Theatre in Finland – Now
Network with Finns
- Theatre festivals
- Agencies, organisations and art info centres
- Toolkit for Theatre Production and Mobility
- TINFO Grant
“When you cannot rely on the state, your only hope lies in your circles of friendship.”
As part of our Russia program, TINFO – Theatre Info Finland arranged a training module for acting students from the University of Tampere Degree Program in Theatre Work. During the training, the students travelled to Russia to rehearse a Russian-language performance of Alexander Vvedensky's A Certain Quantity of Conversations with the director Boris Pavlovich. Students studied the impact of working in a foreign language on an actor’s idiom; the training also deepened the students’ understanding of the current state of Russian theatre.
TINFO had the opportunity to interview Boris Pavlovich:
”Public conversation can only be initiated from the stage, and theatre has clout,” Pavlovich notes. More and more, Russian directors are leaving the major centres for work in the provinces.
“It’s much easier for a young director to get an opportunity to stage a play in a distant city than anywhere else. Ten years ago, when I left St. Petersburg to lead a theatre in Kirov (which isn’t far from the Ural Mountains, 1000 kilometres northeast of Moscow), people were saying goodbye to me as if I was going to emigrate.”
“In Russia, a lot of workshops (laboratories) have been held over the past 15 years, and they have prompted young directors to go off to different cities… And critics, oddly enough, would rather pay attention to an interesting production in a small, remote theatre than in one of Moscow’s hundreds of theatres.”
For Pavlovich, contemporary Russian theatre is a theatre of “era of grievance.” Contemporary texts, documentary theatre, immersive theatre, and site-specific theatre are flourishing.
“Theatre avoids open conversation on political topics – and this is due to internal censorship, the desire to avoid problems with municipal authorities, rather than any genuine threat of a ban.”
For Pavlovich, directing and practicing theatre becomes meaningful in those places where theatre is needed. Amid the abundance of theatre in Moscow and St Petersburg, Pavlovich prefers to concentrate on theatre projects that foster a sense of community or social relations:
“In a provincial city, theatre possesses the potential of the forum of ancient Greece: if a performance becomes an event, it becomes an event on a city scale. Theatre of a high calibre genuinely boosts the self-esteem of the citizens. In Novosibirsk, Omsk, and especially Khabarovsk, which is closer to Japan than to my native St. Petersburg, I can afford to stage a performance of ‘pure art’ – and feel that the people there really need it.”
Russia is a vertical society, and not only politically. But a vertical country needs horizontal structures.
“Everyone knows who the ‘main Russian poet’ is (Pushkin), who the ‘main Russian writer’ is (Tolstoy or Dostoevsky, take your pick), what the ‘main theatre’ is (Moscow Art Theatre MXT). We have titles like ‘Honoured Artist’ and ‘People's Artist,’ and money and other resources are distributed according to this hierarchy. “
“The new generation that has grown up in the era of the Internet – the primary global rhizome – is looking for an alternative structure. The best things happening in contemporary Russian theatre are taking place specifically in this domain of ‘horizontal’ structures. The current, ‘post-great’ generation of directors are learning not to command, but to negotiate.
The interest in social projects is also linked to artists being interested in the figure of the Other. In social terms, the rhizome is an alternative method of searching for resources. When you cannot rely on the state, your only hope lies in your circles of friendship.”
Boris Pavlovich was interviewed by Hanna Helavuori
The original source:
In the period 1809-1917, Finland was an autonomous grand duchy of the Russian empire. As a result, Finland and Russia have over a century of shared heritage on the stage, since the earliest days of Finnish-language theatre. Relations of trust have been tried by and survived the storms of revolution, the restrictions of the socialist Soviet Union, and the new economic winds stirred up by crumbling walls; they continue to be maintained during the current EU sanctions. The phrase “Leave no one behind” has proved stronger than national borders at guiding the operational philosophy of theatre practitioners in both countries.
TINFO – Theatre Info Finland has helped facilitate the maintenance of these Finno-Russian contacts. The name of the TINFO-coordinated program NOKKA/HOC [nos] (“Nose”) conveys the curiosity by which art is created, and associations with Gogol’s nose are by no means out of the question in this day and age.
At present, the entities participating in NOKKA/HOC include the Q-teatteri-produced Baltic Circle International Theatre Festival, the University of Tampere Degree Program in Theatre Work and the Kajaani Town Theatre. Also involved are the Swedish company DuvTeatern and the St Petersburg-based Apartment company, both of which create theatre with the disabled, as well as the Finnish-Russian group InterLab, which partners with the National Theatre of Karelia in Petrozavodsk.
Over the fall, the feminist work group Kilari, the Vapaa Vyöhyke company, which has produced the poetry performance Toivo (“Hope”), the puppet theatre partnership Taussi & Bredenberg, and the Finnish National Theatre’s just filming will be performing at festivals in Kazan, Kurgan, and St Petersburg. Networking trips for theatre professionals to festivals are arranged in both directions.
This year, Finnish theatres have brought three adaptations of Fyodor Dostojevsky novels to the stage. The National Theatre’s Crime and Punishment as directed by Johanna Freundlich has toured Finnish reform schools. The Brothers Karamazov, as adapted for three actors at the Kajaani Town Theatre, has been invited to the Dostoyevsky Theatre Festival at Veliky Novgorod in 2019. Samuli Reunanen adapted and directed his own version of the same novel for the Finnish National Theatre. Jari Juutinen’s adaptation and direction of Dostoyevsky’s The Gambler is opening this year’s Dostoyevsky Festival in Veliky Novgorod. The work was co-produced by sadsongskomplex:fi collective, which was founded by Juutinen.
Jukka Hyde Hytti, hyde(a)tinfo.fi
The original source:
Moscow, autumn 1905. Russia is engaged in a bloody war with Japan. Defeat looms on the horizon. A new conscription law compels Finnish men to join the Russian army. A revolutionary movement takes advantage of this state of war, making itself visible on Moscow’s. Meanwhile, Finland’s most famous actor, Ida Aalberg, and her company are performing Ibsen’s plays in a Moscow theater. In German. Sitting in the full house, Eino Kalima, a young student of literature preparing his dissertation, admires Aalberg. He is impressed by the artistry of the actors at the Moscow Art Theatre, established only a few years earlier. Kalima later becomes the Finnish National Theatre’s long-term director (1917-50) and is recognized throughout Europe as a director of Chekov.
St Petersburg, autumn 2018. Twelve Finnish acting students from the University of Tampere Degree Program in Theatre Work are preparing to perform a never-before-seen surrealist-toned production of Alexander Vvedensky’s A Certain Quantity of Conversations (1936-37) for a St Petersburg audience at the Dostoyevsky Museum theatre. In Russian. The objects of their investigation are the impact of a foreign language on an actor’s idiom, presence, and interaction. Over the course of an intensive eleven-day theater camp, the director Boris Pavlovich has had the actors produce ten scenes, conversations written during Stalin’s purges that continue to – or perhaps we should say “once more” – speak to contemporary audiences in a chilling language. The performance will be seen twice in Tampere, and preliminary plans to bring it to Moscow are in the works.
Helsinki, November 2018. According to statistics, Finland is Europe’s fastest-aging, and thus, fastest-dying nation. A pastor, a cantor, a cemetery employee, and a gravedigger ask the audience what they would like to bury? We’re in the middle of the documentary theater performance, Death at Work, produced by the Baltic Circle International Theatre Festival, during which funeral rituals are brought into the ritual of performance.
The performers are actual professionals in the field of mortality, and the performance tells of their relationship to death. In Finnish. How do people enter the field, and how have attitudes towards death changed over time? Death is also illuminated from a statistical perspective. The director is the St Petersburg-based Semion Aleksandrovsky, and the stage and visual designer is Ksenia Peretrukhina from Moscow. The performance will be simultaneously interpreted into English.
Spotlight On: Boris Pavlovich
Visual theatre performance captures the essence of Edward Hopper’s paintings
Puppetry artist Mira Taussi’s and actor-director Mikko Bredenberg’s visual theatre performance Rooms by the Sea has been invited to the Parallels contemporary art festival in Kurgan, Russia, November 7- 11, 2018.
Edward Hopper (1882-1967) is one of the major realist painters of the twentieth century. He generally portrayed his models in ordinary milieu – in offices, bedrooms, hotel rooms, restaurants – plunged into a very specific mode of solitude.
In their latest visual theatre performance, Rooms by the Sea, puppetry artist Mira Taussi and actor-director Mikko Bredenberg capture the essence of Hopper’s paintings. This is a stage piece about the desire to make peace with one’s memories, dreams, and fears.
In homage to Hopper’s paintings, Taussi and Bredenberg invite spectators into a world of light and shadows, silence, solitude, and time’s passage as they witness an artist working alone in his studio. Like an architect or set designer, the artist builds miniature scenes out of houses, rooms, streets, and fields before the audience’s eyes.
Partners: TINFO – Theatre Info Finland and Aura of Puppets
This visit to the Parallels Festival has been supported by TINFO – Theatre Info Finland.
This production has also been supported by the Arts Promotion Centre Finland and the Arts Promotion Centre Finland, Arts Council of Varsinais-Suomi.
Mira Taussi (born 1990) is a puppeteer and visual theatre artist with a degree from the Arts Academy at Turku University of Applied Sciences. Taussi has worked as a director and performer both in Finland and abroad. Taussi is the president of the board at Aura of Puppets, a network for puppet theatre professionals in Finland.
Mikko Bredenberg (born 1977) is an artist-researcher, actor, theatre director and pedagogue. He has worked as an actor and theatre director in institutional theatres and independent performing art groups. Bredenberg holds a Doctor of Arts in Theatre and Drama from the University of the Arts Helsinki, Theatre Academy.
Death at Work is a stage performance mixing two distinct rituals: a funeral and a theatre piece. Its performers are individuals working with death, such as a gravedigger, a priest, a cantor and a funeral home worker. Instead of philosophical and religious speculations, the piece approaches death from the perspective of practicalities and routines.
According to statistics, the Finnish population is one of the oldest in Europe. At the same time, the topic of death has been handed over from everyday life to institutions and specialists. How does this distancing affect the economy, political decision-making and our everyday lives? What tools are we left with to face death? What could experts in death and dying teach us about death?
Pop Up Teatr is a theatre platform from Saint Petersburg conducted by theatre director Semion Aleksandrovsky that creates performances in public spaces and in different contexts. The piece Death at Work is a collaboration between Aleksandrovsky and visual artist Ksenia Peretrukhina from Moscow. The duo has previously collaborated in Moscow’s Taganka Theatre and the Perm Opera in the fields of experimental theatre, documentary theatre and contemporary opera. Their works have been awarded at the prestigious Golden Mask theatre festival in Russia.
Death at Work premieres at Baltic Circle Festival in Helsinki on 13 Nov 2018.
Death at Work is part of the NOKKA initiative, a bridge-building effort between Finnish and Russian theatre-makers. NOKKA is coordinated by Theatre Info Finland and financed by Finland’s Ministry of Education and Culture.
Commissioned by Baltic Circle
Supported by TINFO – Theatre Info Finland (NOKKA project, Ministry of Education and Culture)
In collaboration with City of Helsinki Cultural Centre Kanneltalo
Oblivia is one of the most internationally known Finnish performance companies. In Finland, Oblivia was last seen at Helsinki Festival, where they presented the performance Children and Other Radicals with stunning reviews. Now, NTM – Nationaltheater and zeitraumexit have invited Oblivia to Mannheim.
There will be presented as many as four performances and one workshop from the group: Nature Theatre of Oblivia, Annika Goes Stand-Up, Light & Easy, The Rave and Do What You Saw: Money & Me (workshop). Light & Easy is Oblivia´s newest piece and it will have a preview in Mannheim on November 24th 2018.
The performances and the workshop are part of the Kultur Aus Finland festival launched by the Finnland-Institut in Deutschland.
In December Children and Other Radicals will be seen in Essen at PACT Zollverein, which is one of the co-production partners of the performance.
Oblivia creates on stage a Finnish forest, its plants and animals. Nature Theatre of Oblivia works with the impressions, experiences and desires that nature offers us, as a concept and as a place to be, and something to become – like a forest in all its familiarity and uncanniness. The premiere was in Theater Rampe in 2017.
Annika Tudeer, the artistic director of Oblivia, made her debut as a stand-up comedienne in the spring of 2016 at Mad House (Helsinki). Annika Goes Stand-Up is not necessarily funny, but a shameful shameless trip to Annika's head here and now.
A small performance on a big theme. The improvised performance with three performers deals with time, lamentation and death. In combination with a workshop gives an insight into Oblivia’s working methods. Light & Easy is part of a broader series of performances. The next work in the series, Verdrängen Verdrängen Verdrängen will premiere at Theater Rampe in Stuttgart in February 2020.
Oblivia´s The Rave premiered in 2015. It was a livestream performance where the audience was at a different location than the performers themselves and follow their sweaty work through the screen. The Rave was streamed in Helsinki, Germany, New Zealand and Australia.
In addition to performances, Oblivia organizes a workshop open to everyone in Mannheim. At the center of the workshop is the "do what you saw" method created by the group. The distinctive working method is used to study money and economic structures.
Oblivia is known for its grandiose ideas and minimalist performances. Oblivia audiences have come to expect unexpected, yet recognisable Oblivian experiences. Oblivia´s core group includes Meri Ekola, Alice Ferl, Timo Fredriksson, Tua Helve, Anna-Maija Terävä and Annika Tudeer.
Katja Tolonen, Press Officer, katja(a)rodrod.fi
The Helsinki-based sadsongskomplex:fi, the Novgorod Academic Drama Theatre, and the Novgorod Philharmonic will be staging an opening night of Dostoyevsky’s The Gambler for the Dostoyevsky Festival in Veliky Novgorod, Russia. Slated for the main stage, the work has been adapted and directed by the Finnish theatre director Jari Juutinen. The rest of the artistic team are also from Finland, with scenography and lighting design by Teemu Nurmelin and sound design by Atte Olsonen.
In Jari Juutinen’s adaptation, everything is as stake: relationships, an inheritance, life and death. The music will feature elements of the Sergei Prokofiev opera based on the same novel, played by a quintet from the philharmonic. This Novgorod Academic Drama Theatre production will kick off the international Dostoyevsky Festival on November 5, 2018.
Jari Juutinen has toured Europe with sadsongskomplex:fi, including the world-renowned festivals in Avignon and Edinburgh, and is presently in demand as a director in Georgia. Sadsongskomplex:fi is one of the few companies selected to participate in the TINFO – Theatre Info Finland-sponsored MOTI internationalisation programme.
More on Juutinen’s international work:
Jari Juutinen's international train is travelling in both directions
Wusheng Company was invited to perform and at the same time to participate in the Peking Opera competition in Beijing. The competition was part of the traditional Chinese Opera Culture Week, held in the Garden Expo, Fengtai district, from October 1st to October 7th. Wusheng Company won the international series of the Beijing Opera Aria Cup contest with an excerpt of the Last Warrior. In the international serie there was 17 participants from all over the world.
Finnish artist Sonya Lindfors was announced as the 2018 winner of ANTI Festival International Prize for Live Art. The prize, at ¤30,000, is one of the richest in the arts, and is awarded annually to an artist or artist collective. ANTI Festival International Prize for Live Art is the world’s first prize dedicated to live art.
The 2018 shortlist comprised Lindfors and three internationally celebrated artists from across the globe; All The Queens Men (Australia), Nic Green (United Kingdom) and Jeanne van Heeswijk (Netherlands). Their work shares an urgent fascination with the questions of our time, essaying ideas of inclusion, equality, community, diversity, feminism, power, blackness.
Sonya Lindfors receives a cash prize of ¤15,000 and the same amount in the form of a production grant for bringing a new work to the ANTI Festival 2019.
The Jury states of the winner:
“Her practice is of vital importance to its immediate contexts and Lindfors works to allow others to work, to create spaces of exchange and dialogue where previously they were missing. Her contribution to arts and culture is quickly becoming essential, foundational to the sets of social discourses around equality, diversity, gender, and sexuality that are reshaping our world.”
Sonya Lindfors is a Helsinki based Finnish artist who works with choreography, facilitating, community organizing and education. She is the founding member and Artistic Director of UrbanApa, an inter-disciplinary and counter hegemonic arts community that offers a platform for new discourses and feminist art practices.
In her work, Lindfors deals with issues of power, structures, representation and othering. Her recent series of stage works; NOIR? (2013), NOBLE SAVAGE (2016) and COSMIC LATTE (2018), centralizes questions around blackness, black body politics, race and representation.
Lindfors is interested in creating and facilitating anti-racist and feminist platforms, where a festival, performance, publication or workshop can operate as the site of radical collective dreaming.
Sonya Lindfors: It is people who need protection, not artists
Otso Huopaniemi’s doctoral research Algorithmic Adaptations (Algoritmiset adaptaatiot) received an honorable mention for the N. Katherine Hayles Award for Criticism of Electronic Literature from the international Electronic Literature Organization.
Huopaniemi’s work is described as a “born-digital scholarship, a beautifully designed piece of bilingual, multi-modal web-work.” The Electronic Literature Organization, or ELO, is a Vancouver-based nonprofit organization that hands out three different awards to recognise new literary forms that are made to be read on digital systems.
Otso Huopaniemi received his doctorate from the Degree Programme in Dramaturgy at Uniarts Helsinki’s Theatre Academy in spring 2018. His doctoral research examines the relationship between writing and technology.
Huopaniemi’s work can be read online at the Acta Scenica portal, which offers a platform for varied digital representations for works in artistic research.
Read Huopaniemi’s work here: http://actascenica.teak.fi/huopaniemi-otso/.
ACCAC (Accessible Arts and Culture) Global is a growing international movement, which aims for a more equal and accessible world for all. It is based in Finland since 2008 and new ACCAC Growth Centres are established in Nepal, Morocco, Egypt and South Korea. To meet its goals, organisation arranges events to raise awareness and promote the change. The ACCAC Congress & International Cultural Program Nepal December 2018 is expecting artist and presenters from around 15 countries.
The starting point for the ACCAC activities was over 10 years ago from the Founder Kirsi Mustalahti´s idea to start developing diversity and equal participation by using culture and art as a tool for the change. There is a lot of interest to start the ACCAC activities specially in developing Asian and African countries like Laos, Myanmar, Nepal, Cambodia, India, Mongolia, Zambia, Tanzania, Tunis and Oman.
The Finnish participation in ACCAC Nepal 2018 includes performing in the opening ceremony, congress presentation and a panel discussion about inclusion in theatre and of course the full performances.
The Finnish theatre professionals and actors Pirkko Uitto, Pekka Heikkinen and Eero Enqvist will participate the ACCAC Nepal Congress and Culture Program for An Accessible Mind taking place on 11th to 14th December 2018. In Kathmandu will be seen two solo performances from Finland. Tove Jansson´s beloved Who will Comfort Toffle with singing and signing and a monologue On these wheels based on real incidents in the life of Pekka Heikkinen.
ACCAC Finland is one of the nine partners in Creative Europe -project 2017-2019 where Kukunor and Unikuu theatre play written by Eero Enqvist has premiered in five European countries in 6/12 languages, spoken and sign language. Originally the play was written to Tirakkor-Group from Finland 2014, but the EU-project has given a great possibility to research inclusion in theatre and the Bilingual Theatre Concept in Belgium, UK, Croatia, Bulgaria, Portugal. The last premiere was in Lisbon on October 20th 2018 made by Voarte company.
Arts Promotion Centre Finland has made the participation possible to Tirakkor Group.
Moving in November is the most significant contemporary dance festival in the Helsinki area. Every year, the festival introduces interesting, topical and edgy dance works in its program.
TIP-Fest presents the most versatile program of contemporary Finnish puppet theatre.
Explore the Program here!
The international theatre festival Baltic Circle takes place in Helsinki again November 13-18, 2018. The programme consists of premieres from Finnish theatre reformers, international guest performances and co-productions from Australia, Canada and Russia, poetry and spoken word as well as performative club nights.
The 16th edition of the Lonely in the Rain? – festival for contemporary dance, performance and improvisation, presents a selection of new trends within the performing arts in Outokumpu and Joensuu, Finland.
Lonely in the Rain? is 28.11.-1.12.2018, Joensuu & Outokumpu
The first Fringe Festival in Turku, FINFRINGE, will take place on the three stages of Åbo Svenska Teater and its immediate surroundings from May 10th to 12th, 2019.
Sparring programme and a performance gig for Finland-based professional performance and live artists.
Artist association NYTE ry and Arts Promotion Centre Finland open a call for performance proposals for the new SparrausPori performance art sparring group. The group focuses on the tools of feminist curating and friendliness because NYTE ry wants to be a part of building a more equal art world. This is an attempt to making equality something that surrounds the whole process of art making and not just something that you draw inspiration from or name as the theme of your art work.
You can apply with a performance idea that will be developed further with the help of the other artists and a mentor. The finished works will be presented at Porin Juhlaviikot on December 15th, 2018.
At this point we have the resources to develop three art works.
SparrausPori will offer the three chosen artists/groups the mentoring of their performative work, the travel, accommodation and food costs of the coaching weekend, travel and accommodation costs of the festival weekend, performance fee of 100 euros, technical support, performance assistant and reasonable material costs, negotiated with the festival.
Open Call 08.-28.10.2018.
The chosen works will be announced to all applicants 31.10.2018
The sparring weekend will be organized in Pori 9.-11.11.2018
Porin Juhlaviikot takes place in Galleria 3h+k, Pori 14.-15.12.2018
The deadline for the applications is October 28th 2018.
Send your application email, including the performance proposal and a CV (as a single attachment, in pdf form), at: marika.raty(a)taike.fi. NOTE! Please include a heading SparrausPori + your name in the application e-mail.
PlaStforma Minsk 2019 will take place in Minsk (Belarus) on February 11th-17th, 2019.
PlaStforma Minsk is an independent and non-profit art project.
It has been functioning for 6 years as a platform for interaction of various types of body performative arts. During this period of time we have represented art projects from 12 countries, have mastered a lot of Minsk venues and have gathered a spectator audience of more than 2000 people.
Where: Minsk, Republic of Belarus
When: 11-17 February 2019
Deadline for applications: 31 October 2018
The program will include Belarusian and foreign performances, discussions with spectators and experts, workshops, lectures, etc.
Physical and object theaters, theaters of pantomime, contemporary dance, Butoh dance, as well as critics, researchers and experts in the field of theatrical art are invited to participate.
PlaStforma Minsk can provide:
Please note that for foreign citizens who arrive by air there is a 30-day visa-free regime. All foreign citizens staying in Belarus for more than five days require registration.
Unfortunately, PlaStforma cannot offer the performance fee and cover travel and other expenses. But we are working on this and will do our best to help our participants get travel grants, and are also ready to discuss individually the possibility of financial support from partners.
Costs for participants: travel & accomodation
If you have any questions, don’t hesitate to write us: plastforma.minsk(a)gmail.com
Do you have an idea for a Nordic project, an idea that can help place the Nordics in the minds of the world? A project that can highlight our Nordic values, helping set an agenda. An idea that has social clout with the ability to cut through the noise and start a conversation? If you do, we would love to hear from you.
WHAT WE ARE LOOKING FOR
In short, we are looking for new creative partnerships and projects with a high level of international PR potential. Projects that will help leverage our strategy for the international branding and positioning of the Nordic Region – The Nordics.
We would like you to team up with other international and Nordic partners sharing the same idea, but even more importantly, we would like you to work together on a strong Nordic story that helps generate change and creates a buzz about The Nordics.
WHAT DO WE FUND?
We fund projects all over the world. The focus is on projects that embrace Nordic values like equality and trust, ideas that promote sustainability through creativity and innovation and ideas built on compassion and openness.
If you have the right project in mind we can help get your message out to the masses by (co)funding for instance communication campaigns, PR activities, a podcast series, or…? We aren’t great fans of paying for plane tickets and accommodation but if you can argue that it’s just what you need to get the project on the cover of the Rolling Stone we might listen.
The total budget for this open call is DKK 2.5 million.
WHAT IS THE NORDICS?
The idea behind The Nordics is to re-think the usual concepts of place branding. Instead of showing The Nordics to the world – we are showing The Nordics in the world.
Our aim is to create a brand that shares its relevance with the world, shares how Nordic thinking has inspired so many people, and shows how Nordic values can work across borders, cultures and generations. Find out more The Nordics
The deadline for application is 4 November 2018, at 23:59 (CET)
The open call for Theatertreffen Stückemarkt 2019 for theatre makers, artists and playwrights has just started and for the first time in our 40 year history, we are inviting artists worldwide to submit their latest theatre text or performance. Under the heading “What happens after the protest?”
Stückemarkt is searching for work that goes beyond descriptions of a status quo, imagines possible futures and seeks new forms of artistic-activist interference. We are particularly interested in young authors and artists who explore new narrations and perspectives and develop innovative artistic languages. From among the submissions Stückemarkts jury of renowned international artists will select a total of five texts/performances to be presented as part of Theatertreffen 2019.
This year’s Stückemarkt jury are: Mette Ingvartsen (choreographer and dancer, Brussels), Branden Jacobs-Jenkins (playwright, New York), Amir Reza Koohestani (director and playwright, Teheran), Wiebke Puls (actress, Munich) and Maria Nübling (dramaturge and head of Stückemarkt, Berlin).
Every year in May Theatertreffen, the most important German theatre festival, convenes theatre makers, journalists and guests from around the globe in Berlin. Since 1978 Theatertreffen’s Stückemarkt has been an integral part of the festival. As the oldest initiative for promoting contemporary playwriting in German-speaking countries – and as of 2012 also performance art – it has been successfully engaged in the long-term support and development of playwrights and performance artists for over 40 years. Stückemarkt is a forum for exchange between international playwrights, performance artists, theatre-makers, festival curators, publishers and critics.
You’ll find more information about the application criteria in the open call on our website both in German and English.
Dramaturge Theatertreffen/ Head of Stückemarkt
Theatertreffen 3.-19. Mai 2018
Squeeze It Trieste Contemporanea Contest 2018, third edition
a contest open to young Europeans under the age of 30
for a small format / low budget project merging theatre, visual arts and new media
The competition deadline is 12th November 2018. The entry is free.
Students and young professionals born in EU and CEI member countries are asked to create an original theatrical action, organically connected to the issues of contemporary visual arts, taking into account the opportunities offered by information technologies and new media.
The applying theatrical action must be able fit in an ideal 4mx4mx4m size box and last no longer than 16 minutes. The 2018 winner of the 2018 Franco Jesurun Award, decided on the stage of the final evening of the 15th of December, 2018, will work with guest director Mirosław Bałka at a production of a video work from the action presented.
Zodiak – Center for New Dance and Globe Art Point are now jointly calling for applications for new contemporary dance works for the year 2020. The call is open until November 15, 2018.
Zodiak – Center for New Dance is a progressive dance organisation and the most significant production house of contemporary dance in Finland. The mission of Zodiak is to produce, present and promote works of high artistic quality and innovation.
This joint call is a part of Zodiak’s open call for the year 2020. The selected work will be presented as a part of Zodiak’s performance program.
Established in 2016 in, Helsinki Globe Art Point is an umbrella organization with a mission to enhance diversity in the Finnish art and culture scene by supporting the working circumstances, visibility and cultural political status of the non-Finnish-born artists and art workers resident in Finland.
This joint call is a part of Globe Art Point´s GAP LAB project supported by the Finnish Culture Foundation. In GAP LAB the selected/supported working groups and projects consist of non-Finnish-born artists living in Finland and Finnish born artists/art workers collaborating and creating together.
APPLICATION FORM is open from October 3 until November 15, 2018, here:
Attachments must be sent together with the application form. Acceptable attachment file forms are pdf, doc, docx, txt, rtf, xls, xlsx, zip.
Sending of work samples is required. Web videos are preferred, the link should be mentioned in the application form. If videos are not available online, the sample can also be sent as a dvd. DVDs must be sent by mail to Zodiak – Center for New Dance, Tallberginkatu 1/154, FI-00180 Helsinki. Work samples must contain the name of the applicant and the work. Work samples are not returned.
Zodiak’s production selection for 2020 is made by Zodiak’s artistic director Harri Kuorelahti together with the artistic team, consisting of Zodiak’s and Globe Art Point’s representatives. All applicants are informed by the end of January 2019 by email. The final programming possibly requires some flexibility on the scheduling of productions.
Artistic director Harri Kuorelahti / Zodiak, harri.kuorelahti(a)zodiak.fi
Managing director Tomi Purovaara / Globe Art Point, tomi.purovaara (a) globeartpoint.fi (general information of GAP LAB project)
In May 2019, Turku will host a new urban international performing arts festival. During the course of three days, festival goers will have the chance to see a number of different shows, open their minds to interesting new thoughts, and become part of an all-inclusive international event. The first Fringe Festival in Turku, FINFRINGE, will take place on the three stages of Åbo Svenska Teater and its immediate surroundings from May 10th to 12th, 2019.
FINFRINGE is an international event for short performances. Performers will have a maximum of one hour of stage time. They will advertise their own performance though provided marketing channels, and be responsible for setting up the performance and clearing the stage after their piece. The organizer will take care of the rest, including the venue, pre-marketing, technical equipment, ticket sales, box office revenue payout, and one meal per day per ensemble member during the festival.
There a more than 250 Fringe Festivals around the world. FINFRINGE, like its sister events, is a truly open performing arts festival. All performance genres and their combinations are welcome to apply. We are looking to showcase theater, circus, dance, puppetry, burlesque, storytelling, performance art, cross-artistic performances and more. Our artist call is open now!
The deadline for submitting the application ends on 30.11.2018 at 23.59
More information and the international open call: www.finfringe.fi
In 2019 Hordaland kunstsenter continues its themed artist-in-residence programme focusing on the various incarnations of writing in connection with art and art publishing.
Although art criticism has dominated the canon of art-writing in the 20th and early 21st century, non-expository, ‘involved’ forms of writing have long existed alongside the plastic arts. In the present this is evident in the increasing visibility of contemporary literary forms such as the artist’s novel, and historical forms of artist’s writing such as modernist concrete poetry.
Through sequential residencies hosted throughout the year, Hordaland kunstsenter hopes to create an ongoing forum for thinking about, reading, and disseminating forms of writing that cross thresholds between art criticism, philosophy, descriptive writing, artist’s statements, fiction, poetry, writing for performance, text art, and any other genres of writing that might be relevant.
Applications are invited from all kinds of arts professionals whose work significantly involves writing, typography, text and publishing. The residency is available both for individual artists as well as group projects or collaborations. Each residency lasts for 4 to 8 weeks and should focus on the development of new or existing projects that will be enriched through their stay at Hordaland kunstsenter.
The aim of the residency is to provide artistic professionals with a platform for research and production, one they may leave from with expanded possibilities, a broader network. Successful applicants will be provided with a fully furnished and equipped apartment in the vicinity of Hordaland kunstsenter. Travel costs will be covered the art centre along with a stipend to help cover the high cost of living in Norway.
Deadline: 30 November 2018
The International Forum is a 18-day scholarship programme that promotes young theatre makers from all parts of the world.
The open call is aimed at theatre makers up to the age of 35 from the fields of directing, acting, design, dramaturgy, writing, music, video, performance, choreography and other artistic disciplines. The International Forum sees itself as a platform for comprehensive theoretical and practical exchange. The programme includes the presentation of the invited theatre makers and their aesthetic practice in lectures, the participation in workshops held by renowned artists, experts from various disciplines and scholars, opportunities to see theatre productions invited to Theatertreffen and Stückemarkt, open space events and discussions on contemporary art as well as excursions into the diverse cultural landscape of Berlin.
The scholarship normally includes: all costs of participation for the programme tickets to Theatertreffen performances and Stückemarkt events, travel expenses (depending on the country of origin, the costs for the use of the cheapest travel option possible, will be completely or partially covered, or no travel costs will be covered at all), hotel accommodation with breakfast (excluding fellows resident in Berlin); per diem (according to the performance agreement, this depends on the country of origin and does not apply to fellows resident in Berlin), catering.
ACT Festival is a call for emerging artists from the contemporary Performing arts scene. It is not just a Festival but also a Performing Arts Fair, attended by international programmers. This XVI edition will take place in Bilbao and Barakaldo (Spain) from 29th of May to 1st of June of 2019. There is a contest with different awards: ACT main award, ACT-DURI Korea award and ACT-BAD Bilbao award.
Deadline: 15 December 2018.
Inter Act Art is happy to announce the Call for Participation in the eighth Colombo International Theatre Festival – 2019 (CITF)
CITF 2019 will feature performances from across the globe, formal and informal interactions between artists from Sri Lanka and abroad. This festival is the eighth edition towards a sustained effort in curating a festival with a purpose of bringing innovative performances to Sri Lanka.
If your performance is selected, we will send you a formal invitation letter to attend the festival.
The organizers will cover the local hospitality of the group up to 7 during the festival, and provide the meals, accommodation, performance venue, local transport and publicity.
Other expenses shall be borne by the participating group, including their travel to Sri Lanka and back, visa if applicable and insurance, etc.
Editors: Manabu Noda and Yun Cheol Kim
According to the UN, population aged 60 or over is growing faster than all younger age groups. The extremely rapid aging around the world requires us to adopt new perspectives at our political, social, cultural, and artistic life.
To home in on this urgent issue, Critical Stages/Scènes critiques invites essays for its upcoming special issue focusing on the problematics and challenges of Theatre in an Aging World, as well as theatre reviews concerning stage productions on, of, for or by the elderly. We are also interested in papers on theatre in the aging world with a demographical, sociological, or psychological perspective.
Length: Maximum 3,000 words
Language: English or French
Deadline: September 1, 2019
Publication Date: Dec. 2019
Submission Address: Submission should be made to cs.aging.2019(a)gmail.com
"At its core, Second Nature is a play about mortality, which we share with other animals. The play strives to see humankind as one of many animals and examine humankind’s various relationships to other animals. It ponders human omnipotence in relationship to other animals, unnecessary and industrial suffering, the mundaneness of cruelty.
The sequence of conveyer belts asks what is the difference between the death of the human animal and the death of those belonging to other species."
-Pipsa Lonka in a TINFO interview
Second Nature by Pipsa Lonka. Translated into English by Kristian London.
Take a look at New Plays from Finland for Second Nature by Pipsa Lonka and other selected plays.
Theatre Info Finland (TINFO) awards grants for translations of Finnish plays. In year 2018 TINFO Grant can even be applied for the translation of subtitles.
Grant decisions are made four times a year. Deadline for the next round is 22 Nov 2018.
Grants for published works or anthologies can be applied for from FILI - Finnish Literature Exchange.
Have a look at a selection of new plays: New Plays from Finland.
TINFO Grant total amount is 25 000 euro in year 2018.
Recent translations of Finnish plays supported by TINFO Grant or drama agencies with links to the drama agencies for performing rights.
What’s going on in Finnish theatre at the moment? Here you’ll find a selection of current projects, including a brief introduction and a link to further information on the theatre company’s website.
Each year, professional theatres in Finland stage about 400 opening nights. There is also an active amateur theatre scene, which produces another 400 or so new performances every year.
In Finland our summer days are long and light-filled, and so theatre moves outside, too: summer theatre attracts audiences of about a million in the land of nightless nights. All in all, Finns are enthusiastic theatre-goers: three million theatre tickets are sold every year.
The website gives theatre professionals practical advice on producing a stage play and taking a show on the road. The toolkit includes budget examples, sample contracts, tips for distribution of duties and other essential production tools.
Case: Theatre Group W (TGW), run by a non-profit cultural organization, exempted from paying the value-added tax (VAT). TGW starts to produce a stage production and they want to tour with it after the domestic run of the show. Where and how will TGW find the resources (people, time, spaces, funding, etc.) to put together a stage production? Where to perform and how to expand the performance season? How to plan and manage a tour or a guest performance abroad?
Finnish performances available for touring.