the report of the pilot project - International Labour Organization

Report of the Pilot Research Project on Children Working in Cultural and Artistic Activities
While stressing the need to ensure the personal development of child actors by consolidating their
talents with education and training and the fact that being a “child star” has its natural time limits,
the same player gave examples from her personal career: “My earlier training in ballet and music
was infl uential in my success as a player. A smart child learns how to use his or her talent through
education and training and conducts fi ne observations. Acting is creating a unique or original
character. In a movie the director helps the player, but in TV series time is too limited, there is a lot
of work to be done, so an acting coach is of great help for child actors. To enable the actor to create
a unique character, the coach should show the method of unfolding what exists inside and give hints
about the profession; he should not try to teach ‘how to act’. There should be an expert pedagogue
in the set. It is diffi cult to be well-known. Living in front of the eyes of others must be an attractive
thing. I didn’t work when I was in school. Child actors must be able to attend their schools regularly.
They must feel the need to build themselves and develop other talents as well. They must know well
that their present status is not forever. There will be years during which they will not be able to act. If
they fi ll emerging gaps with other skills and talents, they can turn out as strong individuals.”
In the interview the FCA stressed the following: Absence of legislative arrangements regulating the
working conditions of child actors and ensuing violations of rights; acceptance of heavy contracts
prepared unilaterally just for avoiding unemployment; fact that even legislative arrangements may
fall short when it comes to child actors and thus there is need to introduce a system regulating and
supervising the sector as a whole: “Contracts are like one-edged sword. Your time is blocked: you
have to be present any time let it be weekends or night time. If you fail to be present, you may
never get a job again. I am registered with the SSK (Social Security Agency) since 1968, but social
security contributions cover only 792 working days. The copyright legislation must be rearranged.
Remuneration of actors and other workers in the sector can be guaranteed only with such legislation.
The legislation has to be drafted with due consideration of the working conditions of players. I have
had no movie engagement for the last three years, and thus I have no income; but if there were this
copyright arrangement, I would be still earning from old movies now being shown in TV channels.
The child actor had his breakfast and went to the set; it is 15:00 hours and still working since priority
is given to the theatre artist who has to be in his work.”
Another former child actor (FCA 2) whose talent was discovered by his mother while at age three
and appeared in television programmes afterwards summarized the process as follows: “After having
been noticed by the media, we were invited to some news features. My mother was my manager and I
appeared on the screen as my casting agency found me jobs in commercials and TV fi lms. My parents
supported and encouraged me saying ‘your talent must be known by all; you have to force yourself
into the market, it will bring you a lot of money.’”
FCA 2 took acting lessons when he was selected to take part in a movie: “I learn quickly. I read
the script several times and imagine how I should act. I make my plans in advance and then easily
perform when my turn comes. An actor must know continuity in acting; I mean he must remember the
previous sequence. I learned this during my fi rst movie experience and took drama lessons. Talent is
- 19