We are moving forward with the first year's programme at National Theatre Wales, and also starting to think about our longer term policies to support artists. It would be great to hear examples of good experiences you have had in developing you and your work - particularly those that supported engaged, innovative and international perspectives. Any thoughts?

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Hi John, probably the most exciting and inspirational international activity that it has been my pleasure to be part of was the INTERNATIONAL THEATRE ACADEMY RUHR, in Bochum in 1999, part of the Mobile Academy project of Hannah Hurtzig (also responsible for the Blackmarkets, the model for the 'Kontact' events at the Sherman) I won't go into detail at the moment, but if you don't already know about the Mobile Academy take a look at http://www.mobileacademy-berlin.com/englisch/1999/st_99.htm This also provides links to Hannah's other works. I did propose something along similar lines as part of Cardiff's Capital of Culture bid, but alas...I may still have the documents somewhere.

If you could get something similar to this off the ground, with its exciting mix of cultural and social engagement, incorporating both national and international expertise then i really think we could get somewhere.
Thanks Richard, I loved the Blackmarket of Useful and Non-Useful Knowledge when I experienced it. Have heard a few people talk about the Mobile Academy 'Schools' before - a good model I think for bringing experienced and less experienced artists to together to try things out.
Thanks for that Richard Mobile Academy produces fantastic structures.
From an innovative and international perspective I just need opportunities to keep on doing it!
Keeping on going is a triumph always Michael! But it can be great to get a bit of added inspiration sometimes, or a chance to work with someone you've never worked with before don't you think? That's often what keeps us keeping on!
I had a similar experience as Richard Huw Morgan with E.L.A.N International Summer School based just outside Florence, Italy, headed by Firenza Guidi & David Murray.
Performers and artists of any genre from across the world join together for an intensive two weeks to develop and perform a site-specific show.

I attended the school in 2001 and the ‘mix of cultural and social engagement, incorporating both national and international expertise’ was one of the highlights and using and developing an 'artistic' language to communicate
Hi, There is a fantastic model in Australia that I would love to see replicated here in some way. La Mama in Melbourne is a small house that has been turned into a 40 seat theatre. It has been available for artists to apply to use and perform in - with permission to paint, reconfigure, adapt for the two weeks they are 'in'. It costs nothing to hire with a small production budget and fee. Marketing assistance is provided. Artists take all income! It's a separate space that feels autonomous - artists rehearse in the venue while the shows are on so its very well used. It puts the power back into the artists hands and in these days of producer power (and don't get me wrong -producers are important but this cultural bias has made it more difficult for some artists)- I am deeply concerned that the opportunities to self direct and play are slipping further away which informs the scale and quality of ideas. Its Oz so international exchange is less possible - there has been some, both at artists instigation and programmed in. Hope this is useful.
Thanks Pippa, sounds like a really useful model. Do keep the examples coming folk, it's very helpful in building a picture for the future.
Thanks Martin, Do you also know a Flemish group from Gent called Victoria (recently renamed Campo)? I've known them and sometims collaborated with them for a number of years. They make truly extraordinary work including the early pieces by Alain Platel, and the wonderful Aalst, which was restaged in Scotland a couple of years ago. They are also very artist led, but focusing on 'theatre artists' in the widest sense, rather than a company of actors. Interestingly, Toneelhuis Antwerp actually disbanded its permanent actors' company in favour of a company of seven directors!! Very interesting to see these different models.
Although I've not personally had any connection with them, Artsadmin seems like a wonderful organisation. I particularly like the fact that it is cross-disciplinary and that it offers opportunities to experienced practitioners to take time out and rethink what they want to do. Quite rightly, a lot of the focus on artistic development is about encouraging and supporting emerging artists, but it's good to see an organisation that is thinking about artist development as being more than chucking on a few 'scratch' nights.
I recently read '17' by Bill Drummond, and loved the idea of his artists resident in Northern Ireland. Basically, anyone can apply. I think it's an old tower without luxury or home comfort. You can spend a couple of weeks there. The only thing is that you've got to leave behind some evidence of what it is that you've contributed. Go to 'penkilnburn.com' and look under the 'Stay' option. Generally the whole site is fascinating, an interesting guy.
Hi John, ASSITEJ InternationaL (international organisation dedicated to theatre for and with children and young people)recognised a lack of representation from 'younger(in very loose terms)' and 'diverse' artists within the world organisation and the executive commitee. At the last World Congress and Festival in Adelaide they decided to address this. They invited around 25 younger artists(aged approx 21-45) from around the world commited to creating innovative theatre for and with children and young people to experience the festival as a collective. We had a high profile presense at the festival with positions on panels, running seminars and addressing conference. As artists we were encouraged to share practise and develop collaborations. Over the 10 day estival we developed a mission statement and collective vision. ASSITEJ are supporting as an organisation untill the next world festival in Malmoe/Copenhagen in 2011. We just attended Schaxpir Festival in Austria where we saw 35 shows, took part in workshops, discussions, met leading international artists and created work together. Next year we hope to meet to plan our contribution to the 2011 festival at a festival in Korea. Most of the group are involved in international collaborations that have grown out of the festival, we have all had our work questioned and challenged by this experience and eachother and we have all been exposed to a huge diversity of cutting edge work for child and youth audiences. I was working in NZ when this project and was lucky enough to become the NZ rep in this hugely exciting opportunity.The collective thrives on the diversity of our experience, we are all at very different stages of our career from emerging to mid career and beyond and diversity of context(Africa to Japan and Chester). The group was called 'Next Generation' but this is being changed to 'New Faces' for future groups. From Assitej's point of view their are now 25 more artists around the commited to the work of ASSITEJ and busy reinvigorating their work through collaboration and debate.

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