It seems that the existing concept of an arts network in Western Europe has reached a point of exhaustion. The first reason seems to be the fact that audiences have been steadily fleeing the theatre, and the second seems to be based on the belief that networking is a waste of time and money when a real and productive outcome is not immediately forthcoming. It is quite easy for a curator to arrange a meeting over a cup of coffee, but to support an artist with the belief that the production will yield innovative and interesting results might often not prove feasible.

The situation in Central and Eastern Europe shows that the most interesting performing arts projects are created outside of institutional theatres. This results in a more cross-over between different art-forms and, above all, it is only in this independent arts field where real and open debate can be held.

We believe that a network needs to be a clearly defined instrument to be held in the hands of the artist. This is the fundamental belief of the East European Performing Arts Platform.

Initiated by the Adam Mickiewicz Institute, as one of the programmes of the Polish Presidency of the EU, the project now includes artists and institutions from eighteen countries: Armenia, Georgia, Azerbaijan, Moldova, Ukraine, Belarus, Kosovo, Serbia, Croatia, Bosnia and Herzegovina, Slovenia, Macedonia, Hungary, Romania, Bulgaria, Slovakia, the Czech Republic and Poland. The programme of the new-established platform is being developed together with a group of independent experts from Central and Eastern Europe including the Zbigniew Raszewski Theatre Institute in Warsaw with the focus of remaining in close contact with the artists.

The platform is made-up of three main elements: information, education and co-production.

Exchange of information, as well as promotion of EEPAP partners is disseminated via the website www.eepap.org where artists, curators, festivals, producers can publish information about their activities. In addition, we have compiled a body of information, research and short evaluations of the productions, as well as models of financing for presenting projects to the performing arts scene in each of the countries in Eastern, Central and Southern Europe. The results will be published in a report that becomes available on 1^st October. 

Educational activities will start with programmes focused on curators and producers. The aim is to contribute to the improvement and development of curatorial practice in the region and to advance production both in the institutional and the independent sector. This programme is set to start in 2012.

Co-productions will be pursued through an artist residence programme. Venues from both Eastern and Western Europe will host artists from EEPAP countries in order to develop new work and build strong working relationships. This programme is set to start in 2013.

The concept for EEPAP has been developed through numerous meetings, discussions and debates with a large number of performing artists, curators and critics throughout Eastern Europe. It has been afascinating process so far – tangible relationships have been formed through real and honest contact. What we propose is an integrated and durable way of cooperation on all levels of independent production. One thing is for certain; we really have succeeded in gathering excellent partners. Our co-operation over the next few years will show whether this concept will stand a chance.

Marta Keil

Marta Keil, author and curator of EEPAP

The original article in Polish has been published in the September edition of the Polish magazine "Theatre".

SEE VIDEO: East European Performing Arts Platform. First working group meeting Warsaw, 5th April 2011.