Læs her - Uafhængige Scenekunstnere

More documents

Recommendations

Info

36 Good rotation/turnover of the house directors. Some participants thought that the director should not be employed by the house or do their own artistic work in the house during their director job. Others thought s/he absolutely should!
Thank you for letting me speak here today. A versatile and many-sided theatre environment is needed in Copenhagen as well as any big city that wants a rich cultural life. Therefore, it is naturally also important that we can offer traditional as well as open stages and thus create broadness for the entire theatre world and the audience. This way, established, experimental as well as smaller up-and-coming groups and soloists have the room and opportunity to challenge themselves and their audience. And this is where the open stages are a very important factor in the entire theatre picture. As an innovative platform that can help develop and renew art in co-operation with the more traditional theatre. Therefore, I am happy to have been invited to this conference. And therefore, I am also happy that we were able to provide some financial support to the theatre world last year that made it possible to expand the 11 small city theatres to 13 and thereby help create even more open stages in Copenhagen. How the concept “open stages” should be viewed and interpreted is one of the things that we are here to discuss today. Basically, we are of the opinion that the open stages are the stages that are rooted in the city theatres that we support through the Cultural Affairs Committee. On these stages, professional groups and soloists can make guest performances during the periods where the usual theatre group is not using the stage. But, there are obviously also other ways of viewing the open stage. As a completely open and independent platform. However, for now, we have chosen to let the established stages be the basis of the open stage. And in principle, they are just as open to independent art as the independent stage. But this does not mean that we are not open to consider and discuss how to create the best platforms for artistic innovation and look at the possibilities of a completely open and independent stage in Copenhagen. However, as politicians, we are also obligated to consider what is financially achievable. However, having said that, I think most people gathered here today agree that art and culture and not least their development need as many professional levels as possible. And together, we can create the best framework for artistic and cultural multitude. So a conference like this one is an obvious starting point to begin this kind of dialogue and share the experiences available in the European theatre environment. Thank you. The politicians and the system Speech by Pia Allerslev, mayor of culture and leisure in Copenhagen © Pia Allerslev 37
Page 1 and 2: RÅ HVIDBOG - en materialesamling v
Page 3 and 4: 137 Teater V 138 Viften 140 Warehou
Page 5 and 6: ”However, for now, we have chosen
Page 7 and 8: US har siden 2005 arbejdet målrett
Page 9 and 10: Some years ago the idea arose to ar
Page 11 and 12: 4 The complicity of culture...”,
Page 13 and 14: 5 Performance au/in Canada, Toronto
Page 15 and 16: På grund af konferencelokalets kar
Page 17 and 18: Brut has a local and international
Page 19 and 20: Questions from audience to all thre
Page 21 and 22: Open venue - programming democracy
Page 23 and 24: from performing. The artists outsid
Page 25 and 26: What works, what doesn’t? Reporti
Page 27 and 28: Den engelske performancekunstner Vi
Page 29 and 30: Om eftermiddagen på konferencens f
Page 31 and 32: kollegaer til samarbejder/arbejdsop
Page 33 and 34: Thematic entrance 2 (blue) Innovati
Page 35: The “open venue” should provide
Page 39 and 40: ÅBENT BREV fra Kunstrådets Scenek
Page 41 and 42: MINUTES: Ditte Maria Bjerg, curator
Page 43 and 44: Christine Fentz, moderator: What ki
Page 45 and 46: produktionsorienterede, hvor ideer
Page 47 and 48: Kommentar fra salen: Det er dyrt at
Page 49 and 50: Men hvordan diskuterer man kvalitet
Page 51 and 52: ville med udgangspunkt i vores eget
Page 53 and 54: ekrutteringsfelt for »talenter« t
Page 55 and 56: lev understreget, at det er uhyre v
Page 57 and 58: International programmering bør v
Page 59 and 60: Indlæg i den fortløbende diskussi
Page 61 and 62: Det frie scenekunstfelt - skitse ti
Page 63 and 64: I praksis har det spørgsmål mindr
Page 65 and 66: Og så skal vi lige have med, at de
Page 67 and 68: En anden type publikum, som det kun
Page 69 and 70: Udspillene kan være af mange arter
Page 71 and 72: Scenekunstudvalget er i dialog med
Page 73 and 74: For øjeblikket ser det ikke ud til
Page 75 and 76: Uafhængige Scenekunstnere har side
Page 77 and 78: Beretninger fra huse og kunstnere:
Page 79 and 80: Entré Scenens hverdag er i høj gr
Page 81 and 82: Warehouse 9 er et lille udstillings
Page 83 and 84: En vigtig opgave i etableringen og
Page 85 and 86: okaden stod nemlig cirka 20 frie sc
Page 87 and 88:
The Rise I slutningen af januar må
Page 89 and 90:
at fordele de penge, der var tilove
Page 91 and 92:
Scenekunstnere uden scene. Nu er NT
Page 93 and 94:
Logbog for forestillingen Blackout,
Page 95 and 96:
Og her har vi en god lejlighed til
Page 97 and 98:
du prøver at være provokerende. F
Page 99 and 100:
Thomas Hejlesen er konsulent og udo
Page 101 and 102:
Min oplevelse er, at produktet bliv
Page 103 and 104:
Rammer for udvikling og støtte: Be
Page 105 and 106:
Koreografer behøver et scenerum ti
Page 107 and 108:
menter samt uformelle præsentation
Page 109 and 110:
For at komme i betragtning til en p
Page 111 and 112:
Kulturformidler diplomuddannelsen:
Page 113 and 114:
Hvorfor? Det centrale mål er at me
Page 115 and 116:
sceneprojekt.dk blev etableret som
Page 117 and 118:
I den anden fase bliver det mere ko
Page 119 and 120:
Huset Forsøgsstationen har til hus
Page 121 and 122:
Statens Kunstråds Scenekunstudvalg
Page 123 and 124:
Begrebet »åben scene« er ikke s
Page 125 and 126:
Navn: Musikteater Baltoppen, www.ba
Page 127 and 128:
Navn: CaféTeatret, www.cafeteatret
Page 129 and 130:
Navn: Dansescenen, www.dansescenen.
Page 131 and 132:
ind- og udland samt co- og egenprod
Page 133 and 134:
Navn: Teater Grob, www.grob.dk Adre
Page 135 and 136:
Navn: NYAVENY, www.nyaveny.dk Adres
Page 137 and 138:
Navn: TeaterV/Prøvehallerne, www.t
Page 139 and 140:
4. Har I andre kommentarer eller be
Page 141 and 142:
også med inddragelse af forskellig
Page 143 and 144:
Hvordan opfatter I feltet »Den pro
Page 145 and 146:
Har I et indtryk af hvor mange af j
Page 147 and 148:
Page 149 and 150:
og dermed give os ro til at fokuser
Page 151 and 152:
Page 153 and 154:
Strukturelle og økonomiske forhold
Page 155 and 156:
Genreoverskridende statistik Defini
Page 157 and 158:
undersøgelser foreligger, kan der
Page 159 and 160:
Et modsætningsfyldt område Vi er
Page 161 and 162:
Men - som Lisa Lucassen fra She She
Page 163 and 164:
Tre hovedopgaver Formålet med denn
show all

Læs her - Uafhængige Scenekunstnere

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?