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#4.2 Production and Touring

#4.2 PRODUCTION AND TOURING

CollectivO CineticO. Eye was Ear. Photo by courtesy of CollectivO CineticO. © Jacobo Jenna
From ‘Eye was Ear’. Photo by courtesy of CollectivO CineticO. © Jacobo Jenna

A company or collective of artists can apply annually for a support from the Ministry of Culture, to be used for production and touring or—in case—for running a venue and programming a season. There are some private production companies that invest money on new productions (most likely owned by popular artists themselves), but for the independent artists other ways are the solutions to get a new work produced. They can pitch their ideas to public theatres to be supported in production and touring, or apply for a residency at one of the numerous venues that trade free living-working space for a preview of the show or certain number of runs. But the most frequently walked path is self-production. In that sense, having a venue or just a workspace can be crucial for the sustainability of a project, to gain space and time to create. Both in big cities and in small villages, community centres, non-theatrical spaces and post-industrial sites are becoming more and more important for the development of the stage arts. The bi-annual national award Premio Scenario has proven to be very important to allow new artists to emerge: in a long and very intricate selection process, it awards a 10,000 Euro production prize for the best 20-minute “studio”, and the opportunity to make the complete performance circulate in various joined venues in Italy.

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Thumbnail image by courtesy of CollectivO CineticO. © Valentina Bianchi

 

Published on 12 May 2015

#4.1 Academies, Schools, Self-Training

#4.1. ACADEMIES, SCHOOLS, SELF-TRAINING

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Photo by courtesy of CollectivO CineticO

There is just one national school of drama, the Accademia Nazionale d’Arte Drammatica Silvio d’Amico, based in Rome. It is a very selective three-year program that trains actors, directors and playwrights. After three years of training, during which they are not allowed to work professionally, the graduates of the Silvio d’Amico are introduced to the world of work and have many opportunities to audition for major companies. However, the National Academy is not the only way to get training: some of the major venues also have their own schools. Public theatres in Milan, Genoa and Turin are the most prestigious. Nevertheless Rome and other big cities are full of private schools, that can offer a solid training for young actors and directors, at least to gather and experiment on stage. It’s a form of self-training that—together with the number of workshops offered by established artists—can be the nest for a generation to come.

Continue to article #4.2 Production and Touring

Thumbnail image of this article by courtesy of Kinkaleri. © Jacobo Jenna

 

Published on 12 May 2015

#2.3.2 The Role of the Critic

#2.3.2 THE ROLE OF THE CRITIC

By courtesy of Balletto Civile. © Marco Caselli Nirmal
By courtesy of Balletto Civile. © Marco Caselli Nirmal

If in Italy we waved goodbye to the old-fashioned image of the professional theatre critic appointed to go the theatre, see the show, go back home (or to a late night office) and write a review, a new position of this figure would arise that closely involves a relational dimension, linked to other figures and institutions and artists.

Continue with article #2.3.2.1 Relationship with other Figures
Back to article #2.3 University and Journalism

Thumbnail image of this article by courtesy of CollectivO CineticO. © Marco Davolio

 

Published on 11 May 2015