD Arts Council England is the investment, development and advocacy agency for the arts, museums and libraries in England. We now require all organisations seeking regular, annual funding of £250,000 (€285,000) or more to have a digital strategy. Without that written strategy (and a plan for imple- menting it), nobody can get funding from the Arts Council. Why Why have we decided to do this? We have, over a number of years, tracked how arts and cultural organisations have developed their use of data and every theatre new technologies. Our Digital Culture survey has thrown up worrying results in some areas. For example, since 2013 there has been a decline in the proportion of organisations that see needs a digital technology as important to their work in areas such as creation, distribution and exhibition. The 2017 survey also shows that the majority of arts and cultural organisations still digital do not use data for important purposes such as understan ding their audiences better through data analysis and profiling. Many organisations in our sector think they are in competi- strategy tion for audiences with other publicly funded arts and cultural organisations. In reality, they are competing with a commer- cial entertainment industry that understands a lot more about — who their audiences are and what they think about the content they are experiencing. In a time of shrinking public funding, we want to help the organisations we invest in to take advantage of the opportunities provided by new technologies – and the data associated with those technologies – to understand more about their audiences, make more innovative and relevant BY work, and build more resilient business models. SIMON MELLOR In a world in which the public experience more and more of their culture online, our fear is that many of our publicly 11 funded theatres will lose their relevance, stuck in an analogue money and specialist expertise – will be needed to deliver the world, reaching fewer and fewer people. That is why we have strategy and reap the benefits. decided to act and make it a condition of our funding that our A good digital strategy should also be appropriate to a larger theatres need digital strategies and delivery plans. theatre’s type and size, its available resources and where it We hope that this will accelerate the use of new technolo- is starting from digitally. If it is a small theatre, or digital is gies in our theatres. Over the next few years, we expect to see not yet a major part of what it does, it might identify modest, significant progress in the following: achievable steps to start with and aim to become more • the use of new technologies to innovate in artistic ambitious over time. It will not set digital objectives that are practice, both online and offline; too numerous or wide-ranging. It should focus instead on a • the use of new technologies to create, distribute and few key areas to achieve measurable results with whatever share experiences with audiences online; resources are available and always an ambition for excellence. • the gathering, sharing and analysing of data to help It will also identify what partners the theatre will work with to improve decision-making, enabling organisations to deliver the strategy. tailor offers to audiences and increase revenues. Accompanying the strategy should be a digital plan: a document that defines in detail specific objectives, activities, We recognise that the theatres we invest in are at different targets, responsibilities and deadlines for delivery. It should stages of their digital journey. A good digital strategy needs make clear who tracks progress against targets and when the to start with where the organisation is today. It needs to be plan will be reviewed. A regular reviewing process is impor- rooted in its creative mission. It must consider how new tant as digital aims evolve, driven both by change in artistic technologies can help achieve wider objectives and how the and business aims and changes in the wider digital landscape. unique qualities of each theatre can best be supported by Review and evaluation should be guided by what audience and digital technology. Critically, it needs to be endorsed and led other data is telling the theatre. This will ensure that activi- from the top of the organisation. Too often in our experience, ties and targets are realistic, sustainable and can generate ‘digital’ is consigned to the marketing department. It is seen as good returns on investment. Digital can be a great medium for a communications activity rather than a part of the DNA of a low-cost experimentation. Ideas can be tried out quickly and modern user-focused cultural organisation. data gathered on what is effective. A good digital strategy sets out how new technologies can In summary, effective digital strategies: help better deliver a theatre’s core artistic mission whilst also • are embedded in the organisation and endorsed by, and supporting all areas of its business – more innovative creative led from, the very top; output, better experiences for audiences and access to new • put users and audiences in the centre, with decision- income streams. And it identifies what resources – people, making assisted by audience and performance data; 12 13 • involve the people responsible for actions and for delive- a future that will be fuelled by ever-more pervasive, and as yet ring strategy objectives in planning, objective setting and unanticipated developments in digital technology.
Load more

Recommended publications
  • Catalogo Giornate Del Cinema Muto 2011
    Clara Bow in Mantrap, Victor Fleming, 1926. (Library of Congress) Merna Kennedy, Charles Chaplin in The Circus, 1928. (Roy Export S.A.S) Sommario / Contents 3 Presentazione / Introduction 31 Shostakovich & FEKS 6 Premio Jean Mitry / The Jean Mitry Award 94 Cinema italiano: rarità e ritrovamenti Italy: Retrospect and Discovery 7 In ricordo di Jonathan Dennis The Jonathan Dennis Memorial Lecture 71 Cinema georgiano / Georgian Cinema 9 The 2011 Pordenone Masterclasses 83 Kertész prima di Curtiz / Kertész before Curtiz 0 1 Collegium 2011 99 National Film Preservation Foundation Tesori western / Treasures of the West 12 La collezione Davide Turconi The Davide Turconi Collection 109 La corsa al Polo / The Race to the Pole 7 1 Eventi musicali / Musical Events 119 Il canone rivisitato / The Canon Revisited Novyi Vavilon A colpi di note / Striking a New Note 513 Cinema delle origini / Early Cinema SpilimBrass play Chaplin Le voyage dans la lune; The Soldier’s Courtship El Dorado The Corrick Collection; Thanhouser Shinel 155 Pionieri del cinema d’animazione giapponese An Audience with Jean Darling The Birth of Anime: Pioneers of Japanese Animation The Circus The Wind 165 Disney’s Laugh-O-grams 179 Riscoperte e restauri / Rediscoveries and Restorations The White Shadow; The Divine Woman The Canadian; Diepte; The Indian Woman’s Pluck The Little Minister; Das Rätsel von Bangalor Rosalie fait du sabotage; Spreewaldmädel Tonaufnahmen Berglund Italianamerican: Santa Lucia Luntana, Movie Actor I pericoli del cinema / Perils of the Pictures 195 Ritratti / Portraits 201 Muti del XXI secolo / 21st Century Silents 620 Indice dei titoli / Film Title Index Introduzioni e note di / Introductions and programme notes by Peter Bagrov Otto Kylmälä Aldo Bernardini Leslie Anne Lewis Ivo Blom Antonello Mazzucco Lenny Borger Patrick McCarthy Neil Brand Annette Melville Geoff Brown Russell Merritt Kevin Brownlow Maud Nelissen Günter A.
    [Show full text]
  • Georgian Country and Culture Guide
    Georgian Country and Culture Guide მშვიდობის კორპუსი საქართველოში Peace Corps Georgia 2017 Forward What you have in your hands right now is the collaborate effort of numerous Peace Corps Volunteers and staff, who researched, wrote and edited the entire book. The process began in the fall of 2011, when the Language and Cross-Culture component of Peace Corps Georgia launched a Georgian Country and Culture Guide project and PCVs from different regions volunteered to do research and gather information on their specific areas. After the initial information was gathered, the arduous process of merging the researched information began. Extensive editing followed and this is the end result. The book is accompanied by a CD with Georgian music and dance audio and video files. We hope that this book is both informative and useful for you during your service. Sincerely, The Culture Book Team Initial Researchers/Writers Culture Sara Bushman (Director Programming and Training, PC Staff, 2010-11) History Jack Brands (G11), Samantha Oliver (G10) Adjara Jen Geerlings (G10), Emily New (G10) Guria Michelle Anderl (G11), Goodloe Harman (G11), Conor Hartnett (G11), Kaitlin Schaefer (G10) Imereti Caitlin Lowery (G11) Kakheti Jack Brands (G11), Jana Price (G11), Danielle Roe (G10) Kvemo Kartli Anastasia Skoybedo (G11), Chase Johnson (G11) Samstkhe-Javakheti Sam Harris (G10) Tbilisi Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Workplace Culture Kimberly Tramel (G11), Shannon Knudsen (G11), Tami Timmer (G11), Connie Ross (G11) Compilers/Final Editors Jack Brands (G11) Caitlin Lowery (G11) Conor Hartnett (G11) Emily New (G10) Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Compilers of Audio and Video Files Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Irakli Elizbarashvili (IT Specialist, PC Staff) Revised and updated by Tea Sakvarelidze (Language and Cross-Culture Coordinator) and Kakha Gordadze (Training Manager).
    [Show full text]
  • The Theory of the Café Peripheral: Laghidze's Waters and Peripheral
    189 ARTICLES Paul Manning The Theory of the Café Peripheral: Laghidze’s Waters and Peripheral Urban Modernity Theories of the Cafй Central. One of the most celebrated writings on cafйs in general is Polgar’s Theory of the Cafй Central [1926], essentially a feuilleton-manifesto written from within the world of the eponymous Viennese cafй. The theory is not surprising: the cafй expresses a certain kind of modern urban public sub- jectivity. I am only interested in the title. Why does the Cafй Central need a theory? And what kind of theory would a Cafй Peripheral need? A cafй like, for example, Laghidze’s Cafй, a soft drink cafй in Kutaisi, and later Tbilisi, throughout the twentieth century expressed Georgia’s aspirations for European urban modernity. However, since it was located in a periphery and not the metropole, it could not help but express the deeply felt absence of the very modernity it sought to express. An in- carnation here and now of an urban modernity better instantiated elsewhere, it is constantly threatened by its physical situation on the periphery. There are actually a lot of ‘theories of the Cafй Central’, taking ‘cafй central’ in a wider sense: cafйs that happen to occur in places stereo- typically thought to be central to self-con- Paul Manning gratulatory social imaginaries like ‘European Trent University, urban modernity’. In much postwar social Peterborough [email protected] theory, such public places for commensal No 7 FORUM FOR ANTHROPOLOGY AND CULTURE 190 drinking, what Ellis elsewhere calls ‘archi tectures of sociability’ [Ellis 2008], are emble matic of the tenor of interaction characte - ristic of modern urban public life in general: The early coffee-house was associated with a certain kind of social interaction — what sociologists call a sociability — of which the distinctive feature was an egalitarian and congenial mode of conversation.
    [Show full text]
  • International Students Guide
    INTERNATIONAL STUDENTS GUIDE Caucasus University CAUCASUS UNIVERSITY 1 CONTENTS W E L C O M E ............................................................................................................................. 3 Facts and Figures About Caucasus University (CU) ...................................................................... 6 Campus History And Location .......................................................................................................8 Accommodations ........................................................................................................................... 9 Your First Few Days .................................................................................................................... 10 Practical Information .................................................................................................................... 10 Visa ........................................................................................................................................... 10 Residence Permit .......................................................................................................................11 Traveling Options ...................................................................................................................... 11 Budgeting .................................................................................................................................. 12 Health & Insurance ......................................................................................................................13
    [Show full text]
  • Semiotics and Language;Peculiarity Of
    Ilia State University Khazar University semiotika samecniero Jurnali XVII SEMIOTICS SCIENTIFIC JOURNAL Tbilisi Tbilisi 2017 2 UDC 81′22 Editor-in-Chief Tsira Barbakadze E d i t o r s Bahman Amani, Head of English Language and Literature Department, Khazar University, Baku, Azerbaijan Shorena Barbakadze, Associate Professor, Akaki Tsereteli State University, Kutaisi, Georgia Tamar Berekashvili, Professor, Ilia State University, Tbilisi, Georgia Marina Giorgadze, Shota Rustaveli State university, Dean of the Faculty of Humanities, Batumi, Georgia Rahila Geybullayeva, Head of the Journalism Department, Baku Slavic University, Baku, Azerbaijan Ilham Tagiyev, instructor of the English Language and Literature Department, Khazar University, Baku, Azerbaijan Guram Kipiani, Professor, Ilia State University, Tbilisi, Georgia Gia Jokhadze, Associate Professor, Ilia State University, Tbilisi, Georgia Proceeding of the 8th International Scientific Conference in Semiotics. Baku, Azerbaijan © Semiotics Research Centre 2017 ISSN 1512-2409 dagvikavSirdiT: E-mail: [email protected] 3 Content Medium and the World Dr. Tsira Barbakadze, Professor Ilia State University, Georgia, Tbilisi Medium and The Word ............................................................... 7 Dr. Nino Abakelia, Associate Professor Ilia State University, Georgia, Tbilisi Rritual as a medium in the cosmological discourse of the Georgians ..........................................................................................10 PhD. Aliya Ahmadova Azerbaijan University of
    [Show full text]
  • Dr William Sterling MUSIC and ART INSPIRED by SHAKESPEARE Lecture 6 All's Well That Ends Richard Kindersley the Seven Ages Of
    02/08/2016 MUSIC AND ART INSPIRED BY SHAKESPEARE Lecture 6 All’s Well That Ends Henry Moore The Seven Ages of Man 1982 1 The Infant Richard Kindersley The Seven Ages of Man from As You Like It c 1990 Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Henry Moore Henry Moore The Seven Ages of Man The Seven Ages of Man 1982 1982 2 The Schoolboy 3 The Lover Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Henry Moore Henry Moore The Seven Ages of Man The Seven Ages of Man 1982 1982 4 The Soldier 5 The Justice Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk 1 02/08/2016 Henry Moore Henry Moore The Seven Ages of Man The Seven Ages of Man 1982 1982 6 The Pantaloon 7 The Second Childishness Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Edward Bainbridge Copnall Lawrence Olivier and Vivien Leigh as Antony and Cleopatra on St James’s Theatre c 1950 Edward Bainbridge Copnall Vivien Leigh as Cleopatra on St James’s Theatre c 1950 Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk Edward Bainbridge Copnall St James’s Theatre c 1950 including Henry V and Hamlet Edward Bainbridge Copnall Lawrence Olivier as Antony on St James’s Theatre c 1950 Dr William Sterling Dr William Sterling www.williamsterling.co.uk www.williamsterling.co.uk 2 02/08/2016 1879 Poster for Broadway Production Starring Stuart Robson and William Crane Gilbert Bayes Characters
    [Show full text]
  • Un Joint Programme to Enhance Gender Equality in Georgia
    UN JOINT PROGRAMME TO ENHANCE GENDER EQUALITY IN GEORGIA MPTF OFFICE GENERIC FINALPROGRAMME1 NARRATIVE REPORT REPORTING PERIOD: FROM 1/12/2011 TO 15/11/2015 Country, Locality(s), Priority Area(s) / Strategic Programme Title & Project Number Results2 Programme Title: UN Joint Program to Country/Region: Georgia Enhance Gender Equality in Georgia Priority area/ strategic results Programme Number: 00081311 MDGs, UNDAF Priority 2: Democratic MPTF Office Project Reference Number: Development 00081625 Participating Organization(s) Implementing Partners UNDP, UN Women, UNFPA Please refer to Annex 1 Programme/Project Cost (US$) Programme Duration Total approved budget as Overall Duration (months) 47.5 per project document: $ 5,857,182 Start Date (dd.mm.yyyy) 01.12.2011 MPTF /JP Contribution3: UNDP $ 2,446,083 UN Women $ 2,473,982 Original End Date4 (dd.mm.yyyy) 30.11.2014 UNFPA $ 937,117 AA Fee $ 59,164 Actual End date5(dd.mm.yyyy) 15.11. 2015 Have agency(ies) operationally Yes No closed the Programme in its(their) system? Other Contributions Swedish Development $ 5,916,426 Expected Financial Closure date6: October 2016 Cooperation (Sida) TOTAL: $ 5,916,426 Programme Assessment/Review/Mid-Term Report Submitted By 1 The term “programme” is used for programmes, joint programmes and projects. 2 Strategic Results, as formulated in the Strategic UN Planning Framework (e.g. UNDAF) or project document; 3 The MPTF/JP Contribution is the amount transferred to the Participating UN Organizations – see MPTF Office GATEWAY 4 As per approval of the original project document by the relevant decision-making body/Steering Committee. 5 If there has been an extension, then the revised, approved end date should be reflected here.
    [Show full text]
  • A Cultured Country
    1 2 3 4 5 6 7 8 VTB for society A CULTURED COUNTRY As part of this programme, the Bank supports Boris Eifman Ballet Theatre, Yevgeny Vakhtangov Russia’s principal cultural institutions Theatre, Oleg Tabakov Theatre, and Pyotr and their new projects (major exhibitions Fomenko Workshop Theatre. VTB-sponsored at Russia’s leading museums; theatre performances drew a total of over 66,000 theatregoers. In particular, the Bolshoi Theatre’s productions; federal theatre show tours), new production of Giselle had a total audience art associations, and channels promoting of 7,500. The premiere was prepared by Alexei cultural values (TV and film producers). Ratmansky, one of the most famous choreographers The programme gives priority to projects of our time. His team seeks to combine the grace that help achieve Russia’s strategic objectives and virtuosity of classical dance with the technology for 2024 envisaged by a national project available to actors today. The Alexandrinsky Theatre called Culture. staged The Pygmalion Effect, a new tragicomedy ballet from the artistic director and choreographer Boris Eifman. A total audience of more than 9,000 enjoyed his choreographic interpretation of the Greek In 2019, VTB took part in implementing 77 cultural mythological tale, taking a fresh look at the intricate projects. relationship between art and life. VTB focused on working together with theatres, 2019 being the Year of Theatre in Russia. The Bank supported the State Academic Bolshoi Theatre, ILYA REPIN EXHIBITION 300 paintings from 35 collections > 600K visitors In 2019, the VTB Group took part in hosting a large Ilya Repin exhibition at the Tretyakov Gallery to mark the 175th birth anniversary of the Russian realist painter.
    [Show full text]
  • ETC Journal 2019/2020
    ETC Journal 2019/2020 Europe on Stage — Young Creation New Audiences Season’s Highlights Theatre in Europe – Theatre for Europe? “I regard the theatre as the greatest of all art That is why the European Commission is forms, the most immediate way in which a human currently assessing how we can support theatre being can share with another what it is to be a more effectively. We have just launched a human being.” This quote from Samuel Beckett mapping effort to better identify the sector’s reflects the role theatre can play, not only for needs. We are also looking into developing a the individual but also for society as a whole. fund to support the transnational circulation of Sharing our past, our stories and our experiences performing arts works. The European Theatre is crucial if we are to build a cohesive, resilient Convention is an important partner in this Europe for the future. And culture, in all its endeavour, and I thank the network for its ideas forms, has a vital role in making it possible. and projects geared towards developing our strategy further. That is why culture is at the heart of European integration. Cultural experiences not only bring This is especially important at a time when us together, they also help create an emotional divisive politics are tearing at the fabric of connection between us that is essential to our societies, creating new gaps between and keeping the European project alive. within countries, and even between and within communities. Theatre, like other forms of I am proud that the EU supports culture and cultural expression, has a unique power to help creators, including those in the theatre, through us learn about and accept our differences – as the Creative Europe programme.
    [Show full text]
  • Download Documents
    Coronavirus Pandemic: Theatres in Europe Urge Support from EU and Member States Joint Statement by European Theatrical Institutions Berlin: 16.03.2020 Following governmental decisions of Member States to fight the spread of COVID-19, theatres in Europe have been ordered by national governments to temporarily stop performing, avoiding large gatherings. The cancellation of live performances across European countries will have unprecedented economic consequences and affects an already precarious sector. While the harsh measures are responsible actions to face the severe situation, the degree of financial damage for theatres and all involved actors of the creative and cultural sector is yet to be determined. 1) We call upon the EU and Member States to provide necessary measures and allocate funds to compensate the loss of income. - The announced Corona Response Investment Initiative by the European Commission shall also benefit the suffering theatre sector. Measures must take into account the various economic and legal entities of the public and private sector, small and medium sized enterprises and address the needs specifically: - Public funds must not be held back nor cut according to the annual budget - Venues must not reimburse public earmarked funds for specific actions already spent and linked to cancelled performances - Loss of box office income for venues must be compensated - Individual artists and theatre companies must be compensated for the loss of income due to cancelled performances and creation processes 2) We urge the EU and Member States to support theatres and all performing arts professionals in Europe, guaranteeing the sustainability of the sector and one of the key European cultural art forms which gathers people in social and democratic contexts.
    [Show full text]
  • Developing Cultural and Creative Industries in Georgia
    DEVELOPING CULTURAL AND CREATIVE INDUSTRIES IN GEORGIA Cristina Farinha The Programme is funded The Programme is implemented by a consortium led by the British Council, in partnership with the Soros Foundation by the European Union Moldova, the National Center for Culture of Poland and the Goethe-Institut The report is developed with the assistance of the EU-Eastern Partnership Culture and Creativity Programme. The content of this report does not reflect the official opinion of the European Union. Responsibility for the information and views expressed in the report lies entirely with the author. The report was published in November 2017. 2 CONTENTS 1. Executive Summary 4 Team and Acknowledgements 8 2. Creative Industries in the EU 9 3. Mandate and Methodology 12 4. Developing Cultural and Creative Industries – Regional Analysis and Detailed View on Georgia 13 4.1 Brief analysis of the national context 13 4.2 Recognising CCIs’ transversal character 15 4.3 Setting up participatory policies and platforms 21 4.4 Building on emerging creative hubs 24 4.5 Easing access to specific funding and support 28 4.6 Improving creative entrepreneurial education and skills 31 4.7 Developing audiences and markets 33 4.8 Encouraging internationalisation and cooperation 36 5. Recommendations on Developing Cultural and Creative Industries in Georgia 41 5.1 Policy-making, Participation and Platforms. 41 5.2 Infra-structure, Funding and Frameworks 43 5.3 Skills, Audiences and Markets 45 5.4 Internationalisation and Cooperation 47 Appendix A: Bibliography 49 Appendix B: List of Participants in Workshops, Interviews and Site Visits 52 3 1.
    [Show full text]
  • Georgia to Receive €1.16 Million from EU, Sweden and Austria For
    “Impartial, Informative, Insightful” GEL 3.00 #073 (4630) THURSDAY, APRIL 30, 2020 WWW.MESSENGER.COM.GE OPINION & ANALYSIS Georgia to receive €1.16 million from EU, PM chairs another coordination council Sweden and Austria for agriculture development meeting FULL STORY ON Page 2 ECONOMICS NBG temporary supervision plan for COVID-19 Georgia and the EU. and small-scale processors, especially sented idea/project should fulfill one The size of the LDI support per ap- from high mountain rural areas,” the of the criteria given below. A binding plicant or group of applicants shall be ambassador of Sweden to Georgia, Ulrik declaration must be given that organic between ¢5 000 and ¢150 000 with the Tidestrom remarked He also stated he’s farming practices will be used and that co-financing share at minimum 10% of glad that despite the existing situation, organic certification is the goal of the the total budget. the project GRETA keeps operating suc- enterprise or of the group; Smallholder As the ambassador of EU to Georgia, cessfully and contributes to the economic farmers (individuals) seeking to start, di- FULL STORY ON Page 3 Carl Hartzell stated, financial assistance development of mountainous regions as versify or expand into organic production aimed at recovering economic situation well as creates new working alternatives. and that enter into a binding declaration in Georgia, is one of the priorities of EU, As the ambassador of Austria to Geor- towards organic certification; added that the country owns great poten- gia pointed out, agriculture
    [Show full text]