oistat world congress 2013...last for life. the value of oistat is the open sharing of the...

OISTAT World Congress 2013September 10-11, Cardi�, UK

OISTAT Headquarters

1. Organizational Reports 1

1.1 President Report – OISTAT President Louis Janssen 1

1.2 HQ Report – OISTAT Executive Director Kathy Hong 5

1.3 Financial Report - OISTAT Treasurer 12

2. Introduction of President and Executive Committee Candidates 16

2.1 President Candidates 18

2.2 Executive Committee Candidates 20

3. Reports of OISTAT Chairs 3.1 OISTAT Architecture 3.2 OISTAT Education 3.3 OISTAT Performance Design 3.4 OISTAT Research 3.5 OISTAT Technology 3.6 OISTAT Publication and Communication 3.7 Future Meetings

34 34 35 39 64 65 66 69

4. State of OISTAT 70

5. Statutes Revision 73

6. Presentation of Candidate Centers

6.1 The Egyptian Scenographers and Theatre Technician Center, Egypt

96

6.2 Valerian Gunia Union of Young Theatre Artists, Georgia 99

6.3 Union Des Scénographes, France 103

6.4 SLOVENSKÁ SCÉNOGRAFICKÁ SPOLOČNOSŤ, občianske združenie profesionálnych scénografov a technikov, Slovak Republic

106

6.5 Associazione Italiana Scenografi Costumisti e Arredatori, Italy 109

7. World Stage Design 2017 Proposals 110 8. Discussions 116

9. Voting 117

Appendix

I. Candidates’ Full CV 118

Candidates for OISTAT President 118

Louis Janssen 118

Piotr Obracaj 120

Candidates for OISTAT Executive Committee

Aby Cohen 122 Bert Determann 123 Chris van Goethem 127 Duncan Chang 128 Gerard van Hezewyk 129

Hazem Shebl 135

Jan K. Rolník 140 Marina Raytchinova 145

Michael Ramsaur 147 Miljana Zeković 148 Piotr Obracaj 149

Reinhold Daberto 151

Richart Bauer 156

Sean Crowley 158

1. Organizational Reports

1.1 President Report

This report is my last one, concluding the end of my four-year term as President of

OISTAT.

Since September 2009, I have been serving as President for OISTAT. As a single

person one cannot achieve anything in an organization like OISTAT. I have had the

privilege to act as the chair of the Executive Committee. Those are the people I

worked with very closely and I would like to take this opportunity to thank Richart

Bauer (Sweden); Duncan Chang (Taiwan); Bert Determann (the Netherlands); Šárka

Havlíčková (Czech Republic); Jerôme Maeckelbergh (Belgium); Esa Piironen (Finland);

Michael Ramsaur (USA).

The other group of people I worked closely together with and which I would like to

thank is the Governing Board, the chairs of the commissions. They are the most

direct link to the commissions of OISTAT. Education, Marina Raytchinova and Ian

Evans; Architecture, Reinhold Daberto and Tim Foster; Performance Design, Reija

Hirvikoski; Technology, Ivo Kersmaekers; Research, Dorita Hannah; Publication &

Communication, Austin Wang.

Since we also have leadership in Working Groups, I also would like to recognize their

work. Costume Design, Lise Klitten; Sound Design, Steven Brown; Lighting Design,

Henk van der Geest; Time Line, the various occasional leaders.

Nothing would happen in OISTAT without our Headquarters. After 7 years as

Executive Director, Wei-Wen Chang, left our organization. We owe her a big thank

you. Since November 2012 Kathy Hong started her career in OISTAT. Taking over the

position of Executive Director at January 1st of this year. Kathy was able to take over

the leadership of the Headquarters with a fresh approach. Together with the staff,

Wan Jung Wei, Lulu Yeh and Lucy Wang they run the daily operation of OISTAT.

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But where would all this be without our membership, the individuals who actually are

working on the various projects, which OISTAT is running. The Chairs of the

commissions will give reports on these projects. Also the members who organized

commission meetings should be recognized. It is a lot of work to raise the funds and

to organize a meeting. Without these meetings a very important aspect of OISTAT

would be impossible. Person to person meetings gives us the opportunity to really

exchange designs, culture, technology and experience.

One wonderful example is what we are experiencing now, WSD2013. This is a very

large project, which we never could have done without the hard work of so many

people. Through this event, under the leadership of Sean Crowley, a lot of people

from all over the world are connected, of course the group of people who organized

this event, but also the people who are attending at this moment here in Cardiff,

from students to professionals. This event is organized in partnership between the

Royal Welsh College of Music & Drama, The Society of British Theatre Designers and

OISTAT. The Welsh Government and the Ministry of Culture have given great support

from Taiwan.

Other projects which are running at this moment and for which I would like to

express my gratitude to their leaders are Digital Theater Words, Jerôme

Maeckelbergh and Michael Ramsaur; The World Scenography Book, Peter McKinnon

and Eric Fielding and The Technical Invention Prize, Ivo Kersmaekers. This is to

acknowledge that people are the key in an organization, without people like these,

nothing will happen. To all of you and all of the people who are working with you

and which I could not mention: THANKS!

The Taiwanese Government through the Ministry of Culture, in general, also

supports OISTAT. We owe them a lot of gratitude. The term we are being sponsored

is 10 years, from 2005-2015. So the end of this agreement is approaching. We hope

that OISTAT has given so much to the people of Taiwan, both national as

international, that the Ministry of Culture will consider a second term to support

OISTAT.

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In the past two years we lost some of our good friends who have been of great value

for OISTAT. These individuals all have in their own way contributed a lot to OISTAT

and it’s community. I would like to take this opportunity to mention these people

and ask for a moment to remember them.

Jarmila Gabrielová, Czech Republic

Luc Dhooghe, Belgium

Steven Brown, United Kingdom

It is sad we have lost them, but we should keep their names and their spirit in our

mind.

Since the previous congress, the EC has had meetings in Prague, Egypt, Cyprus and

the Philippines. Some of these meetings were together with the Governing Board.

After the difficult start of this, almost completely new EC, in the first two years, the

second half of our term ran more smoothly.

The EC, or a small group of the EC, has had a few meetings with the organizers of

the PQ. We exchanged our experiences of the last PQ and of Scenofest. Together we

came to the conclusion that we have to find new ways to cooperate. Scenofest as

such has become too big, both financial as organizational, to be run as it has been.

These discussions are still going on, also here in Cardiff.

Interest in OISTAT is growing. We have had meetings in new countries for OISTAT

like Cyprus and Egypt. The interest also can be seen in the nominations for

leadership in OISTAT. There are 2 candidates to run for President and 14 candidates

for a position in the EC. Those are records. We have nominations from almost all

continents, 3 of the nominees are female and the average age seems to go down.

Those are positive trends. One way to attract young people is to have young people

in the leadership.

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During this congress a proposal for new statutes will be presented. These changes

will be explained later in the congress. The changes are important for OISTAT to

keep the organization lively and modern, with possibilities for both OISTAT-centers

and individuals, who are key for us.

I would like to finish this report with thanking you for giving me the trust to be your

president. I wish all of you a good congress, an inspiring WSD2013 and an

instructive Scenofest.

Louis Janssen

President

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1.2 Headquarters Report

For the period of October, 2011- July, 2013

HQ New Team Fortifying OISTAT Aims

New Team at the Headquarters

In Spring of 2013, OISTAT Headquarters former Executive Director Wei-wen Chang

stepped down from OISTAT administration to return to design career. OISTAT is very

much in debt to her for laying down solid foundations at Headquarters operations.

Since then, Headquarters welcomes a new working team of new Executive Director

Kathy Hong and 3 young professionals, Wan-jung Wei, Lulu Yeh and Lucy Wang. Each

experienced in international affairs, arts administration and marketing, the team at

Headquarters aims to provide OISTAT members wide connectivity to global events and

professionals.

OISTAT has been a worldwide network of sharing ideas and innovations, fostering

international collaborations and learning about cultures in the theatre society. It is this

passion and knowledge of OISTAT members enabling the advancement and

preservation of theatre arts. OISTAT Headquarters being the one constant unit that

runs daily operations in bringing everyone together for better causes, we will help

OISTAT grow:

- As the leading network of ideas in live performance

- A rich resource platform for life-long learning of professions in support of live

performance.

- In connecting people and celebrating diverse cultures around the world.

The OISTAT Brand and its Value OISTAT is made up of voluntary, passionate and established professionals around the

world eager to give back to the community, sharing their knowledge and moreover,

learning more about unfamiliar areas of interest. We are an exclusive community that

is inclusive of all that takes part in the theatre creative process: designers, architects,

technicians, and as creative sources often know no boundaries, we also see many of

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our peers in roles of directors, curators, performers, managers and much more. Those

of us who have had the privilege to join events and bond with OISTAT individuals

undoubtedly say it has been inspirational, eye-opening and gained friendships that

last for life. The value of OISTAT is the open sharing of the community, which every

one of us can proudly say, we have the whole world of theatre professionals on our

team. We wish to extend this open invitation to more individuals and younger

professionals to share what we’ve experienced and benefit what we’ve shared along

the way.

+ Communicating the OISTAT Brand

New Website www.oistat.org

Since last congress in 2011, Headquarters has continuously worked on the

reconstruction of the new OISTAT website to meet the expectations of OISTAT

members and those interested in OISTAT. The website, launched in late December

2012, serves as the online platform for global theatre community and is home to

OISTAT resources and database. It is a continuous project that seeks to improve and

adapt better to the needs of OISTAT projects and development.

Social media presence

OISTAT is now on social media, Facebook, Linkedin, and Twitter. We seek to provide

useful information on OISTAT projects as well as theatre happenings around the world.

Twitter is still underway a communications strategy to attract users in its vibrant

communities.

Oistat International Oistat 國際劇場組織 (in Chinese)

OISTAT International OISTAT

OISTAT brochure

A newly designed OISTAT brochure since 2006 was first distributed at Showtech in

Berlin this June to promote OISTAT projects and activities as well as providing general

information to further engage and develop potential members.

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+ Organizational Projects

Building OISTAT bibliography

During the OISTAT Performance Design and OISTAT Research commissions’ joint

meeting in Shanghai this past March, members initiated building an online

bibliography for the theatre community based on recommendations from OISTAT

members. The purpose is not only for our own learning but also to act as referral to

those interested in our areas of research. The form required only to fill in your

recommended book title, author and a few lines of personal testimony. The

bibliography welcomes contributions from all OISTAT members. You can find it on

OISTAT website (www.oistat.org) under Research commission’s “Projects” section.

Headquarters will compile information received and put forth the results periodically.

OISTAT Core Strategy Project

Over the years, OISTAT Executive Committee and Governing Board have discussed the

immediacy and necessity of drawing younger professionals to our OISTAT community.

With the push and drive of Richart Bauer and Michael Ramsaur in the Executive

Committee together with the Headquarters team, a 3-continents, 3-countries,

3-colleges project of developing OISTAT core strategy was initiated. The mini-OISTAT

student working team will take on challenges of developing a sustainable model for

OISTAT in the next decade. Details on the project can be found on the website

(www.oistat.org) under “Headquarters Projects.”

Executive Committee. Governing Board. Commission Meetings.

Headquarters is mainly responsible for preparations of Executive Committee meetings,

Governing Baord meetings and World Congress.

2011 Executive Committee/Governing Board Meeting: November, Taipei, Taiwan.

2012 Executive Committee Meeting: May, Cairo, Egypt.

2012 Executive Committee/Governing Board Meeting: October, Nicosia, Cyprus.

7

http://www.oistat.org/


2013 Executive Committee Meeting: April, Vigan, Philippines.

2013 OISTAT World Congress: September, Cardiff, UK

2011 Executive Committee & Governing Board Meeting in Taipei, November 19-20

After Small Congress at Prague Quadrennial, Executive Committee and Governing

Board meeting were held in Taipei in conjunction with the International Forum event.

2012 Executive Committee meeting in Cairo, Egypt, May 3-9

2012 OISTAT Spring Executive Committee meeting marked the first of OISTAT

meetings held in Africa with invitation from our Candidate Center, Egyptian

Scenographers and Theatre Technicians Center (ESTTC). In OISTAT forums and

presentations, members of the Executive Committee spoke about OISTAT’s mission

and introduced OISTAT projects including World Stage Design, World Scenography and

Digital Theatre Words to local theatre professionals. OISTAT also played catalyst for

the first Scenographers’ exhibition in Cairo which saw over 80 designs from 44 active

Egyptian theatre designers.

2012 Governing Board meeting in Nicosia, Cyprus, October 17-22

Members of the Executive Committee and Governing Board gathered in Nicosia,

Cyprus by invitation from our OISTAT Center, Cyprus Centre of Scenographers,

Theatre Architects and Technicians (CYSTAT) for annual discussions on our

organization and projects. Martina Černá from Praques Quadrennial (PQ) and and

Czech OISTAT Center joined us in discussions of future collaborations of PQ and

OISTAT.

The Cypriot theatre community came together to exhibit design works in the newly

built Municipal Theatre. Members of the Executive Committee gave presentations on

OISTAT projects and design lectures for local students and professionals.

2013 Executive Committee meeting in Vigan City, Philippines, April 27-May 2

2013 OISTAT Spring Executive Meeting was held in the heritage city of Vigan,

Philippines by invitation from World Costume Festival. OISTAT Costume Working

Group was also invited to the festival as guest judges of Costume Competition. The

festival presented a grand costume parade, exhibitions, competitions, workshops,

lectures and a fashion show. Grand Street Parade was the highlight of the festival with

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including cultural costumes from southeast Asia. OISTAT members were invited to join

the parade. Lise Klitten, Laura Crow and Nic Ularu from OISTAT Costume Design Group

were invited judges of the event. In this meeting, José Luis Ferrera from Spain was

granted with OISTAT Seed Money for the project Illustrated Glossary of the Performing

Arts. The project is expected to be completed in 2015.

+ Providing support for Commission Meetings

Headquarters assists Commission Chairs and host Centres in meeting invitations,

answering general inquiries, etc. Headquarters do not usually have funding to travel to

all commission meetings, however, we find that participating in commission meetings

promote understanding and communications between involved commission members

and the Headquarters. In the future, Headquarters team will try to attend commission

meetings when funding suffices.

Membership Management

OISTAT currently has 29 active Center members (including 5 candidate centers), 17

active Associate members and 23 active individual members. Membership has gone

down from 33 Centers, 23 Associate Members and 36 Individual Members as OISTAT

benefits should be equal for all eligible members. While the numbers of members

seemed to have gone down, we have seen an increase in active members and interest

in joining OISTAT.

Since June 2011, OISTAT has granted membership to 3 Associate Members and 5

Individual Members. Notably, OISTAT has few centers from Asia, Africa and South

America, but have seen continuous active participation in these regions. Developing

membership in these regions will be an important focus for OISTAT.

0

5

10

15

20

25

30

35

40

2011 2012 2013

CenterAssociateIndividual

9

New Associate Members

Auburn University Department of Theatre, USA

De La Salle College St Benilde, Philippines

Swayambhu Foundation, India

New Individual Members

Christina Lindgren, Norway

Femi Majekodunmi, Nigeria

Madeline Taylor, Australia

Tommy Wang, Singapore

Vogiatzaki-Krukowski Emmanouela, Greece

Headquarter Projects

To stimulate the exchange of ideas and innovations in theatre, HQ has initiated the

2011 International Forum and 2013 Automation System Workshop in Taiwan. Both

projects successfully bridged local theatre community and OISTAT members, and went

further to promote international collaborations. As a result of the International Forum,

experienced theatre managers from Taiwan travelled to the Netherlands in an

exchange program in 2012.

2011 International Forum was held in November 2011 in conjunction with Governing

Board meeting. OISTAT members were invited to share their knowledge on theatre

management with Taiwanese theatre professionals. Guest speakers and panelists

include David Fishel (Director of Positive Solutions), David Dower and John Faulkner.

2013 Automation System Workshop is a four-day workshop held in Taipei and

Kaohsiung. The workshops were held jointly with OISTAT Taiwan Center, Taiwan

Association of Theatre Technology (TATT) and premier theatres, Novel Hall and

Wei-Wu Ying Performing Arts Center in Taipei and Kaohsiung metropolitans. OISTAT

Executive Committee member & General Director of Rotterdam Schouwburg, Bert

Determann, and senior technician Nathanael Adriaanse were invited as workshop

speakers to introduce the concept of automation system. Due to the success of the

workshop, Wei-Wu Ying Performing Arts Center has also expressed interest in holding

future OISTAT events or commission meetings.

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OISTAT Projects Support

World Stage Design 2013

Meeting preparation for World congress, Executive Committee meetings, Governing

Board meeting and member service has been the main focus of the Headquarters

leading up to WSD2013. Headquarters worked alongside our WSD2013 team to assist

in registration, communication and promoting World Stage Design. A big thank-you to

the great team at WSD2013 for the excellent work they’ve done here today.

We will also see the presentations of those who have expressed interest for bidding

the next World Stage Design in 2017 in this World Congress.

World Scenography

World Scenography is an important project of OISTAT. It is the dedication, hard work,

and voluntary work of editors worldwide, enabled the first of the three volumes out in

2012. A colossal project that required major funding from OISTAT has proved to be a

sustainable product and has already saw 1497 copies sold worldwide. With the

devotion of Taiwan OISTAT Center, TATT, World Scenography 1975-1990 has sold

nearly 100 copies alone through online marketing in local market. We believe that our

Centers may benefit largely, should you wish to follow suit, and provide for your

members and theatre designers in your region.

Digital Theatre Words

Digital Theatre Words (DTW) first launched in 2011 at Prague Quadrennial, and is now

launching a more complete version with 22 languages available online at World Stage

Design 2013.

The enormous task is based on the simple notion of wishing to enable better

communication on our tours to foreign countries. The simple notion snowballed into

worldwide members’ efforts, and now, fits back in a simple structure to really do the

job. We salute Jerome Maeckelbergh and Michael Ramsaur on the tackling project. We

encourage you to go online to try it.

Headquarters is now also charged with the task of creating a smartphone application

that you can carry in your pocket. Theatre professionals will be able to access DTW

data with smartphones next year.

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1.3 Financial Overview

OISTAT income is made up largely from annual membership fees and the generous

support from Ministry of Culture in Taiwan through Headquarters office situated in

Taipei. The support from the government in Taiwan is a fixed amount approximating

€ 132,000 which mainly facilitates our Headquarters and its daily operations.

In OISTAT high years such as 2011 & 2013 when large events take place, such as

World Stage Design, Scenofest at Prague Quadrennial, Theatre Architecture

Competition, Technical Invention Prize and publishing of World Scenography,

proportions of the Ministry of Culture funding supports events alongside with the

funds raised by event hosts. Overview of Income

Total income in 2012 is € 173,840 compared to € 201,488 in 2011.

Primary Income

Ministry of Culture Taiwan subsidy and Membership fees in the past years:

Primary income

2011 2012 2013 Membership €11,629 €14,481 €13,213 MOC Subsidy €135,971 €131,169 €128,604* *Until June, 30, 2013 MOC subsidy is €64,302 and is expected to be fulfilled to a total of €128,604 by year-end.

Please note MOC subsidy remained the same in New Taiwanese Dollars, changes in

Euro are due to currency fluctuation.

Third Party Income

Extra fundraising efforts from the Headquarters and DTW advertising income made

up for € 17,012 in 2011 compared to €2,105 in 2012.

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Publication Income

Publication sales total €6,765 in 2012, with €6,373 generated from World

Scenography 1975-1990.

Publication sales total €1,290 in 2011, mainly with sales at Scenofest in Prague

Quadrennial.

Overview of Expenditures

OISTAT expenditures mainly consist of overhead costs and Project & Activities costs.

Overhead costs consist of Headquarters staff, office operations and administrative

support for OISTAT events and meetings. Project & activities costs are expenditures

contributing directly to major projects such as World Stage Design, Scenofest at

Prague Quadrennial, Theatre Architecture Competition, Technology Invention Prize,

Digital Theatre Words and publishing of World Scenography.

Total expenditure on overhead in 2011 is €111,393 against €113,157 in Projects &

Activities.

Total expenditure on overhead in 2012 is €116,727 against €36,823 in Projects &

Activities.

47%

15%

8%

6%

24%

2012 Annual Expenditure

Salary and ProfessionalFeeOffice Expenses

General OperatingExpensesMeeting Expenses

Project & Activities

30%

10%

5% 5%

50%

2011 Annual Expenditure

Salary andProfessional FeeOffice Expenses

General OperatingExpensesMeeting Expenses

Project & Activities

13

Project & Activities expenditures: *% against entire year costs *all in Euros

Project\ Yr 2011 (Actual) 2012 (Actual) 2013 (Budget)

€ % € % € % OISTAT Website 11,902 5.3% 4,138 2.7% 2,632 1.5% Scenofest 36,115 16.1% 590 0.4% 0 0 Architecture Competition 15,461 6.9% 0 0 0 0 World Stage Design 0 0 0 0 27,800 16.7% World Congress 6,527 2.9% 0 0 3,000 1.8% Theatre Training Program 21,990 9.8% 7,268 4.7% 10,526 6.3% Digital Theatre Words 2,102 0.9% 7,361 4.8% 0 0 Technical Invention Prize 1,594 0.7% 0 0 0 0 World Scenography 17,466 7.8% 17,466 11.4% 0 0

TOTAL 113,157 50.4% 36,823 24% 43,958 26.3%

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Income and Expenditures *All in Euros

Actual 2011 Actual 2012 Budget 2013 Income Ministry of Culture Subsidy 135,971 131,169 131,988 Other TWN Gov. Subsidy 31,082 2,105 3,000 Membership Fees 11,629 14,481 16,000 Interests 140 138 160 Book Sales 1,290 392 1,437 Donations 4,364 0 0 World Scenography Sales 0 6,373 3,000 World Scenography Repayment 0 19,182 0 DTW Sales Income 2,995 0 0 Other Income 14,017 0 0 Total Income 201,488 173,840 155,585

Expenses Salary and Professional Fees Executive Director 28,761 30,275 30,275 Staff 36,035 37,958 38,947 Bookkeeping 1,378 1,411 1,579 Auditor 1,500 1,579 1,579 Consultants 225 526 789 67,899 71,749 73,169 Office Expenses Office Rent & Utilities 12,000 12,632 12,632 Refurnishing & Maintenance 318 284 526 Duties & Insurance 7,509 8,328 10,158 Telephone & Internet 975 784 947 Office Supply & Equipment 836 1,815 1,421 21,638 23,843 25,684 General Operating Expenses Postal Expense 1,509 900 1,579 Printing/ Promotion 2,568 3,559 2,632 Equipment Rental 900 1,105 1,421 Translation 2,225 1,812 2,632 Bank Charge & Currency loss 1,272 1,706 1,750 Operating Expenses 3,135 1,917 3,158 11,609 11,791 13,172 Meeting Expenses Flight travel 5,125 6,833 5,263 Accommodation 3,204 1,232 3,158 General Meeting Expense 1,918 1,279 2,105 10,247 9,344 10,526 Project & Activities OISTAT Website 11,902 4,138 2,632 Scenofest 36,115 590 0 Architecture Competition 15,461 0 0 World Stage Design 0 0 27,800 World Congress 6,527 0 3,000 Theatre Training Program 21,990 7,268 10,526 Digital Theatre Words 2,102 7,361 0 Technical Invention Prize 1,594 0 0 World Scenography 17,466 17,466 0 113,157 36,823 43,958 Total Expenses 224,550 153,550 166,509 Surplus (Deficit) (23,062) 20,290 (10,924)

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2. Introduction of President and EC Candidates

2.1 Candidates for President (one to be elected)

(in alphabetical order of first name)

Louis Janssen VPT/ Vereniging voor Podiumtechnologie (Netherlands)

Piotr Obracaj Polish Centre of OISTAT (Poland)

2.2 Candidates for Executive Committee (seven to be elected)

(in alphabetical order of first name)

Aby Cohen AbrIC/Associação Brasileira de Iluminação Cênica (Brazil)

Bert Determann VPT/Vereniging voor Podiumtechnologie (Netherlands)

Chris van Goethem STEPP/Steunpunt voor Producerended, Ontwerpende, en Technische krachten van de culturele sector (Belgium)

Duncan Chang TATT/Taiwan Association of Theatre Technology (Taiwan)

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Gerard van Hezewyk CITT/ICTS/Canada Institute for Theatre Technology, Institut canadien des technologies scénographiques (Canada)

Hazem Shebl ESTTC/Egyptian Scenographers and Theatre Technicians Center (Egypt)

Jan K. Rolnik ČOSDAT/Czech Centre of OISTAT (Czech Republic)

Marina Raytchinova UBA/ Bulgarian Center of OISTAT (Bulgaria)

Michael Ramsaur USITT/United States Institute for Theatre Technology, Inc (USA)

Miljana Zeković S.Cen/Centre for Scene Design, Architechture & Technology (Serbia)

Piotr Obracaj Polish Centre of OISTAT (Poland)

Reinhold Daberto DTHG/Deutsche Theatertechnische Gesellschaft (Germany)

Richart Bauer STTF/Svensk TeaterTeknisk Förening (Sweden)

Sean Crowley SBTD/The Society of British Theatre Designers (United Kingdom)

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Candidate for OISTAT President

Louis Janssen

Theatre consultant, director at ‘theateradvies bv’

www.theateradvies.nl

Louis has more than 40 years of experience in theatre. He has worked in several theatres, working his way up from stagehand to technical director. He also worked for ‘Toneelgroep Amsterdam’, the largest Dutch touring drama company, as technical director.

In his professional practice, he has directed the design of theatrical infrastructure for the construction and renovation of more than 100 theatres in various countries. Additionally, he has distinguished himself as designer for his innovative contributions, such as the “wireless” grid, which has become a standard in the Netherlands and is gaining ground in other countries. He is a strong advocate for good working conditions in theatre e.g. daylight on stage.

Louis has been long active in both national and international theatre associations. As member of the VPT he has served on the board of that organization, member of the editorial board of 'Zichtlijnen', the Dutch theatre magazine and board member of 'Stichting Tekening', a foundation that manages a digital database of drawings of all Dutch theatres. He is also on the board of 'Stichting Vakbeurs Theatertechniek', a foundation that organizes the biannual Dutch Theatre Technical trade show.

In OISTAT he has held positions at the Executive Committee and Technology Commission. He has been member of the TC for almost 20 years, 12 of them as vice chair. He was a member of the EC for 12 years, 8 of them as vice president. After a 4 year pause in his activities for OISTAT, Louis was elected President of OISTAT in Seoul in 2009. He is frequently invited to give lectures and workshops at conferences and international theatre events.

(For full biography, please see Appendix I, page 118)

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http://www.theateradvies.nl/


Piotr OBRACAJ

1. Education , title, universities:

Silesian University of Technology, Faculty of Architecture, MSc/Eng. Architect, 1975

Gdansk University of Technology, Faculty of Architecture, PhD in Architecture, 1983

Cracow University of Technology, Faculty of Architecture, DSc in Architecture, 2008

2. Additional education and professional qualifications/ competence:

Post diploma course for general designers in industry, Silesian University of Technology, 1978

Architectural competence for designing all buildings (state license) No 117/1993,

Competence of Ministry of Culture for practice as a scenographer, 1985

3. History of Work:

Full time job:

Silesian University of Technology, Gliwice, Faculty of Architecture, scientific researcher and teacher, 1975-1982

State Drama Theater in Częstochowa, scenographer,1982-1987

Wadeco – Misratah, Libya, head of designing team, 1986-1987

TV Centre in Katowice, scenographer, 1987-1988 Since 1988 Technical University of Opole, since 2008

professor – head of Department of Civil Engineering and Architecture


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Candidate for OISTAT Executive Committee

Aby Cohen

Sao Paulo│Brazil. Scenographer and art director, working on creation and production of Theater, Museology, Expography and Cinema projects. Currently developing PhD studies in Performing Arts/Scenography at ECA│USP – School Of Arts and Communication at University of Sao Paulo, continuing from the completion of the M.A. with a research dedicated to the practice and educational processes of Brazilian scenographers in the contemporary scene. Graduated in Arts and Design at FAAP │SP. Started working in Theatre at the scenography department of the Theatrical Research Center - Centro de Pesquisa Teatral│ CPT - directed by Antunes Filho from 1992 to 1997, after that with Paidéia Theater Co. from 1999 to 2006. Since 1992 has also working on numerous projects for a variety of independent theater productions. In the Expography│Museology field develops projects with diverse institutions in Brazil as SESC Pompeia, Sangari Institute, Israeli Cultural Center, The Museu da Casa Brasileira, Lasar Segall Museum, International Bienal of Arts of Sao Paulo, Centro Cultural Banco do Brasil, Funarte, among others. Has been also developing international collaboration projects as BienalFindelMundo, 2007 with Fundação Patagonia │Argentina; Bienal do Mercosul, 1999 and 2005│various countries from Latin America; MixMax Brasil, 2012-2015 with Tropenmuseum │Holland.

Has participating of the Prague Quadrennial since 1995 representing Brazil - in 1999, as co-curator and designer of the Brazilian Thematic Section, and in 2011, as co-curator and designer of the Brazilian National Exhibition at PQ’11, the exhibition awarded with the Golden Triga.

Founder-member of CenografiaBrasil, a group that, since 2002, congregates professionals from scenography and related areas, in order to develop actions focused on reflection, debate and development of Brazilian scenography. Affiliated to OISTAT since 2003 as individual, becoming a member of ABrIC│OISTATBr, and member of the OISTAT Education Commission.

20


H. B.(Bert) Determann

1978 ATHENEUMDIPLOMA

1978-1982 AKADEMIE VAN BEELDENDE KUNSTEN ROTTERDAM ACADEMY OF ARTS, ROTTERDAM (nowadays ‘Willem de Kooning Academie’)

1980-1984: 'U-KOLLEKTIEF' (‘U-Collective’) Arts collective in which 4 artists worked together in a shared workshop. As a sideline, it developed into a foundation for stimulation of the arts in a low-developed quarter of Rotterdam, specializing in art courses for the people living in that particular part of town. Cooperation with city council and municipal arts programme. Various projects, amongst others a film for ‘het Havenbedrijf’ (Port of Rotterdam), participation in radio programmes, first steps in theatre by manufacturing the giantess for Robert Wilson’s “CIVIL WarS” in Rotterdam as part of the global tour. By 1984 ‘U-Kollektief’ was the third largest organisation on arts courses in Rotterdam. Involvement prolonged for some years as chair of the foundation.

1984-1989: 'BERT DETERMANN VORMGEVENDE PRODUKTIES' (‘Artistic Design & Production’) Creative and artistic design, and production of projects. Set- and exhibition design and construction, special affects, interiors, scenic painting. As of 1984 involved with all (decors/scenery for) performances of ‘RO Theater’, the city drama company of Rotterdam.

1989-1993: 'VORMGEVING DETERMANN & SMITFOORT BV' (‘DETERMANN & SMITFOORT DESIGN Ltd’) Expansion of activities and development towards project coordination. Increase of activities in theatre, musea, events. Workshop expands and specialized employees are engaged. Various projects, amongst others scenic work for for ‘Diergaarde Blijdorp’ (the Rotterdam Zoo), and design and construction for a Rotterdam City information centre.


21


Nomination for OISTAT Executive Committee

Chris van Goethem Stage technology educator & consultant; STEPP board member

Chris Van Goethem is a member of Steunpunt voor de Producerende, Ontwerpende, en Technische krachten van de brede culturele sector (STEPP) the Belgian OISTAT centre and a member of the STEPP board. He teaches and is responsible for the expertise center for technical theatre at RITS, Erasmus University College, and is involved in research on history, technical theatre, education and competence management. He works as a consultant and educator in technical theatre internationally.

His career started as technician in a rental company then he became active in non‐professional school and community theatre, later he became stage manager touring Europe with companies like Théâtre de la Place Luik, De Warande Turnhout, Young Persons Theatre (UK), Open Doek, different festivals in Morocco, Squonk Opera Pitsburg (US), Theater aan Zee, Champs d'action, Cultuurmarkt Antwerpen, Theater Stap, Behoud de Begeerte, Villanella, Kommil Foo en Raamtheater.

His fields of interest are lighting, production, special effects and history of technical theatre. He has consulted on the creation of the Flemish professional profiles and standards for theatre technicians, and the creation and establishment of several education programs and adult continuing education programs.

He has been very active in OISTAT involved in international projects like Scenofest (03 & 07, Prague), Wakha‐Wakha (Morocco) , EuroMei, Scenart (Romania), OISTAT EduCom (vice chair 2004‐2011), OISTAT Time line.

STEPP vzw Sainctelettesquare 19 1000 Brussel Tel: 02 203 92 06 www.stepp.be ondernemingsnummer BE0422 .254.757 IBAN BE24 4025 5251 6138 BIC KREDBEBB

22

http://www.stepp.be/


Duncan Ei Eu Chang

Education: St. John’s Institute of Technology; Mechanical Engineering

Professional Organization: -- Founding President of TATT (Taiwan Association of Theatre Technology) 1998-2004 -- Elected as Vice President of OISTAT 2009 -- Member of the International Advisory Committee of the 7th International Symposium on Optical Storage 2005 -- A member of the International Selection Jury for the inaugural World Stage Design Exhibition ~2005 in Canada -- Director of Radio Frequency Developing Committee, R.O.C. 1991-1998 -- Member of the International Selection Jury for the inaugural World Stage Design 2005

Professional & Investment -- Executive director of the Linfair Engineering and the President of the Group since 1986. Responsible for formulating the overall business strategy and direction of business development and overseeing the entire operations. Linfair Engineering is a service & system integration provider in the broadcasting, performing arts, entertainment, optoelectronics and air traffic control industry established 1958 in Taiwan with branch and subsidiaries at Kaohsiung, Hong Kong, Beijing, Shanghai, Guan Zhou, Macau, Kuala Lumpur & Kobe. (www.linfair.net) -- Full Shine Film Laser Subtitle Co. Ltd. Founded with 2 partners at 1999 in Taiwan. Business including: film laser subtitling, documentary Film Production and service for film subtitle. -- Gold FM Network, an FM radio network in Taiwan -- Taipei Philharmonic Radio, a classic music FM station -- Lynxtech Precision Technology Co. Ltd., a manufacture of factory automation, process production equipments and LED display system. (http://www.lynxtech.com.tw)

Publication -- Ticket Box, a magazine about motion picture 1986-1988 -- Behind the Scene, a magazine about technology of performing arts and broadcasting; 1982-199

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http://www.lynxtech.com.tw/


Gerard van Hezewyk

Professional Objective

A leadership position that would fully utilize the skills and knowledge that I have acquired through twenty-one years of experience in managing the technical and production aspects of live performances for many prominent cultural institutions.

Summary of Qualifications

Project/Event Management

Effective decision-making in planning and executing the production requirements for live presentations in many genres in accordance with the objectives and standards of several renowned performing arts organizations.

Capacity to multi-task as demonstrated by concurrently managing the opening of a major performing arts facility, hiring and training of a large staff, and overseeing the planning of an inaugural season of presentations.

Experienced in creating ministerial level reports, drawings and schedules utilizing many PC- based applications, facility/event management software and CAD programs.

Financial Resource Management

Demonstrated ability in integrating artistic achievement with fiscal responsibility through successful negotiation and monitoring of agreements with performing groups, suppliers and contractors for hundreds of projects.

Effective cost control of annual budgets of over five million dollars in operating, and tens of millions of dollars in capital expenditure and project budgets.


24


Hazem Shebl

Scenic and Stage Lighting Designer. (Free Lancer) Technical Director

Founder and president of ESTTC – The Egyptian Scenographers and Theatre Techniciana, Candidat Centre member of OISTAT - Organisation Internationale des Scénographes, Techniciens et Architectes de Théâtre.(International Organization of Scenographers, Theatre Architects and Technicians)

Education: (1990 – 1992) Diploma of Graduate Studies, Academy of Arts, theHigher Institute of Theatre Arts, Department of Design. (1985 – 1989) Bachelor of Arts, Academy of Arts, The Higher Institute of Theatre Arts, Department of Design.

Awardes and Honers: (2004) The Egyptian Prestigious Incentive State Award for the best Stage- Designer. (2006 - 2007) Fulbright Fine Art Grant for the year (2006-2007)

Working Experiance: September 2009 till Now Teaching ( Part Timer ) Scenography and Technical Theatre at Ain Shams University, Arts Faculty, Dama department. From September 1994 Technical Director At The American University in Cairo, Till June 2006 Department of Visual and Performing Art, From November 1989 Set Designer at the Production Section of the Egyptian Till August 1994 Radio & Television Union. Assisting Designing and Supervising Execution for more then 15 main productions ( T.V. Series , T.V. Showes and playes).

Scenic and Lighting designer for: September 2011 Teccos AlEsharat wa AlTahawolat, Dir by: Efat Yehya. AUC. March 2010 Rabaa el Adawaya Dir: Ezzat Zian at Fayoum Culture Centre. August 2007 Al Eskafi Malikan Dir. Khaled Galal at the Egyptian National Theatre. February 2006 The Captures written and Dir by: Linin El Ramly at El Sawy Culture Center. December 2004 The Maniquan Dir by: Hanaa Abd El-Fattah at Falaky Theatre at AUC. July 2004 The Animal Summet Dir by: Mohamed Abd El Moaty at Egyptian National Theatre for Children. September 1999 Waiting for Godot Dir by: Tori Haring-Smith at Wallace Theatre, AUC. (For full biography, please see Appendix I, page 135)

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PERSONAL INFORMATION

Name JAN K. ROLNÍK

WORK EXPERIENCE

• Dates (from – to) 2011 – PRESENT • Name and address of employer CIANT – International Center for Art and

New Technologies, Kubelíkova 27, Praha 3

• Type of business or sector Culture • Occupation or position held Project manager

• Main activities and responsibilities Project management for several international projects. Fundraising, organization, realization of various projects in the field of New Media Arts and creative use of new technologies. Funds raised altogether cca. 280 000 EUR. Example of projects:

TransISTor 2012 (http://transistor.ciant.cz/2012/) – European workshops for audiovisual professionals in S3D movie technology co- financed under EU MEDIA programme. Budget cca: 200 000EUR.

Parallax 2011 (http://www.parallax.cz/) – first festival of artistic / independent / experimental S3D movies and network of such festivals.


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Marina Raytchinova

Associate Professor of Scenography at the National Academy of Art in Sofia, Bulgaria.

Since graduating from the National Academy of Art in Sofia in 1985, Marina Raytchinova has designed over 120 shows for theatre companies in Bulgaria, USA , Russia, Macedonia. Marina frequently designs shows at the National Theatre in Sofia and at TBA theatre, where she serves as resident designer since 1999. Her recent projects include Uncle Vanya at Thoressen Theatre, Lynchburg, VA, USA, and Marriage Italian Way at the National Theatre in Sofia.

Over the last ten years Marina Raytchinova has taught regularly at the University of Tennessee, Knoxville. She has been guest – lecturer at the University of Nebraska, University of Kansas, Furman University, USA; RITS, Brussels; UT Design Seminar - Salzburg; North Karelia Polytechnic, Finland; Theatre Academy in Maastricht, The Newtherlands. Marina Raytchinova has been special international guest – lecturer at USITT in Phoenix in 2006 and presenter at International Summit Forum on Theatre Education, Taipei, 2011.

Marina’s set and costume design work has been featured at the Prague International Quadrennial of Scenography (PQ) in 1987, 1995, 1999, 2003, 2007 and at World Stage Design Gallery Exhibit– Toronto 2005.

Since 2004 till 2012 Marina served as a Chair of OISTAT Education Commission. In this capacity and in collaboration with colleagues and design schools form across the world she organized EduCom annual conferences in conjunction with theoretical seminars and practical workshops in the UK, Japan, Canada, Finland, Russia, China, Serbia, The Netherlands.

Marina Raytchinova was involved in the organization of Scenofest 2003 as a leader of Puppet Design program. She was one of the main organizers of Scenofest 2007 and curator of the Birds critiqued exhibit.


27


Michael Ramsaur

is currently on the Executive Committee of OISTAT and is a past President of OISTAT, he also served 8 years as Chairman of the Education Commission. He was a co-originator and organizer of Scenofest at the PQ in 2003 and also with Scenofest at the PQ in 2007. He is currently working on the Digital Theatre Words project as Managing Editor and as a contributor to WSD/Scenofest 2013 in Cardiff Wales. He is the Head of the OISTAT USA Centre at the United States Institute for Theatre Technology (USITT) and he was recently elected as a Fellow of USITT, its highest honor.

Michael is a Professor of Lighting Design and Director of Production at Stanford University in California, he is an Honorary Professor at the Central Academy of Drama Beijing, and has served as a Consulting Professor at the University of Arts Belgrade, taught regularly at the Bavarian Theatre Academy München, as well as at Trinity College Dublin, and Taiwan University of the Arts Taipei. He has given lectures and workshops at schools in 20 countries as well as at the ShowLight Conference, ShowTech, USITT, LDI, the Nordic Technical Theater Conference, Podiumtechnologie, Themadag Netherlands, Sahne Tasarimcilari Dernegi Istanbul, Egyptian Scenographers and Theatres Technicians Center Cairo, PALM Beijing, The Global Alliance of Theatre Schools Conference Bucharest Romania, and the Prague Quadranalle.

Michael has enjoyed a 40-year career in theater including lighting designs across the USA and for many theater companies in the San Francisco Bay Area where he lives, including Broadway by the Bay where he is the Resident Lighting Designer. He has been awarded Outstanding Lighting Design Awards from the San Francisco Bay Area Critics Association, Dean Goodman Awards, and Drama Logue Awards.

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Miljana Zeković

is Assistant Professor and Vice-chair in Art Applied to Architecture, Technique and Design at the Department of Architecture and Urbanism, Faculty of Technical Sciences, University of Novi Sad, Serbia. She is a graduated engineer of architecture, licensed practicing architect (Member of Serbian Chamber of Engineers), and is working at the Faculty in number of courses. The main field of her current and future interests refers to Scene Design practices in Architectural Design. She works in the course line of Architectural Design, with 3rd and 4th year students, as well as with students form Master Course. Since 2009 she holds a course in Ephemeral Architecture. Her work with students considers leading and supervising architectural design projects - bachelor and master, as well as organizing and leading workshops and performances with students involved.

Her main interests and researches consider architecture of temporary and scenic spaces, interrelations among contemporary architecture and other media, as well as analysis and improvement of artistic creation processes, design and education. She publishes articles in professional journals; frequently presents papers at national and international conferences and has presented her artistic work at both national and international level.

She is a member of SCen (Centre for Scene Design, Architecture and Technology) – OISTAT Centre Serbia and is the Official delegate for Serbia in OISTAT Education Commission.

29


Piotr OBRACAJ









3. History of Work:

Full time job:







30


Reinhold Daberto Dipl.-Ing. (Univ.) Architecture, architect.

Education:

1958 – 1962 Elementary school, Salzburg 1962 - 1970 2. Bundesgymnasium, scientific sectionin Salzburg/Austria (high school; diploma qualifying for university entrance)

University:

1971 - 1978 Technical Faculty of Innsbruck University, studying architecture. Degree: Dipl.-Ing. (Univ.) Dissertation about theatre construction : “Integration of a Conservatory for music and performing arts” in a protected building for Innsbruck.

Professional Experience:

Theater Projekte Daberto + Kollegen theapro” Owner and managing director

Projects:

Design and Project management/(stage technique and stage design (selection):

2012 till 2017 Renovation and extension of Stadttheater Landshut


31


Richart Bauer

Education

Engineer, Malmö, Sweden, 1976 DMC management and leader education, Copenhagen, Denmark, 1988 Various educations in the theatre field, 1990 - 2008 Complete pilot license for instrument and night flights IR/SE /SP, 1999

Employments

Sound engineer in the Swedish Television, Malmö, 1975 – 1976 Manager for the sound department in the Opera House, Malmö, 1976 – 79 Technical director in the Opera House, Malmö, 1979 – 1987 Technical, production, and building manager in the Royal Opera House, Copenhagen, 1986 – 1997 Teacher and one of the founders of the education "Stage and theatre technology" at Malmö Högskola K3, Malmö, 1998 – 2005

Companies & Investments

Bauer Jensen Ing. Konsult KB, 1995 – present Real Estate Company Bacour AB, 1992 – present Sturup General Aviation AB, 2004 – present Stage Vision AB, 2006 – present

Summary of activities

Technical director/production building manager at the Opera House in Malmö and The Royal Opera House in Copenhagen.

Teacher and one of the founders of the education "Stage and Theatre Technology" at Malmoe Högskola K3. A three year education for stage, lighting and sound technicians.


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Sean Crowley

Sean studied theatre design at Wimbledon School of Art, graduating in 1985 and then worked across the design spectrum, as a designer and assistant designer, in Opera, Dance, Theatre, film and television.

In 1993, he left London and returned to Wales to live in Swansea with his wife and four children. Over the past 18 years, he has designed over 150 productions for companies across UK and Europe. Including, Aberystwyth Arts Centre, The Wales Theatre Company, The Tron Theatre, Glasgow, The Grand Theatre, Swansea, The Torch Theatre, Milford, The Sherman Theatre Cardiff, Theatr Y Byd, Theatr Nanog, Script Cymru, The Hampstead Theatre London, The Soho Theatre London, The Birmingham Stage Company, Northampton Theatre Royal, St Pauli Theater Hamburg, The Hamburger Kammerspieler the Theater am Kurfürstendamm, Berlin, and The Danish Royal Opera.

He became Head of Design at The Royal Welsh College of Music, Drama in 1999 and was made an honorary fellow of the College in 2007. In 2008, he became Director of Drama, and in 2010, he became an Associate Director of the Torch theatre Milford Haven

He was Chair of the Association of Theatre Design Courses for 9 years, is a member of the Linbury Prize committee, and as Vice Chair of the OISTAT Education Commission, was Project Leader and designer for the Prague Quadrennial international student festival Scenofest, in 2007. In March 2011 he was the exhibition designer for the Society of British Theatre Designers national exhibition Transformation & Revelation held at RWCMD in Cardiff, March 2011. He became Chair of the Society of British Theatre Designers in September 2011 and has now working as the Project Leader for World Stage Design 2013 which will also be held in Cardiff.

33

3. Reports of OISTAT Chairs

3.1 OISTAT Architecture Report

34

3.2 OISTAT Education Report

OISTAT Education members have been involved in a considerable amount of activity

since the last congress. Apart from Meetings in Prague, Serbia and Maastricht there

were other events such as the International Stage Design Students’ Work Exchange

(ISDSWE) in Beijing, a Tempus project in Serbia and the organising of World Stage

Design and Scenofest 2013.

Past meetings Prague 2011

This meeting took place during the Prague Quadrennial and was held at DAMU. This

meeting saw presentations about the German training system for theatre students by

Gabrielle Hogg and on the educational system in Poland by Pawel Dobrzycki. One of

the main events was a report by Jessica Bowles on the Sceneofest 2011 that was taking

place at the time; in addition to this a report was given about planning progression of

the first ISDSWE project in Beijing.

This meeting also saw early discussions on a project called Theatre Timelines that has

now developed into its own OISTAT working group. Serbia 2011

A meeting was held in Serbia on invitation from Radivoje Dinulović of the University of

Novi Sad. This included business meetings looking at projects such as ISDSWE and

Scenofest at World Stage Design 2013, and there were presentations by Chris Van

Goethem and Anders Lars about their teaching practice in their respective countries.

There were also workshops with Architecture students that provided a great

opportunity to work with these future practitioners in exchanging ideas and

experiences.

It was during a presentation to these Architecture students that Sean Crowley and Ian

Evans decide to make the World Stage Design Temporary theatre an open competition.

This three day meeting was extended to include at trip to Zlatibor for the International

Conference; Theatre Space after the 20th Century. Maastricht 2012

The meeting at Toneelacademie Maastricht was impressive to say the least. Sjef Tilly

35

excelled himself in his planning, organisation and execution of this excellent event.

This well attended event saw, exhibitions, performances and presentations by

students and leading practitioners. This was truly a benchmark example on what

sponsored commission meetings should be.

During this meeting full reports were given on the success of two major projects

ISDSWE 2011 and Scenofest 2011.

It was also during this meeting that Marina Raytchinova stepped down as Chair of the

Education Commission. Marina was an excellent leader of the commission and helped

to develop many projects during her eight years in the post including ISDSWE and

Scenofest.

Subsequently Ian Evans was voted in as the new Chair of the commission with William

Kenyon accepting the position of Vice Chair.

Projects ISDSWE

The International Stage Design Student’ Works Exchange in Beijing is an outstanding

event that includes a professional exhibition of student work and a very high quality

catalogue of each represented schools work. However the core of the event is a

workshop that sees students and lecturers from around the world working together to

produce a piece of theatre design. This joint project of the Central Academy of Drama,

Beijing and OISTAT Education encourages a lecturer to bring a student to Beijing to

participate in the event. In 2012 a theme for the workshops was produced by Miljana

Zekovic from Serbia, three groups of students were organised and overseen by the

visiting lecturers/professors to create a design based on the theme. All three of these

groups developed physical performances and the result was spectacular. It was

extremely interesting to see students from different backgrounds communicating

their ideas and how they approached their work.

It was decided during the event to change the frequency and the name of the event, to

make it simpler. It is proposed to make it a biannual event and to call it the Beijing

International Biennale. The Central Academy of Drama indicated that they have every

intention to make this an ongoing project.

SCENTEC

Although not directly an OISTAT project it is important to note that SCENTEC was set

36

up through OISTAT networks, more specifically through OISTAT Education. This

project has achieved significant funding through the European Union’s TEMPUS

programme was created by Radivoje Dinulović and his team at the University of Novi

Sad. It has two main strands; firstly to increase the educational standards of existing

theatre technicians throughout Serbia, Bosnia and Herzegovina and Secondly to

develop BA, MA and PhD courses in Theatre Design and Technology at the University of

Novi Sad. A number of members of the Education Commission are involved in

SCENTEC with other OISTAT members invited as visiting professors to develop the

degree level courses.

This surely stands as a testament to the philosophy of OISTAT and OISTAT Education.

WSD/Scenofest

With only 4 weeks before the opening of World Stage Design 2013 planning is going

well, although a little frantic at times. This has developed into a huge project. There

are 116 designers exhibiting (chosen from nearly 700 entries), 29 OISTAT meetings

and events, 12 exhibitions of the shortlisted Temporal Theatre Competition entrants

(chosen from over 100 applicants) and Scenofest, the first time outside of the Prague

Quadrennial, which will host nearly 200 workshops, lectures, seminars and

performances.

WSD2013 is hoped to be a template for future WSD exhibitions by producing a legacy

to keep the life of WSD going through the four years leading to the next event. This has

already started by the production of a website which will include an online gallery of

everyone who entered the exhibition and information on performances, workshops etc.

that will have taken place during the event. There will also be information on how to

produce and manage the event.

It is worth noting that many of the organising staff of the World Stage Design and

workshop leaders within Scenofest are members of OISTAT Education.

Future meetings and events August 2014

The next full OISTAT Education meeting will be a joint meeting with OISTAT

Performance Design and OISTAT Research in Sao Paulo Brazil between the 10th and

15th August 2014. This meeting titled ‘E-Scapes - the exploration of escaping

traditional boundaries of Performance and its Design’ has been organised and will be

37

hosted by Aby Cohen, Rosane Muniz and Fausto Viana from the University of Belas

Artes, Sao Paulo. This exciting event will include Workshops, Conference, Symposiums,

Exhibition, Visit to theatres and performances and hopefully a published catalogue for

the event.

November 2014

The newly named Beijing International Biennale 2014 will take place at The Central

Academy of Drama (CAD). CAD and OISTAT Education will invite Lecturers and

Professors to bring students to join together in exhibiting their students work and take

part in workshops. More details will follow next year.

2015

Lee-Zen Chien announced that the Taiwan Association of Theatre Technology (TATT)

has offered to host a meeting in Taipei at the new facilities of the Taipei University of

the Arts in 2015

2016

Tamar Bokuchava from Georgia showed interest in hosting an event in 2016

In Closing

At the General Board Meeting in Cyprus 2012 it was decided, along with other

commissions, to change the names of particular commissions. As of this time the

OISTAT Education Commission will be known as OISTAT Education.

Overall the past 2 years has been an eventful time for OISTAT Education, with many

successful events completed and continuing on into the future. It is the intention of

this Chair to ensure that OISTAT Education will continue to be an extremely active

commission.

July 2013

Ian Evans

Chair OISTAT Education

38

3.3 OISTAT Performance Design

OISTAT Performance Design Report 2011 – 2013/ Chair Reija Hirvikoski

Mission

Designing is thinking. The mission of OISTAT Performance Design is to exchange thoughts, ideas and visions among young and experienced professionals worldwide. This includes all aspects of the performance design and live art: space, set, costumes, lighting, and sound and music composition.

OISTAT Performance Design tries to generate new critical discussions about the audiovisual language of the performance and create different ways of understanding its content. The aim is to share the knowledge with the widest possible group of artists from diverse cultural backgrounds. The commission includes active working groups for Costume Design, Lighting Design and Sound Design. OISTAT Performance Design has a productive role in Prague Quadrennial (PQ) and World Stage Design (WSD) exhibitions.

PRAGUE /OISTAT Scenography Commission Business Meeting Minutes

at DAMU S201 on Monday 20th June 2011 hours 14.00 – 17.00.

AGENDA

1. Welcome and opening remarks from the chair, 2. Choosing the secretary of the

meeting, 3. Choosing two election committee members, 4. Approval of the

agenda, 5. Notice of new business, 6. Minutes of the last meeting in Amsterdam, 7.

Business arising from minutes, 8. Reports of Working Groups, their new business, 9.

Organizational reports, WSD 2013, 10. Reports from other Commissions if any, 11.

Chair election, 12. New business, 13. Date of next meeting, 14. Adjourn

39

Notes for Scenography Commission 20/6/11 Prague

Those Present (43 attendees during PQ11):

1. Haruka Naminohira, 2. Zeki Sarayoglu, 3. Evcimen Percin, 4. Masako Morita, 5.

Chihiro Kokubu, 6. Hiroko Oshima, 7. Mitsuru Ishii, 8. Sabrina Hamilton, 9. Nadia

Luciani, 10. Victor Henry C Tejero, 11. Frank G Rivera, 12. Rolando, Rollie, De Leon,

13. Ricardo Romero Perez, 14. Hazem Sheb, 15. Charles Kirby, 16. Ricky Chan, 17.

Laura Crow, 18. Tali Itzhaki, 19. Antti Mattila, 20. Nick Moran, 21. Chris van

Goethem, 22. Gini Vogel, 23. Simona Rybakova, 24. Rosane Muniz, 25. Karen

Maness, 26. Henk van der Geest, 27. Louis Janssen, 28. John Mayberry, 29. Peter

Ruthven Hall, 30. Kazue Hatano, 31. Nic Ularu, 32. Miodrag Tabacki, 33. Fiona Watt,

34. Sunniva Thelestam, 35. Jerome Maeckelbergh, 36. Andy Bargilly, 37. Yusuke

Hirano, 38. Naoka Fukushima, 39. Osamu Hakamata, 40. Lise Klitten, 41. Reija

Hirvikoski, 42. Sofia Pantouvaki, 43. Wei-Wen Chang.

1. The election of a new chair of the Commission was supervised by Louis Janssen,

OISTAT President – There was only one nomination for chair - Reija Hirvikoski – who

was re-elected unanimously (2011 – 2015).

2. World Stage Design 2013: Update From Chris van Goethem:

2.1. WSD2013 will be in Cardiff hosted by The Royal Welsh College of Music and

Drama (RWCMD). The website is www.wsd2013.org

2.2. WSD is for individual contributors – there will be an open digital exhibit (curated)

and a curated exhibit of artefacts in the RWCMD.

2.3. The call for exhibitors is open to any practitioner – unlike PQ there will be no

National Exhibits. The first call for expressions of interest will go out in September

2011.

2.4. Contact Sean Crowley at RWCMD for more information and questions –

[email protected]

2.5. Some concerns were raised regarding the potential for some entrants to

overwhelm some sections by submitting many productions – It was pointed out that

each submission had a cost and therefore multiple submissions would cost more,

however the feeling of many at the meeting was that some limit on the number of

entries any individual can make would be a good idea.

40

3. The chair reported on the joint meeting of the Scenography Commission and the

H&T Commission in Amsterdam –

3.1. The meeting was hosted by Theaterschool Amsterdam – see Scenography

Commission web site for fuller report.

3.2. Delegates paid their own transport and accommodation, and this did not seem

to have been a problem.

3.3. The Amsterdam Theatre School presented a dance performance, which had

been costumed by students from the second year of their Scenography course.

3.4. The chair felt the meeting had been successful – though as ever we ran out of

time.

4. Report from the Costume Working Group: Laura Crow has stepped down as co-

leader of the working group – The new chair, Lise Klitten, presented the report. The

task of running of the working group remains shared across regions, with a local

co-ordinator in each region.

4.1. May 2010: Well-attended meeting in Istanbul, with symposium and workshops.

4.2. Meeting in Amsterdam (prior to Commission meeting refereed to in 3 above)

included a visit to the Amsterdam Opera facility

4.3. Next meeting prior to USITT in Long Beach 22-25 March 2012

4.4. Then meeting in Sibiu Romania in May 2012

4.5. Then Davao City Mindanao, Philippines, January 2013

4.6. Then something in London at the V&A and Bournemouth College prior to WSD

2013 in Cardiff

4.7. Brazil in September 2014

4.8. More soon at www.costumes.ucon.edu

4.9. Members of the working group expressed their thanks to Laura Crow for all the

wonderful work she has done and wished Lisa a lot of success in the future.

5. Lighting Working Group Report from Henk van der Geest:

5.1. Would like to say we have been more or less silent for 4 years–The group was

rather drowned by the amount of work we had to do for Scenofest 2007. However,

the group feels revived by the enthusiasm of many new faces that were at the

Working Group meeting earlier in PQ 2011. There has been some disappointment

from members at the poor representation of lighting within PQ 2011, and a request

that both the LDWG and local lighting designers are more involved in planning

41

activity for PQ 2015.

5.2. First big event since last PQ was a visit to in China in Spring 2011, under the

leadership of Michael Ramsaur – which was successful.

5.3. Hope to be able to run an event around 24 – 29 August 2011 to celebrate James

Turell and Rudolff Stiener in Jarno – Just outside Stockholm – email Henk for more

information – [email protected]

5.4. Henk proposed a meeting in Brazil after USITT in March 2012. From Nadia:

“Brazil has a 7 year tradition of LD meetings – we plan to make a symposium for

international Lighting Design at the Festival de Teatro de Curitiba, in Brazil” (around

March 29)

5.5. There has been a request from Cyprus for a meeting to talk about Low Tech

lighting – proposal for a Spring workshop in Cyprus, lighting a Roman amphitheatre

with six lights – maybe in 2012

5.6. A similar request came from Egypt – a meeting to focus on the art rather than

the technology of lighting. The approach came from Nadja Moroz Luiciani – looking

forward to new activities.

5.7. Hungary would also like to talk about hosting meetings.

5.8. At WSD the LDWG would like to fill a programme with lighting activities.

5.9. The LDWG has a Facebook-site: OISTAT Lighting Design Working Group–and is

looking forward to using the new OISTAT website

6. No report from Sound Working Group – check the website. Steve Brown is in

Prague, last seen at the National Theatre working on the Sound Kitchen Project.

7. The PQ11 awards presentation will be at the New Stage of the National Theatre –

by invitation only – there was some disquiet over lack of clarity about who can go.

8. Next joint Meetings of the Scenography Commission:

8.1. Las Vegas, Nevada with the Technology Commission, presented by Gini, Virginia

L.Vogel: Thursday – Sunday prior to USITT (22 – 25 March 2012). USITT is in Long

Beach, which is not too far from LV – more info on the USITT web site, about

professional development workshops there.

a) The theme will be Celebration and Interpretation of the Human Form

b) There will be an exhibit of Spectacle costume from US designers including some

vintage show girl costume

c) Symposium papers on site at University of Nevada should help some teachers get

42

funding from their institutions. e) More information directly from

[email protected]

8.2. [email protected] for info on the Rumanian Festival – need expressions of interest.

8.3. Philippines in 2013 – January (tbc) with the Architecture Commission, in Manila.

Ties in with a lot of festivals on the islands – and a

d) Tours – including to the last surviving traditional showgirl show, The Liberace

Museum, Cirque du Soleil (there are 7 Cirque shows on The Strip), The Bolagio

(which will provide design inspiration for a project), and working with Graduate

students to create our own version of a Spectacle World Costume Festival w/s

a) Open to any other commissions who want to join should co-ordinate with the

local OISTAT chair or to Rollie, Rolando de Leon – by January 2012 please.

b) Depending on interest and timing there may be an expanded programme

8.4 Cardiff (WSD 2013) with the Education Commission and History & Theory

Commission

9. The chair expressed a need more meeting invitations, and meanwhile to invite

people to these meetings and symposia already mentioned.

10. Informal invitation from the Scenic Design commissioner of USITT to all to the

USITT event at Long Beach.

11. Trying to organise a Scenography Commission meeting in 2014 – any

contributions welcome

12. Meeting closed at 3:25, when the chair asked us to: “go to the city and have fun”.

Notes compiled by Nick Moran.

LAS VEGAS/ OISTAT Scenography Commission Business Meeting Minutes Saturday 24.3.2012 at 11.30 – 13.00 The University of Nevada Las Vegas at TBD on UNLV campus

43

Those present (32 attendees, low budget meeting):

1. Monica Raya, 2. Kazue Hatano, 3. Laura Crow, 4. Jerome Maeckelberg, 5. Lise

Klitten, 6. Igor Roussanoff, 7. Hazem Shelb, 8. Joslyn McKinney, 9. Lariza Reyes, 10.

Rachel Hann, 11. Hilary Baxter, 12. Wei-Wen Chang, 13. Elizabeth Asselstine, 14.

Hannah Spliid, 15. Dorita Hannah, 16. Xristina Penna, 17. Donatella Barbieri, 18.

Sabrina Notarfrancisco, 19. Carl H Walling, 20. Natalie Oakley, 21. Simona Rybáková,

23. Rosane Muniz, 24. Sofia Pantouvaki, 25. Tamas Szabados, 26. Calina Langa, 27.

Beth Weinstein, 29. Virginia 30. Vogel, 31. Judy Ryerson, 32. Reija Hirvikoski (chair).

AGENDA

1. Welcome and opening remarks from the chair

Commission chair Reija Hirvikoski opened the meeting by welcoming everyone.

2. Choosing the secretary of the meeting

Hilary Baxter (UK) volunteered as the secretary of the meeting.

3. Approval of the agenda

4. Notice of new business

The chair suggested that it would be a good idea to look at changing the name of

the Scenography Commission to Performance Design. Some discussion around the

idea of change for the Commission part of the title as well, then followed, no

agreement was reached.

5. Minutes of the last meeting in Prague 2011

The last meeting was in Prague 20.6.2011, the Minutes are available on the website

www.oistat.org.

6. Business arising from minutes

7. Reports of Working Groups, their new business

The Costume Design Working Group meeting was just before ScenCom Business

meeting.

8. Organizational reports, PQ11, WSD 2013 There is a forthcoming meeting on 2.4.12 in Prague to evaluate the success of the

44

last PQ11 exhibition and to look at any issues that arose. Sodja Lotker and Theatre

Institute invite the chair of commission Reija Hirvikoski there.

One of the key questions is how you can show a whole performance in such a format,

costumes really need bodies, and sets need performers. How to deal with an

absence of performance?

MM: Who makes these decisions? Is it understood that a country may be presenting

an overview of the work being done in their country, if it looks a bit old fashioned

but well done?

SR: In this PQ there were lots of the meetings for the curators to encourage them to

make different types of exhibitions. It was then up to the regional designers to make

the decisions for their country.

DH: Extreme costume was very good because it was a restricted section, the lack of

parameters made the Scenography section weaker. Intersections had a unified

quality whether you liked it or not. The country installations were not sympathetic

with each other, the curatorial overview was less clear.

LC: Does everything have to be the same?

RH: What is our opinion?

MR: Why is it like an Olympic event? The best of this or that? It could be a section of

text based plays for example or themed, opera or Shakespeare, this would help to

make the separate sections such as costume make more sense.

DH: PQ is based on nations; WSD is the individual’s show. With PQ sometimes

countries seem weak but other years it is really good, it comes down to the

individual curators.

EA: We come to the PQ to understand the work of others in the geographical nation;

sometimes this represents the changing social context too.

SR: The awards keep the politicians happy.

KH: Awards were dropped for the student exhibit because of the politics

RH: It would be easier to give awards if there was a more cohesive exhibition

LC: Really the exhibiting is the prize.

MR: But who got the prize in the group award for costume for Mexico? They can all

claim it, so it’s confusing. So how can we incorporate what the politicians want and

still make the Quadrennial something we want to see? Could there be a more

creative experience of the Quadrennial? Encouraging more participation, otherwise it

45

just becomes the same. New approaches should be encouraged

KH: The jury needs to be more confident in tackling different forms, videos and so

on.

SP: Officially Greece did not exhibit because of the economy, but someone exhibited

an extreme costume and someone else was given a gold in architecture, when PQ

drew this together in a book, there was a section for Greece because of this

although Greece did not officially exhibit - they were self funded. They got a lot of

publicity for gaining the gold, which was good.

JM: Regarding prizes, they could think about public voting too.

KH: They should request to go back to the old venue in the palace.

SR: That building does not exist anymore. It was really difficult to find a venue, very

little was suitable. The Gallery was not an easy venue to negotiate.

MR: In Edinburgh there is a festival and an ‘off’ festival, maybe we should publicize

the ‘off’ festival events more fully, public blogs, work together to bring more people

into the culture.

JM: Could use Twitter

MM: Or there could be an app (phone application)

EA: Having a public vote could be good.

In terms of Scenography Commission at WSD 2013; the key leaders are Donatella

Barbieri (Costumes), Pamela Howard (Talks), Fiona Watt (Performances), Henk van

der Geest (Lighting), Steven Brown (Sound).

Suggestions for talks along the lines of someone that you would really like to know

more about, or go to dinner with?

9. Reports from other Commissions if any

10. New business

11. Date of next meeting

There will be one in Cardiff, future visits do not need to be expensive, and they

could be quite cheap. Philippines is not confirmed.

For another meeting this year, the Chinese (Shanghai) offer was too late to make

arrangements.

Tentative invitation from Brazil to 2014. Other invitations are welcome.

46

12. Adjourn

Judy Ryerson ended by saying that she enjoyed hosting this meeting and have really

enjoyed being part of all the sessions and meetings. The chair closed the meeting at

1.00 PM. HB. 27.03.12

Schedule for OISTAT Symposium and joint commissions meetings/ Thursday

22 – Saturday 24 March 2012/

The University of Nevada Las Vegas

WEDNESDAY MARCH 21 2012

18.00 – Meet and Greet at Bahama Breeze restaurant, on the corner of Paradise and

Flamingo, for anyone who has arrived. No host bar and great food! Door Prizes and

Games are planned to get to know each other. Registration packets will be available

for those attending.

THURSDAY 22 MARCH 2012

08.30 – 09.30 Registration: Student Union meeting rooms on the UNLV Campus

09.30 – 09.45 Taking Care of Business and opening Remarks from Judy Ryerson,

Host

09.45 – 10.00 Welcome from Dean Jeffrey Koep, College of Fine Arts, University of

Nevada, Las Vegas

10.00 – 11.00 Opening Address: Current state of Spectacle in Las Vegas, Ria Martens,

Artistic Director Cirque Du Soléil

11.00 – 12.30 Presentations Session I, Moderator: Dorita Hannah

Andrew Todd and Dominick Bagnato: Theatre Mundi

Stephen Di Benedetto: Designing the Magic within - Spectacular events and

physiological sensations

Rachel Hann: The Spectacle of Everyday Life - Public Spaces and the Contemporary

Theatron in the work of Diller Scofidio + Renfro

12.30 – 13.30 Lunch

13.30 – 15.00 Presentations Session II, Moderator: Gini Vogel

47

Hilary Baxter: Costume, Spectacle & History at the Banqueting House, London

Monica Ray: Performing for a nation - Designing for the Bicentennial Parade of the

Independence of Mexico

Rosane Muniz: The Brazilian Carnival references on the Drama costumes and set

designer - are there limits?

Fausto Viana: Brazilian extravaganza and social reflections behind it: men, women

and drag.

15.00 – 15.30 Coffee and Tea

15.30 – 17.00 Presentations Session III, Moderator: Gini Vogel

Nic Ularu: Costume extravaganza in Peter Greenaway’s movies

Sofia Pantouvaki: Tamta: Dressing for the Pop Spectacle

Joslin McKinney: Spectacle and the body of the spectator

Sam Trubridge: Body Troubles – the aspirations of multi-player Macbeth

17.00 – 18.15 PechaKucha

Show times are generally at 19.00 or 21.30 Go to www.vegas.com for all of the

ticket information.

“KA” and “JUBILEE” are highly recommended, as these are two of the shows we will

see behind the scenes.

FRIDAY MARCH 23 2012

8.00 – 12.20 Group A & B meet Judy Ryerson and Gini Vogel at the Lied Library, MGM

Casino Hotel, Cirque du Soléil backstage tour and Jubilee backstage tour

SATURDAY MARCH 24 2012

09.00 – 09.30 Digital Theatre Words, Jerome Maeckelbergh

09.30 – 10.00 WSD2013, Donatella Barbieri and Joslin McKinney

10.00 – 16.30 Business meetings

10.00 – 11.30 Meeting of Costume Working Group, Lise Klitten

11.30 – 13.00 Meeting of Scenography Commission, Reija Hirvikoski

13.00 – 14.00 Lunch

14.00 – 15.30 Meeting of History and Theory Commission, Dorita Hannah

48

15.30 – 17.30 Presentations Session IV, Moderator: Dorita Hannah

Xristina Penna: aswespeakproject - cultural implications of interactive performance

art contemporary viewer: audience or consumer of the spectacle?

Donatella Barbieri: Between archive and performance, ambiguities and absences in

creating discourse around costume

Call for Papers:

Spectacle, Extravaganza, Cultural Implications and the Body This is a solicitation for papers for presentation at the Las Vegas meeting of OISTAT

Scenography and History and Theory Commission 22 - 24 March 2012. We are

seeking paper presentations on successful productions, historical perspective,

current research that you would like to share with the membership at this meeting.

The papers will be presented at the University of Nevada, Las Vegas. All abstracts

will be peer-reviewed.

Please send an abstract or proposal of up to 300 words or less.

Submission Deadline: 30 December 2011

At this point in time, it is not possible to provide honoraria or cover any travel

expenses.

Email notifications of acceptance will be made by January 29, 2011.

For other questions regarding the peer reviewed presentation process, please

contact: Gini Vogel

Email: [email protected] or [email protected]

Call for Art:

Spectacle, Extravaganza, Cultural Implications and the Body

This is a solicitation for an art exhibition in conjunction with OISTAT Scenography

and History and Theory Commission Meeting in Las Vegas, 22 - 24 March 2012.

With the thematic exploration of Spectacle, Extravaganza, Cultural Implications and

the Body, we are seeking art from both professionals and emerging artists. Both

groups will be represented. The art should represent productions realized or

conceptual. Negotiations are still in process to allow this exhibition to reach a wider

audience. Although the emphasis is on two-dimensional works for exhibition there

is limited opportunity for 3-d objects in Reno and Las Vegas at this point in time.

Exhibition dates in Reno, Nevada at the University of Nevada, Reno’s IGT Gallery is

49

the only space at this point which will be able to support video or digital images.

Digital submissions should be in JPEG format, not larger then 800x600 at

widest/tallest dimension (72 dpi), max. 4 mb, or a .pdf file with image, and must be

labeled with the artist’s last name and number of the entry if submitting more than

one image for consideration. Example: LASTNAME 1.jpg

Image submissions deadline for the Nevada exhibitions is 15 December 2011 with

notification by 1 January. The work should arrive by 29 January 2012 for the Reno

exhibition and by 15 March 2012 for the Las Vegas exhibition.

Work should be matted and /or framed and exhibition ready.

Gini Vogel, email: [email protected] or [email protected]

Call for Art:

Show and Tell [PechaKucha] session

This is a solicitation for a participation in a Show and Tell presentation of your own

work to be held in Reno and Las Vegas as a component of OISTAT Scenography and

History and Theory Commission Meeting in Las Vegas 22- 25 March 2012.

We are seeking art from both professionals and emerging artists. Both groups will be

represented. The art should represent productions realized or conceptual.

PechaKucha is a presentation format that is based on a simple idea: 20 images x 20

seconds. Thus, each presenter has just 6 minutes and 40 seconds to explain their

ideas before the next takes the stage. It's a format that makes presentations concise,

and keeps things moving at a rapid pace.

You will include your 20 images in a timed PowerPoint presentation. Please include

in the PowerPoint the following information: your identification, your role in the

event or production, production year and location. Please label the file with your

last name and submit either on a CD or through a website for transferring large files,

for example: Wetransfer (https://www.wetransfer.com/), Drop Box, You Send It,

Send Space or any other site of your choice.

It is best to Show and Tell about your work in person; if you cannot travel to Las

Vegas for the session, you do not need to be presented. But your PowerPoint will still

be shown. The submission deadline for the Show and Tell is 20 January 2012.

Gini Vogel, email: [email protected] or [email protected]

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With many thanks, we look forward to your responses and participation!

LINK (Open 7.12.2011) to registration (and submission forms):

http://www.oistat.fi/registration

Virginia Vogel

Professor

University of Nevada Reno

[email protected] or [email protected]

Judy Ryerson

Coordinator for MFA Design and Technology Programs

Associate Professor - Costume Design

Department of Theatre, UNLV

[email protected]

Dorita Hannah (PhD)

Professor, Chair of OISTAT HTC Commission, Member of OISTAT GB

Spatial Design: College of Creative Arts, Massey University

Wellington: NEW ZEALAND

[email protected]

Reija Hirvikoski

Artist Professor, Doctor of Arts

Chair of OISTAT Scenography Commission, Member of OISTAT GB

[email protected]

(If you need an invitation letter by your own name, please contact Reija Hirvikoski or

Dorita Hannah.)

51

OISTAT Performance Design Gallery was created with images from 50 different commission members during the new website launch.

SHANGHAI/ OISTAT Performance Design Business Meeting

Minutes Monday, March 25th, 2013; 2.00pm – 3.00pm Merry Rendezvous Hotel –

Conference Room

Chair: Reija Hirvikoski, Secretary: Carl Walling

Members & Guests Present (15 attendees, fully hosted meeting):

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1. Henk van der Geest, 2. Monica Raya, 3. Hazem Shebl, 4. Piroska E. Kiss, 5. Fausto

Viana, 6. Carl Walling, 7. Jennie Yeung, 8. Kazue Hatano, 9. Marina Raytchinova, 10.

Gerbrand Borgdorff, 11. Kathy Hong,12. Dorita Hannah, 13. Lise Klitten

Absent from the meeting due to late arrival Sunniva Thelestam

Handouts: Shanghai Performance Design Meeting Agenda (sent electronically prior

to meeting)

A sign-in sheet was passed around during introductions.

The meeting was called to order at 2.10pm.

Review of Meeting Minutes & Chair’s Report (Reija Hirvikoski)

Reija summarized the events of the March 2012 Las Vegas meeting.

The minutes were discussed. The minutes were approved by unanimous consent.

There was a brief discussion about the recent commission name change from

Scenography to Performance Design. In addition, the Costume Working Group is now

the Costume Design Group. After the Las Vegas meeting, Reija forwarded the

commission name change request to the Executive Committee (EC). During the

Executive Committee/Governing Board (GB) meeting in Cyprus the change was

approved. Reija encouraged members not to be concerned about the change from

Scenography to Performance Design.

Reija was invited to a recent Prague Quadrennial (PQ) organizational meeting due to

her role as a former national exhibition curator. She reported to the commission that

there were feelings by the PQ Organizers that the Prague Quadrennial was becoming

too design exposition. The PQ Organizers would like to find a way to develop the

audiencing of the event.

For the upcoming Prague Quadrennial, there will be three themes available for

applications: Music, Politics, and Weather. The Prague Quadrennial organizers will

have a thematic curator for each theme. The PQ will still be populated with national

exhibits with national curators.

In another development for PQ 2015, OISTAT will no longer have Scenofest at the

Prague Quadrennial. Scenofest has become too large for the event and it is volunteer

heavy. The Prague Quadrennial organizers would like the events of the PQ to offer

something to Prague itself. At the recent EC/GB meeting in Cyprus; EC/GB members

would like to continue the connection between the Prague Quadrennial and OISTAT.

53

There is a feeling that the Prague Quadrennial & OISTAT have a historic relationship

and the connection between the two organizations should be continued.

Notice of New Business

There were no additional new business items added to agenda.

Agenda Items

1) WSD 2013 – Cardiff, Wales (Reija Hirvikoski)

UK designers are leading the 2013 World State Design project. There will

be a WSD meeting in the upcoming month. Reija is on the design

exhibition jury along with other members of the Performance Design

commission. At the current moment, 399 individuals have applied to the

WSD design exhibition.

Other updates were provided:

Hazem Shebl noted that there is an issue with using PayPal for

Egyptian applications. Reija will inform Sean Crowley, WSD 2013

Project Leader, about this development.

Lise Klitten updated the commission about the Costume section of

WSD 2013. There will be several presentations about Costume

design and Costume research. The Costume section plans a Pecha

Kucha presentation based on the idea “Shakespeare at the Sewing

Machine”. There will be more information about costume

opportunities in late April.

2) Organization Report from OISTAT Headquarters (Kathy Hong)

Several website updates have been made to the OISTAT webpage

(www.oistat.org), including the development of research and

design galleries. OISTAT would like all submissions to the website

to be copyright covered.

The OISTAT Mission Statement has been revised recently. The

revised statement has been posted to the website.

A question came from the commission about who have the ability

to post materials on the webpage. Kathy Hong explained that the

headquarters and all commission chairs (including the chairs of the

working groups) have the ability to post materials.

54

Dorita Hannah congratulated the efforts of the

Secretariat/Headquarters in completing the webpage. Kathy Hong

said that headquarters would welcome any feedback; however,

members should realize that there are limitations to the

programming of the website.

3) Working Group Officer Reports (Lise Klitten & Henk van der Geest) Costume Design Group (Lise Klitten):

Lise mentioned that the Costume Design Group would like to find ways to

collaborate with the other working groups. There is a perception that

Lighting Design Group & Sound Design Group needs to be more active within

the commission in order to have a more networked group.

Lighting Design Group (Henk van der Geest):

Henk reported that most of his work has been in conjunction with the

Education Commission and Scenofest. He mentioned the difficulty in

assembling the lighting design groub members due to work schedules and

touring. In addition, it has been difficult for members fund meetings. Henk

noted that if there is a need for the Lighting Design Group to complete work,

then the group is functioning well. When there is a lack of need, it becomes

difficult to get the commission’s membership together. In other

developments, Henk was able to participate in a recent event by ITI focused

on technology.

4) The Meaning and Mission of Performance Design (Reija Hirvikoski) The commission discussed the possibilities of using education as a gateway

in developing OISTAT membership. Reija would like the commission to

organize workshops consisting of professional directors and actors. The

workshops would network directors with designers and establish dialogues

in aesthetics, philosophy, and professional practice. Reija would like

members to think about this topic after the conference and continue

discussions in Cardiff.

Discussion followed about several topics related to the mission of

Performance Design:

There was a feeling that the term “performance design” is too

abstract as an international idea. Reija mentioned that everyone is

55

a performance designer. The term “performance design” allows for

more inclusion and may attract younger designers to OISTAT. A

member commented on the lack of a set design group within the

overall Performance Design commission structure. Reija noted that

a set design working group could be formed, if there is sustainable

interest from OISTAT’s members.

Fausto Viana mentioned that the website should be more dynamic

in order to reach new members.

Monica Raya commented on the mission of OISTAT, noted that

OISTAT networks individuals to other individuals.

Lise noted that there needs to be better communication between

the Performance Design commission and Publication &

Communication Commission (PCC). If members have ideas about

improving these connections, they should e-mail Reija with their

ideas.

Carl Walling noted that the idea to have workshops between

directors and designers could be developed into a networking of

potential OISTAT members. He noted that this may also work if the

commission develops workshops that pair young designers with

OISTAT commission members.

There was a feeling by some members that people do not

understand what OISTAT is as an organization.

Recently, the EC/GB talked about opening up individual

memberships to individuals in areas with national centres. This

topic may be part of the OISTAT World Congress agenda in Cardiff.

There is a concern that opening up access to individual members,

may jeopardize funding for national centres in less active or small

membership centres.

5) New Business: WSD 2013 & PQ 2015 (Dorita Hannah)

There will be a trial run of TESTing 2013 in Cardiff during World Stage

Design 2013. At this moment, there is an expectation that the event will re-

occur at PQ 2015.

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6) Date of Next Meeting (Reija Hirvikoski)

The next meetings of Performance Design will be 2013 – Cardiff, Wales (WSD

2013) and in Brazil, August 10 – 15th 2014. Brazil meeting will be a joint

meeting with the Education Commission. All members of OISTAT are

welcome to attend. The meeting is anticipated to be a low-budget, self-

funded meeting.

Meeting was adjourned at 3.05pm

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Letter of Invitation to the National Centers of OISTAT, OISTAT Performance Design’s

official Delegates and OISTAT Research’s official Delegates, Individual Members and

Associate Members.

Shanghai Theatre Academy, China is willing to host a Symposium and meeting of the

commissions on

PERFORMANCE ENCOUNTERS: Inter / Intra – Cultural Contexts for the Art of Stage Design for OISTAT Performance Design and OISTAT Research 25 – 29

of March 2013.

Arrangements have been made between Professor, Doctor of Arts Reija Hirvikoski,

Chair of OISTAT Performance Design; Professor, Doctor Dorita Hannah, Chair of

OISTAT Research and Professor Han Sheng, President of Shanghai Theatre Academy,

China.

Shanghai Theatre Academy will provide airport pickup and cover 5 nights shared

hotel accommodation for all the voting (official) delegates during 25 – 29 of March

2013 (individual rooms incur an extra cost), Non-voting delegates shall cover their

own shared/individual accommodation, which can be arranged by the Shanghai

hosts. All participants shall cover their own cost of international flights. The

Academy will host and organize the commission meetings and a symposium. The

participants are welcome to give presentations to the students of STA.

Please note that the Host contact for reply and for information is Professor Han

Sheng whose contact details are below. The filled registration form and responses to

the Call for papers and presentation should be sent to both chairs Reija Hirvikoski

[email protected] and Dorita Hannah [email protected], and to

myself Han Sheng [email protected] as indicated on the Call.

Please confirm your attendance by 1 of March. Registration forms will be sent out as

well as being available on the OISTAT website.

Call for Papers, Presentations and Posters / displays

on the theme of: PERFORMANCE ENCOUNTERS: Inter / Intra – Cultural

Contexts for the Art of Stage Design

Every performance event constructs an encounter ‘between’ varying people, art

forms, ideas and worldviews: between performers and audience; between the

59

fictional and the real; between imagination, object, body and environment. In an

increasingly globalized world, more and more cultures encounter each other, but

often under the guise of equivalence and sameness rather than disparity and

difference. In The Politics of Cultural Practice: Thinking Through Theatre in an Age

of Globalization, Rustom Bharucha rethinks multiculturalism through the more

nuanced ideas of inter and intra-culturalism. For Bharucha interculturalism occurs

“across national boundaries” while intraculturalism occurs “between and across

specific communities within the boundaries of the nation-state” (p6). For Bharucha,

theatre is a metaphoric “laboratory of the world” to consider issues of globalization

and culturalism and works most potently as an “exchange of differences” about

theatre and how we see ourselves “in the world”.

OISTAT Performance Design and Research and Shanghai Theatre Academy, China

invite 20-minute scholarly papers, 15-minute multimedia

presentations/performances and/or visual displays that consider the social, cultural

and/or political 'particularities' of a recent scenographic encounter. These may be in

the design, making and/or performance of the work. They may focus on the

specifics of locus, context, content or vocabulary. Above all, we are inviting the

detail of the moments, spaces, artefacts, costumes, or images that offer an insight

into the scenographic concept and its realization within a complex cultural context.

The influences of different cultures upon each other are constantly shifting ideas of

theatre and performance design so that both form content and continually evolve;

maybe even revolve around the globe. Yet we must always remain cognizant that

such evolutions and revolutions are never equal and that it is from difference that

we can learn about ourselves. As Bharucha rightly points out: cultural differences

also occur from within nation states and theatre provides the platform upon which

they can be acknowledged and exchanged.

Please send an abstract or proposal of up to 200 words by Friday 15 February 2013.

Response will be made by Friday 22 February 2013.

Please give details of any equipment (other than Apple，Mac or other PC, sound and

projector) or space needed.

The letter of invitation for Visa will be provided for each registered member by

Shanghai Theatre Academy after registration is finished. Further information about

Chinese Visa application, please check: http://www.visaforchina.org/JKT_EN/

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With many thanks, we are looking forward to welcoming you in China and a nice visit

to Shanghai.

Han Sheng

Professor

President of Shanghai Theatre Academy, China

Email: [email protected]

Reija Hirvikoski

Artist Professor, Doctor of Arts (DA)

Stage and costume designer

Chair of OISTAT Performance Design


Dorita Hannah (PhD)

Chair of OISTAT Research

Visiting Scholar: NYU Tisch School of the Arts (2011-2013)

McHale Fellow/ Visiting Professor: SUNY Buffalo: Architecture (Fall 2012)

Adjunct Professor: Columbia University: Theatre Arts (Fall 2012)


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mailto:[email protected]

OISTAT MISSION: To serve the art form of performance, and the people who design

and create live performance.

Performance Design Annual Business Meeting

Wednesday 11.9.2013 at 09.00 – 11.00

Royal Welsh College of Music and Drama, Cardiff

9:00 - 10:00 Teatro aperto in Italy - illegal occupation to save abandoned theatre

Set Designer, Theatre Consultant Jean-Guy Lecat will open the meeting with his

presentation.

AGENDA

1. Welcome and opening remarks from the chair

2. Approval of the agenda

3. Notice of new business

4. Minutes of the last meeting in Shanghai

(http://www.oistat.org/Item/Show.asp?m=1&d=1689)

5. Business arising from minutes

PROPOSAL: Heads of Performance Design’s Design Groups should be

considered as official delegates of commission in case of fully hosted

commission meetings.

PROPOSAL: Discussion about the meaning and mission of OISTAT

Performance Design:

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1. As a commission how to educate directors and actors into

visuality – establish dialogues in aesthetics, philosophy, and

professional practice?

2. As a commission how to create an international designer’s

assistant system between young and experienced professionals?

6. Reports of officers

7. Organizational report

8. Reports from other commissions if any

9. Other business

10. New business PQ15, Discussion about Commission’s working structure.

11. Date of next meeting

2014 (10 – 15.8.) Brazil, joint meeting with OISTAT Education & OISTAT

Research

2015 will be Performance Design chair election meeting

12. Adjourn

“A Brechtian maxim: don’t build on the good old days, but the bad new

ones.” Walter Benjamin

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3.4 OISTAT Research Report

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3.5 OISTAT Technology Report

• The Support to Practitioners Project is ongoing and expanded.

• The Technical Invention Prize will have a new edition to be presented at the

WSD 2017.

• A new project has started: the standards project, where we will collect and

compare as much national standards as possible.

• The Technology commission will have several projects going on WSD 2013.

• The Technology commission will continue to participate in the Timeline

Working Group, a joint group of OISTAT Technology and Research.

• The Technology commission has no initiatives for the PQ 2015

• Loren Schreiber is the new vice chair of the OISTAT Technology, in replacement

of Andreas Bickel

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3.6 OISTAT Publication and Communication Report

Commission Meeting 2012

PCC meeting in Long Beach, CA, 30 March, 2012

Present were Peter McKinnon, Jerome Maeckelbergh, Sandor Borocz, David Rodger,

Jose Antonio Prado Hung

There was a thorough review of the “World Scenography” book project, and a preview

of the second volume covering the years 1990-2005.

Future directions for the PCC

Website. There was a suggestion that we look at USITT, which funnels info

from commissions to the editor who puts in online. The editor is a staff

person, though. Half the person’s responsibility is to collect info and feed the

site. Would it be possible to do the same at OISTAT? Could the PCC do this?

The PCC needs to ensure the info is up to date and accurate.

Book fair. We could provide info and encourage people to buy at events like

WSD and Scenofest. Could there be a virtual book fair (given the tremendous

expense of shipping books around)?

Jose Antonio pleaded for more leadership from PCC in web based

communication.

Facebook. There was a very good discussion of getting the PPC and OISTAT

on FaceBook. Would this not be actual communication? What about blogging

platforms? These could be tools for actual dialogue – a group of almost any

size. Could we use WordPress, which is a free platform – but needs a

moderator. How about LinkedIn? Each Commission chair puts info in to the

site.

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Commission Chair Elections in 2014

The elections for the Chair of Publication and Communication Commission will be

conducted in 2014. A call for candidates will be released before the end of

November, 2013.

Digital Theatre Words

Digital Theatre Words project is launching a new and fuller version of 22 languages

at World Stage Design. Thanks to Jerome Maeckelbergh and Michael Ramsaur for

leading the project and helping it grow continuously. The project now has a fresh

user interface to enable easy navigation. The mobile application program for

handheld devices is underway and expected to launch early 2014.

World Scenography

The first volume of World Scenography from 1975-1990 was published in early 2012.

The first volume sold 1497 copies out of the 5000 printed copies. Bulk orders from

TATT and DTHG had created a good sales pattern to benefit both regional buyers

and OISTAT Centres. The second volume is underway and is looking to be published

in 2014.

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A letter from the World Scenography co-editors, Peter McKinnon and Eric

Fielding

August 10, 2013 Dear friends at the congress– As many of you are aware, the World Scenography book project, which documents significant designs from around the world in the period 1975-2015, is well underway. Volume I (1975-1990) was published last year and launched at USITT’s conference in Long Beach, California. Volume II (1990-2005) is progressing well, and it will likely be published early in the new year. Most of the Editorial Board is the same as before, with one exception: Peter McKinnon and Eric Fielding are still the co-editors, with Ian Herbert, Kazue Hatano, JC Seroni, and Osita Okagbue all continuing as associate editors, but with Sam Truebridge replacing Dorita Hannah. The great majority of the nearly 165 contributors to the first volume are continuing with the second. The tremendous amount of work done by this army of dedicated volunteer scholars and researchers spread around some 64 countries is remarkable, and deserves the heartfelt thanks of all of us, most especially from the Co-editors and the Editorial Board. The first volume had a print run of 5,000 copies, of which 1,500 (30%) have been sold. OISTAT has made back over 71% of its printing costs, while also being able to cover the operating costs of storage, insurance, royalties, shipping and handling. Thanks as well need to go to the Social Sciences and Humanities Research Council of Canada for funding the project, and to York University for funding the many student assistants that have worked on the project. Please make sure that you have bought your copies (available at the WSD book stand, or online through OISTAT, or from us at www.worldscenography.org), and that designers, theatre organisations and libraries in your home countries have also bought theirs! We would also like to offer discounted bulk sales to OISTAT centres, as we have done with TATT and DTHG - just get in touch with us to discuss this. Sincerely, World Scenography Editorial Board

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http://www.worldscenography.org/

3.7 Future Meetings

2014

Costume Design Working Group

January 14-18

Antwerp (BE), Breda (NL), Brussels (BE)

E-Scapes

The Exploration of Escaping Traditional Boundaries of Performance & its Design

Performance Design, Research and Education Joint Meeting

August 10-15

Sao Paulo, Brazil

Wood and Canvas (and rabbit glue) in the Modern World

Architecture, Technology and Theatre Timeline Group Joint Meeting

June 13-15

Antwerp, Belgium

Publication & Communication Meeting

October (dates to be announced)

Taipei, Taiwan

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4. State of OISTAT

Having been founded in 1968, OISTAT is one of the older international professional

arts organizations. As an organization we are hardworking, we know how to

collaborate, we are sensitive to society’s needs, and we are concerned about the

theatre and its many arts and crafts. We are active and continuing our 44 years of

activities and successes.

The OISTAT Executive Committee concerns itself with its current and future members,

OISTAT’s present and future leadership, and the ways in which OISTAT, in its broadest

sense, can be strengthened and enriched. The whole of OISTAT is made stronger by

the vigorous work and creativity of the parts – its Centers, Associate and Individual

members. In this regard OISTAT in the proposed revised statutes are enlarging the

concept of Individual Members making it easier for all interested people to receive

OISTAT information directly.

Michael Ramsaur will give a brief overview of the state of OISTAT by outlining the many

activities organized and sponsored by OISTAT, its Centers and members over the past

few years.

From the time of moving the headquarters to Taiwan until now; from being strictly an

organization of organizations to an organization of Centers and active individuals and

associate members, we are creating activities not only for our membership but also for

all as a service to the world of theater design and technology.

A number of OISTAT projects began as small projects within an OISTAT Commission

and have grown and are considered organizational projects but Commission members

provide the primary inspiration and vitality to these projects.

The first that comes to mind for us should be World Stage Design, the major reason we

meet as the OISTAT World Congress here in Cardiff.

WSD was the brainchild of Eric Fielding who produced the first WSD with The United

State Institute for Theatre Technology (USITT) in Toronto, Canada. That exhibit was

followed by Sung Chul Kim in Seoul, Korea and Korean Theatre Artist Association

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(KTAA) with a major side project of “The Friendly Giant”, and we are now all

experiencing at this very moment WSD 2013 here in Cardiff organized by Sean Crowley

and Ian Evans with the Royal Welsh College of Music and Drama and the Society of

British Designers (SBTD). WSD is presented every four years, two years off from the

Prague Quadrennial (PQ). Rather than a nationally curated exhibit of scenography, all

individual designers have the ability to enter their designs for a juried exhibit and to

display their work.

Another such project is Scenofest. While nearly every Commission is involved, the core

effort still grows out the efforts of the Education Commission. Scenofest was originally

created as a side program to the PQ in 1999 and was re-branded by Pamela Howard as

Scenofest in 2003. It has been presented at each subsequent PQ. Scenofest is designed

to reach students as well as young designers, technicians and architects, but seems to

be equally valuable and informative to all OISTAT members. Now with WSD 2013

Scenofest has moved to be linked completely to World Stage Design.

The Technology Commission under the leadership of Ivo Kersmaekers developed the

Technical Invention Prize (TIP). This is a prize for a simple solution to a simple

technical problem. The solutions are not expensive solutions, but simple and clever

solutions to problems that technicians face. The Architecture Commission continues

to produce the Theatre Architecture Competition (TAC) – the last version at PQ 2011

when the results were shown at the unique location of Saint Anna’s Church. OISTAT

has continued to be available and to offer Master Class Workshops around the world,

typically associated with an OISTAT meeting.

OISTAT has further continued its commitment to the next generation of designers and

technicians by creating a specific student design exhibit. Marina Raytchinova leading

the Education Commission worked with the Central Academy of Drama in creating an

international student stage design exhibit alongside a creative weekend workshop

focused on Design as Performance.

The Second OISTAT International Lighting Design Symposium was hosted in Hangzhou,

China. OISTAT has continued to contribute to the creation of many national symposia

and design exhibits.

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National Exhibits created along with OISTAT meetings include Cairo, Egypt and Nicosia,

Cyprus. Other examples of OISTAT encouraging and contributing to national

gatherings are Scandlight in Malmö Sweden, and The United State Institute for Theatre

Technology (USITT).

OISTAT has provided the opportunity for personal, artistic, and cultural interaction and

exchange through internal contacts established from OISTAT meetings. There have

been many wonderful examples of such activities. The Classic Greek Tour around

Izmir Turkey, the Ritual Theatre Project in Taiwan and Korea, the World Costume

Festival in Vigan Philippines, and The Northern Italian historic theatre tour.

To further make public our activities the Headquarters has launched a new Website at

www.oistat.org with information about events and resources as well as an additional

Internet home for our members to display their creativity.

OISTAT continues to provide information to our discipline through published media,

such as the Technical Invention Prize booklet, The Northern Italy Historic Theatre

booklet and the Theatre Architectural Competition catalogue. Additionally Chris

Lievaart with the support of OISTAT has completed another chapter in the history of

OISTAT 40 years of OISTAT: the Dutch Years. Major publications include World

Scenography, the first of three volumes (1975-1990) now published. Editors Peter

McKinnon and Eric Fielding with help from an impressive list of associate editors are

preparing the next volume in this three volume series. This is a very important series

provides a global view of the most important developments in Scenography. We all

should own a copy of this book and it is important that the book be in libraries around

the world.

OISTAT is not only involved with print publications, Jerome Maeckelbergh and the

Digital Theatre Words project continues to grow and improve as an up-to-date listing

of theatre words with descriptions in a comprehensive collection of languages. Now

underway is an enlargement the project to include this information in a mobile phone

app.

So in the end I must say We are active, and We continue to uphold the aims of our

Mission.

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5. OISTAT Statutes Revision

CURRENT STATUTES OF OISTAT:

Black as ratified at the OISTAT Congress June 2011 RED current proposed revisions for Congress

Text Box shows clauses before revision.

MISSION: The Mission of OISTAT is: * To stimulate the exchange of ideas and innovations, and to promote international

collaboration in professions which support live performance;

* To serve the art form of performance, and the people who design and create live

performance;

**This is a new added clause.

* To promote the formation of OISTAT centers, and the participation of individuals,

alliances, and institutions in all regions of the world in order to achieve these aims;

To promote the formation of OISTAT centers in all regions of the world in order to

achieve these aims.

* To encourage life-long learning among live performance practitioners;

* To respect the integrity of all cultures and celebrate the diversity as well as the

similarities of those who work in support of live performance.

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STATUTES: Article I NAME AND REGISTERED OFFICE

1. The name of the organization is the International Organisation of Scenographers,

Theatre Architects and Technicians (OISTAT). (Note: the initials always follow the

sequence in French: Organisation Internationale des Scénographes, Techniciens

et Architectes de Théâtre)

The name of the organization is the International Organisation of Senographers,

Theatre Architects and Technicians (OISTAT). (Note: the initials always follow the

sequence in French)

2. The location of OISTAT's Headquarters will be decided by the Executive

Committee (the EC).

The location of OISTAT's office will be decided by the Executive Committee (the EC).

Article II AIMS AND OBJECTIVES

1. OISTAT will establish and maintain an international exchange of the

knowledge and practice of performance design, architecture and technology,

together with other related disciplines, in their support of live performance.

OISTAT will establish and maintain an international exchange of the knowledge and

practice of scenography, architecture and technology, together with other related

disciplines, in their support of live performance.

2. The objectives are:

2.1 To stimulate the exchange of ideas and innovations and to promote

international collaboration in all professions which support live performance;

2.2 To promote the formation of OISTAT Centres in all regions of the world in

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order to achieve these aims;

2.3 To encourage life-long learning among live performance practitioners;

2.4 To work as a link between other organizations and institutions in the field of

performing arts; and

2.5 To respect the integrity and celebrate the diversity of all cultures.

3. To this end OISTAT will:

3.1 Create a global network of specialist practitioners, educators and researchers

who shape, challenge and imagine elements, events and environments for the

live performing arts;

3.2 Maintain an office which is expressly charged with the execution of these

duties, and further to support initiative and research;

3.3 Propose both formal and informal meetings to discuss and forward these

objectives;

3.4 Encourage a maximum exchange of work, documentation and persons

working in these areas and establish and encourage publications designed for

these purposes.

Article III STRUCTURE

1. OISTAT is composed of the member organizations in regions world wide, known as OISTAT Centres, and of individuals in all regions.

OISTAT is composed of the member organizations in regions world wide, known as OISTAT Centres, and of individuals in those regions that do not have an OISTAT Centre

**This is a new added clause.

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2. The directing body of OISTAT is the Congress, which is formed when the

delegates of the OISTAT Centres, and individual members are assembled in

plenary session.

The directing body of OISTAT is the Congress, which is formed when the delegates of

the OISTAT Centres, and individual members from other regions, are assembled in

plenary session.

3. The administration and priorities of OISTAT are established by the Executive

Committee (EC) with advice from the Governing Board (GB). The President, the

Vice Presidents, the Secretary and the Treasurer of the Executive Committee may

have OISTAT's day-to-day administrative work carried out by an Executive

Director and the administrative staff.

Article IV OISTAT CENTRES 1. An OISTAT Centre must have a legal form, preferably an association.

2. Each OISTAT Centre should create an organizational structure and hold meetings

of its members.

3. Each OISTAT Centre should form a democratic structure with all officers and

representatives offering themselves for re-election on a regular basis and in such

a manner as may be deemed suitable by their membership.

4. Each OISTAT Centre is normally comprised of representatives of the different

disciplines within OISTAT, and will elect delegates to further the work in those

disciplines within OISTAT.

5. OISTAT and its OISTAT Centres should enter into contacts of friendship, co-

operation and co-ordination with other international organizations belonging to

related disciplines.

6. There may be more than one OISTAT Centre in a country.

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Article V A INDIVIDUAL MEMBERS

1. Individuals who wish to join OISTAT are welcome to the organization.

Where a region does not have a professional organization that is an OISTAT Centre,

then individuals who wish to join OISTAT may do so until such time as their region

may organize an OISTAT Centre.

2. Individual members of different disciplines are encouraged to meet and to form

a professional organization that may become an OISTAT Centre.

(A deleted clause)

3. When there are enough individual members should form a professional

organization and that organization becomes an OISTAT Centre, then the

members of that Centre may no longer be individual members.

B ASSOCIATE MEMBERS 1. OISTAT’s first goal is the exchange of ideas and innovations and to promote

international collaboration. In recognition of the importance of organizations

that are closely related to the practices of those who work in support of live

performance, these other organizations may apply to become Associate

Members.

1.1. Companies such as suppliers or manufacturers of goods used in support of

live performance, or theatre education institutions are examples of such

organizations.

**The deleted clause

1.2. Individuals may apply to become an individual Associate Member, and

participate in OISTAT activities.

Article VI APPLICATIONS FOR OISTAT MEMBERSHIP

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APPLICATIONS FOR MEMBERSHIP

1. Existing or newly formed organizations working in this field may apply to

become candidate members of OISTAT by presenting their application in writing

to the EC and confirming their acceptance of, and adherence to, these statutes.

2. Before determining whether an organization can become a member of OISTAT,

the Executive Committee will assess whether all persons in that region, who are

active within the disciplines of OISTAT can, under the articles of associations of

that organization, freely become members of that organizations in that region.

3. In addition, the Executive Committee will assess the ability of that organization

to call international meetings in their own region (see Appendix 3).

(see Appendix 2)

4. The Executive Committee is entitled to grant an applicant centre “candidate”

status. Unsuccessful applicant centres may appeal directly to the subsequent

Congress.

5. The Congress shall decide whether a candidate member will be granted

permanent membership.

6. Individuals wishing to become Individual Members of OISTAT must apply to the

EC, stating their intention to do so, and attaching a resume of professional work.

The EC is empowered to grant Individual Membership status.

Individuals wishing to become Individual Members of OISTAT must apply to the EC, stating their intention to do so, affirming the lack of a regional OISTAT Centre, and attaching a resume of professional work. The EC is empowered to grant Individual Membership status.

7. An individual or organization wishing to become an Associate Member must

apply to OISTAT, showing that their principal activity or core business is directly

related to one or more of the disciplines of OISTAT. The EC is empowered to

grant Associate Member status. Article VII END OF OISTAT MEMBERSHIP

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END OF MEMBERSHIP

1. An OISTAT Centre may cease to be a member of OISTAT in the following ways:

1.1 Resignation, which must be tendered one year in advance;

1.2 Following non-payment of membership fees for two years, the Executive

Committee may suspend a Centre's membership. If a Centre owes other

monies to OISTAT, the Executive Committee may suspend membership if the

debt is more than one year old. The Centre may appeal such a decision to

the subsequent Congress. In the interim period, and if the monies remain

unpaid, the suspended Centre may not take part in OISTAT activities.

1.3 Exclusion, after a three-quarters majority vote at a Congress.

2. An Individual Member may cease to be a member in one of three ways: by

becoming a member of an OISTAT Centre, or by resigning in writing to the EC,

or by non payment of dues for two years.

3. Associate members may cease to be a member either by written resignation, or

by non-payment of dues for two years.

Article VIII THE CONGRESS 1. The Congress is formed when the delegates of the OISTAT Centres, Associate

Members, and Individual Members are assembled in plenary session.

2. The Congress normally meets at least every four years as determined by the

Congress, but may also be postponed, cancelled or extraordinarily convened by

written requests made by two-thirds of the total number of OISTAT Centres.

3. All members of OISTAT Centres and Individual Members, as well as

representatives from Associate Members, are welcomed and encouraged to

attend the Congress, to take part in the discussions and to assist in formulating

the policy of OISTAT, but only the voting delegate of each OISTAT Centre and

individual members may vote in the elections or on policy resolutions.

4. The Congress receives reports on the work of OISTAT during the previous four

years and debates such resolutions as are properly proposed and seconded for

its approval or rejection.

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5. The Congress receives the financial report for the previous period and the

budget forecast for the following period.

6. The Congress hears and decides upon appeals received, and confirms or rejects

Candidate Members application for full membership.

7. At the Congress, the voting delegates of the OISTAT Centres and of individual

members elect a President to hold office for the next four years. The Congress

will elect seven representatives to the EC for the next four years. Centres

proposing candidates for the EC will inform the Congress of the suitability and

availability of their candidate for the work of the EC before the start of the

Congress.

At the Congress, the voting delegates of the OISTAT Centres and of individual

members elect a President to hold office for the next four years. The Congress will

elect seven representatives from member Centres to the EC for the next four years.

Centres proposing candidates for the EC will inform the Congress of the suitability

and availability of their candidate for the work of the EC before the start of the

Congress.

8. The Congress will order its business so that new membership ratification and

appeals from unsuccessful candidates or suspended members are dealt with

before any voting for officers or policy matters takes place.

9. The Congress may create Commissions and other auxiliary bodies which may be

deemed necessary to fulfill the tasks required.

10. All OISTAT Centres, Associate Members and Individual Members will be given at

least four months notice of the date of each assembly.

Article IX VOTING AT THE CONGRESS

1. The voting members are the officially nominated delegates of each OISTAT

Centre, who must be present to vote. An OISTAT Centre that has failed to pay

its annual membership fee for two years will not be able to vote.

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The voting members are the officially nominated delegates of each OISTAT Centre,

who must be present to vote. An OISTAT Centre that has failed to pay its annual

membership fee for three years will not be able to vote.

2. Each OISTAT Centre has only one vote.

3. All decisions are taken by a simple majority vote of the voting delegates present,

except if the Congress should rule otherwise. Voting on membership, admission

or suspension requires a two-thirds majority of those voting. The elections for

the office of President and for the membership of the EC are governed by

Election Rules (see Appendix 2).

4. Individual Members may also vote, although each individual member’s vote shall

have the value of 1/10 of a full vote. An Individual Member that has failed to pay

his/her annual membership fee for the previous four years, or since

membership was granted, will not be able to vote.

Individual Members may also vote, although each individual member’s vote shall

have the value of 1/10 of a full vote.

5. Associate Members may not vote, nor may representatives be elected.

Article X THE GOVERNING BOARD 1. The Governing Board is composed of the chairs of all working commissions, and

is the major advisory board to the Executive Committee.

2. Members of the Governing Board shall deliberate in accordance with the

interests of OISTAT. They work under the auspices of the Congress and not as

representatives of their OISTAT Centre.

Members of the Governing Board shall deliberate and vote in accordance with the

interests of OISTAT. They work under the auspices of the Congress and not as

representatives of their OISTAT Centre.

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3. The Governing Board, with the Executive Committee, is responsible for carrying

out the mission and goals as submitted to and approved by the Congress.

4. The Governing Board shall meet with the Executive Committee at least once per

year, not including its meeting at the Congress.

5. The Governing Board may at its discretion request the support of the Executive

Director or other OISTAT Headquarters staff as it from time to time deems

necessary.

Article XI THE EXECUTIVE COMMITTEE

1. The Executive Committee, is responsible for carrying out the mission and goals

as submitted to and approved by the Congress as well as the regular operation

of OISTAT. It is composed of the elected president and the seven persons

elected by the Congress.

The Executive Committee, with the Governing Board, is responsible for carrying out

the mission and goals as submitted to and approved by the Congress as well as the

regular operation of OISTAT. It is composed of the elected president and the seven

persons elected by the Congress.

2. The EC may, before each election, make recommendations as to the desirable

geographical or other suitability of individual candidates.

3. Members of the EC shall deliberate and vote in accordance with the interests of

OISTAT, not as representatives of their OISTAT Centre.

4. A quorum of the EC is five persons.

5. The procedure for the election of the members of the EC is governed by the

Election Rules (see Appendix 2).

6. Two Vice Presidents, a Secretary and a Treasurer will remain in office until the

first meeting of a newly elected EC, at which time elections must take place for

these officers. Only those elected to the EC may be officers. If a quorum is not

present, then the officers will remain in place until there is a quorum of the EC

when election of officers must take place.

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7. If there is an Executive Director or assistant to the EC, then he/she is a non-

voting ex-officio member of the EC.

8. The EC shall meet during each Congress. Additionally, the EC must meet at least

twice a year. The first meeting should be held within four months of the

Congress in order to elect the officers for the forthcoming period.

9. The EC will be chaired by the President, or in his/her absence, by one of the Vice

Presidents.

10. In the absence of a quorum, and where a decision is required, the President or

Chair of the meeting should make "pro tem" decisions.

11. The EC may replace a member of the EC that miss two consecutive meetings.

12. The EC may appoint Working Groups to carry out specific tasks.

Article XII THE PRESIDENT 1. A president's term of office lasts four years, from one regular Congress to the

next.

2. A president in office may be re-elected once.

3. After the expiration of their final term of office, he/she may continue to advise

the EC in an ex-officio capacity for two years.

4. The president shall be chosen during a regular meeting of the Congress, as held

every four years, by the voting delegates.

5. The procedure for the election of the president is governed by the Election Rules

(see Appendix 2).

6. The president has the title of President of OISTAT and is authorized to represent

OISTAT on official occasions.

7. Should the President not be available on any occasion, one of the two Vice

Presidents may be nominated by the President to assume this role.

Article XIII THE OISTAT HEADQUARTERS

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1. The EC may appoint an Executive Director and delegate duties to the Executive

Director.

2. The OISTAT Headquarters may be composed of an Executive Director and/or the

necessary office staff, that the Executive Director may be authorized to appoint

and discharge. The budget for all appointments will be set by the Treasurer.

Article XIV WORKING COMMISSIONS 1. The work of OISTAT is carried out by Commissions which specialize in the

various aspects of the OISTAT's work.

2. OISTAT currently has Commissions for:

• Performance Design,

• Theatre Architecture and related fields,

• Technology and related fields,

• Education and Training,

• Research,

• Publication and Communication

• Scenography and related fields,

• Theatre Architecture and related fields,

• Technology and related fields,

• Education and Training,

• History and Theory,

• Publication and Communication

3. Commissions may be created or changed from time to time according to the

wishes of the Congress and/or EC.

4. Every OISTAT Centre has the right and duty to send a delegate to each meeting

of each Commission and who must be active in a discipline for which the

Commission has been instituted.

THE SECRETARIAT

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5. Individual Members and representatives of Associate Members also have the

right to attend meetings and to take part in the work of the Commission.

6. It is the responsibility of each Commission to determine the work of the

Commission and to realize the tasks it has set for itself. It may set up Working

Groups to deliver specific tasks. A Commission may also be instructed by the

Congress, the Governing Board or the EC to perform a task. Each Commission

must have an annual meeting at which the business of the commission and the

election of Chairs are conducted.

7. The general program of all Commissions should be coordinated by the

Governing Board.

8. A Commission has the right and duty to determine its own working procedures.

These procedures may not conflict with these Statutes. They will not be

recognized as official working procedures until they have been approved by the

Executive Committee.

9. A Commission is presided over by a Chair, who is assisted by at least one Vice

Chair.

10. The Chair and Vice Chair are elected by the voting delegates on that

Commission for a period of four years. A Chair in office can be re-elected once

for a further period of four years. The procedure for the election of the Chair is

governed by the Election Rules (see Appendix 2).

11. The Chairs of the Commission are members of the Governing Board.

Article XV AWARDS 1. Persons who have provided an exceptional service to OISTAT over a long period

of time may be presented with an award.

2. A proposal for an award shall be in writing to the Executive Committee and may

be made by any member.

A proposal for an award shall be in writing to the Executive Committee and may be

made by any member of an OISTAT Centre.

3. The nature of the award shall be determined by the Executive Committee.

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4. In the investigations into whether an award is warranted, the Executive

Committee shall seek the assistance of the Governing Board or of an Advisory

Group especially appointed for the purpose.

5. The Advisory Group shall be made up of three members.

6. The Executive Committee shall be responsible for nominating the members of

the Advisory Group and for appointing the Chair.

7. The Advisory Group itself will determine its own working procedures.

8. If the Advisory Group's advice is positive, the President of OISTAT shall present

the award at the next following Congress or as decided by the Executive

Committee.

Article XVI FINANCES 1. The annual membership fee to be paid by each OISTAT Centre, associate

members and by individual members shall be determined by the EC. Fees are

due and payable each year. Members may apply to the EC for a reduction in

their annual membership fee for hosting an OISTAT meeting. 2. The EC will, at its first meeting after each Congress, elect a Finance Sub-

Committee of three persons, one of which is the Treasurer, who will be charged

with the supervision of the financial activities of OISTAT. 3. The Treasurer will report to the EC and to the Congress. 4. The day-to-day financial management of OISTAT is the responsibility of the

Treasurer. This responsibility may be delegated to an Executive Director by the

EC. 5. The Treasurer and the President will act as signatories for the expenditure of

OISTAT funds. 6. Upon leaving office, the Treasurer will pass all financial papers and records to

the new Treasurer and facilitate the changeover. 7. OISTAT may receive donations, support and subventions from governments,

institutions, public and private organizations and from individuals. Article XVII

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AMENDMENTS 1. Amendments to the Statutes or to the Election Rules will only be valid after

approval by a two-third majority vote at the Congress. 2. Proposals for amendments to the Statutes or the Election Rules should be

submitted to the EC at least four months prior to Congress. 3. All proposals for amendments will then be circulated to the OISTAT Centres for

discussions, at least three months prior to the Congress. Article XVIII DURATION 1. OISTAT is created for an unlimited duration. 2. OISTAT will cease to function if at least three-quarters of the OISTAT Centres

have expressed this decision by letter to the EC. 3. The EC will then declare OISTAT dissolved and will see to it that its affairs are

settled. 4. At the time of the dissolution of OISTAT, any remaining positive balance will

belong to the local autonomic community where the OISTAT Headquarters

locates or belong to the organization which is designated by the governmental

sponsor of OISTAT.

APPENDIX 1 ORGANIZATIONAL SUMMARY

1. OISTAT is composed of the member organizations in specific regions, known as

OISTAT Centres, Individual and Associate members.

OISTAT is composed of the member organizations in specific regions, known as

OISTAT Centres, and other members.

2. The directing body of OISTAT is the Congress, which is formed when the

delegates of the OISTAT Centres, and individual members are assembled in

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plenary session. The Congress elects an Executive Committee to establish policy

and be responsible for the administration of OISTAT.

3. The Congress elects a President to lead the Executive Committee in establishing

priorities, operational process, budgeting, spending as well as activities and

projects to further the goals of OISTAT.

4. The Executive Committee and President are responsible to the Congress.

5. The Executive Committee may appoint an Executive Director or other staff and

establish a Headquarters to attend to the day-to-day operation of OISTAT.

6. The Executive Director is responsible to the President and to the Executive

Committee. The Executive Director may employ additional office support staff.

The office staff are responsible to the Executive Director.

7. The general membership of OISTAT is organized into Commissions. Each

Commission elects a Chair to provide leadership to the Commission. The Chairs

of Commissions, and Commission Members are responsible to create projects for

the betterment of OISTAT members and the theatrical discipline.

8. All Chairs of Commissions together make up the Governing Board. The Governing

Board is responsible to report to the Executive Committee and give advice to the

Executive Committee from the opinions of the Commissions. The Chairs of

Commissions are responsible to give a report to each Congress.

9. It is the responsibility of the Executive Director and Headquarters Staff to give

advice and council to the Executive Committee and to the Governing Board.

10. Associate Members are full members of OISTAT and included in all activities, but

have no voting rights.

APPENDIX 2 RULES FOR THE ELECTION OF THE PRESIDENT, THE MEMBERS OF THE EXECUTIVE COMMITTEE AND THE CHAIRS OF COMMISSIONS A general schedule for elections which ensures continuity and complies with the

Statutes shall be made by the Executive Committee.

A general schedule for elections which ensures continuity whilst and complying with

the Statutes shall be made by the Executive Committee.

A. THE PRESIDENT

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1. At least one year before a Congress, the Executive Committee shall request all

the OISTAT Centres and Individual Members, in writing, to nominate candidates

for the post of President.

At least one year before a Congress, the Executive Committee shall request all the

OISTAT Centres, in writing, to nominate candidates for the post of President.

2. Within three months of the invitation any OISTAT Centres wishing to nominate

should send their candidates' names to the EC, together with any further

information requested by the EC. OISTAT centers have the right to nominate

candidates who are not member of their own organization.

Within three months of the invitation any OISTAT Centres wishing to nominate

should send their candidates' names to the EC, together with any further information

requested by the EC.

3. The EC will appoint one or more persons who will personally contact each

candidate and establish:

* what languages the candidate speaks.

* whether the candidature is fully supported by an OISTAT Centre.

* whether the candidate has sufficient time to work for OISTAT,

* how the candidate views OISTAT, its policies and its future.

4. Having interviewed the candidates, the EC will make the list public within eight

months from the date when the invitation to propose candidates was sent.

5. After the names of the candidates have been made public, they shall be entitled

to attend meetings of the EC until the next Congress. They shall have access to

the same information as the members of the EC, and be subject to the same

conditions as the members of the EC.

After the names of the candidates have been made public, they shall be entitled to

attend meetings of the EC until the next Congress. They shall have access to the

same information as the members of the EC, but the subject to the same conditions

as the members of the EC.

6. During the Congress, each of the candidates will be given the opportunity to

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address Congress for up to 15 minutes in order to explain what views he/she

has on the function of the President and on the future of OISTAT.

7. Voting for the President is by secret ballot.

8. The voting is supervised by a voting commission. The voting commission

consists of three members of OISTAT Centres who are not personally voting in

the election.

9. The new President must receive more than half of the votes cast.

10. If such a result is not obtained in the first ballot, a second election will be held

between the two persons ho have received the highest number of votes.

11. Should two persons have equally received the second highest number of votes a

ballot shall first be held between these two.

12. Should more than two persons have the highest number, the election process

will be commenced again.

13. If the votes should be equally divided in this subsequent ballot, then it shall be

decided by the EC.

B. THE EXECUTIVE COMMITTEE

1. OISTAT Centres and Individual Members are allowed to propose a candidate to

be elected to the EC, except that candidate members and Individual Members

who have less than two years of paid membership cannot be elected.

OISTAT Centres are allowed to propose a candidate to be elected to the EC, except

that neither candidate members nor Individual members of OISTAT can be elected.

2. When a person has been nominated for the EC, that person or his or her OISTAT

Centre must notify the OISTAT Headquarters of their willingness to support the

travel required should the nominee be elected. OISTAT Centres should note that

the working language of the EC is English.

When a person has been nominated for the EC, the nominees OISTAT Centre must

notify the OISTAT office of its willingness to support that person should they be

elected. OISTAT Centres should note that the working language of the EC is English.

3. No person may be on the EC for longer than three terms of four years. The

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person may also be President for up to two subsequent terms of four years each.

4. A voting commission is appointed before the voting begins. The voting

commission consists of three members of OISTAT Centres who are not

personally voting in the election.

5. Voting takes place by secret ballot. The voting commission prepares the ballot

papers. The names of the candidates are listed in alphabetical order on the

ballot papers.

6. Each voting delegate of an OISTAT Centre, and each individual member, receives

a ballot paper from the voting commission and casts seven votes by marking the

names of seven candidates. Only one ballot paper can be cast per OISTAT Centre

or individual members. Ballots that do not meet this condition shall be declared

void.

Each voting delegate of an OISTAT Centre, and individual members, receives a ballot

paper from the voting commission and casts seven votes by marking the names of

seven candidates. Only one ballot paper can be cast per OISTAT Centre or individual

members. Ballots that do not meet this condition shall be declared void.

7. The ballots will be collected by the voting commission and the votes cast

counted.

8. If two or more nominees have received an equal number of votes, resulting in a

tie for the final places, then a re-election will take place between

those nominees with an equality of votes. This vote will again take place by

means of ballot papers, and be conducted by the voting commission.

C. THE CHAIRS OF COMMISSIONS 1. Members of OISTAT Centres and Individual Members are eligible to be elected as

Chair of a Commission.

2. At least six months before a Commission meeting takes place at which a Chair is

to be elected, the EC will ask the OISTAT Centres and Individual Members to

nominate candidates for the post of Chair of the Commission in question.

3. The OISTAT Centres and Individual Members should send names and addresses

of possible candidates to the EC within two months.

4. The EC will appoint one or more persons who will contact the persons in

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question for further information.

5. This list will be made public at least two months before the Commission

meeting at which the election is to take place.

6. Only delegates of the OISTAT Centres and Individual Members attending that

Commission meeting will be entitled to vote.

7. The election takes place by secret ballot. Each voting delegate has one vote.

8. The candidate who has the highest number of votes cast, provided that these

are more than half of the votes cast, will become Chair.

9. If such a result is not obtained during the first election, then a second election

will be held between the two candidates with the highest number of votes. If two

candidates have equally received the second highest number of votes, then an

election shall first be held between these two candidates.

10. If there is an even number of voting delegates for an election, in order to

prevent a tie vote, an attending member from the EC will also cast a vote.

** This is a new added clause.

11. After the Chair has been elected, one or more Vice-Chairman will be chosen.

12. Should the Chair resign or otherwise leave office during his/her term of office,

the Commission will by the same procedures appoint an Interim Chair to hold

office until the next scheduled election or until its next meeting.

APPENDIX 3 INVITATIONS FOR OISTAT MEETINGS 1. OISTAT Centres are expected to issue invitations to OISTAT to hold meetings in

their region. There are at least eight meetings a year: six Commissions, one

Executive Committees and one Executive Committee with Governing Board.

Every four years there is a Congress.

OISTAT Centres are expected to issue invitations to OISTAT to hold meetings in their

region. There are at least eight meetings a year: six Commissions, one Executive

Committees and one Executive Committee with Governing Board. Every four years

there is the Congress.

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2. Proposals for meetings must be agreed between the hosting OISTAT Member

and the Chair of the relevant Commission.

3. The Commission Chair must inform the Headquarters and the Executive

Committee of the meeting plans.

4. The Commission Chair and the OISTAT member hosting the meeting then sends

the meeting information to the OISTAT Headquarters, who will then issue

invitations to OISTAT Centres and relevant Commission members.

The Commission Chair and the OISTAT member hosting the meeting then sends the

meeting information to the OISTAT Headquarters, who will then issue invitations to

OISTAT Centres and to relevant Commission members.

5. Persons who are not voting delegates but who are active in OISTAT may also be

invited, but if numbers are limited preference must be given to OISTAT Centre

delegates.

6. The host is urged to provide accommodation and daily subsistence for all the

OISTAT Centre voting delegates attending, the President or other representative

of the Executive Committee (if attending) and the Executive Director (if

attending). Any other persons attending are responsible for their own costs, as

are any persons accompanying voting delegates.

7. All delegates are responsible for their travel costs between their own region and

the city or town where the meeting takes place.

8. OISTAT Centres may join together to jointly host a meeting and may raise

commercial sponsorship to help meet the costs. Associate Members and

Individual Members may also be involved in hosting meetings.

9. More than one meeting may be hosted simultaneously, e.g. the EC with a

Commission or two Commissions together, and enjoy a common social

programme.

10. The Chair of the Commission and the host will plan together the entire program

of the meeting. The Chair will determine the business meetings agenda and the

amount of time required, and will consult with the host about additional

arrangements as they wish for lectures, visits and hospitality. The Commission

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Chair will guide and support the hosts through the process of preparing the

meeting.

11. The overall programme should be agreed at least one month prior to the

meeting.

12. The OISTAT delegates to a meeting should not be committed to any activities on

behalf of sponsors without the prior consent of the Commission Chair.

APPENDIX 4 MAKEUP OF THE EXECUTIVE COMMITTEE 1. The Executive Committee shall be comprised of eight members: the President,

two Vice Presidents, the Secretary, the Treasurer and three members at large.

2. The President is elected by the Congress, while the other four named officers

shall be elected by the EC at its first meeting following the Congress.

3. One Vice President shall be primarily responsible for Communications, while the

other Vice President shall be primarily responsible for Liaison with the Chairs of

Commission and with Working Groups.

4. The Secretary shall be responsible for keeping accurate records of meetings of

the EC, and the Congresses, and for maintaining the records of OISTAT.

5. The Treasurer shall be responsible for the financial operation of OISTAT. With

the approval of the EC, the Treasurer may appoint a financial subcommittee to

assist.

6. The members at large are to take on whatever duties the EC wishes.

APPENDIX 5

PROCEDURE FOR APPLYING AND BEING ACCEPTED AS AN OISTAT CENTER

1. An existing group of theatre professionals, or a newly formed group of theatre

professions decides they wish to have an OISTAT affiliation, meaning they wish

to become an OISTAT Center.

2. The leader of the group, typically the group’s president, writes a letter of

application to the OISTAT Headquarters. The letter of application should contain

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a description of the group including its history, its operational structure, the

composition of its membership, and the aims and objectives of the group.

3. The application is reviewed by the OISTAT Executive Committee, and if

approved the group is informed that the Executive Committee has granted the

group Candidate Membership status.

4. During the Candidate Membership years it is most beneficial if the Candidate

Member participates in as many OISTAT activities as possible, and hosts an

OISTAT Commission Meeting or other OISTAT activity. In this way as many

OISTAT members as possible will be able to be familiar with the Candidate

Member and it activities.

5. At the next OISTAT Congress, the OISTAT members at the Congress can vote to

accept the group into full membership.

**This appendix 5 is a new addition to the Statutes.

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6. OISTAT Candidate Centers

6.1 ESTTC /The Egyptian Scenographers and Theatre Technician Center, Egypt

The Organization Organization Name (Full): Egyptian Scenographers and Theatre Technicians Center

Organization Name (Abbreviation): ESTTC

Address: 3 Shafik Ibrahim from Dr. Lachin Street, Maryotaya, Faysal Giza, Cairo EGYPT

12561

Email [email protected]

Tel: 002012 23102205

President

Mr. Hazem Shebl

[email protected]

Contact Person

Mr. Hazem Shebl

[email protected]

Organization Profile • ESTTC is a voluntary independent, non-governmental and non-profit centre

representatives the theatre designers and theatre technicians.

• ESTTC supports performance visual art activities, research, Educations,

develops and promotions Egyptian Culture.

• ESTTC is a network among the Egyptian (may be the Arab in the future) stage

designers, theatre design students, researchers, professors, technicians to

promote and increasing opportunities for its practitioners and activities.

The ESTTC Aims and Objectives

• To support professional growth of the members of the centre and their

internal and external presentation.

• To introduce our culture and theatre designs to other countries.

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• Development of theatrical and Fine arts professionals, practitioners and

students.

• To stimulate the exchange of ideas and innovations, and to promote

international collaboration in professions which support live performances.

• To encourage lifelong learning among live performance practitioners.

• To encourage the Egyptian Scenography artists to participate by themselves

and their work and exchange the knowledge and techniques in the

international conferences and exhibitions.

• To create professional and corporative platform for those which specialize In

scenography.

• To create an active cooperation with the Egyptian Ministry of Culture.

• To promote the professional training, research, workshops, seminars and

contacts for young scenography designers.

• Maintain an ongoing relationship between the Egyptian Scenographers and

abroad.

Structure/ Members Council of the Association:

President: Hazem Shebl.

Secretary: Bassam Yaqout

Composition of Commissions Council

∗ Scénographic Commission

Hussien El Ezaby Nabil El Halwagy, PHD Mahmoud Hagag

Mohamed El Garabawy Amro Abdallah Naiema Agamy

Bassam Yaqout Mahmoud Abdel Latif Mahmoud Hanafy

Mohames Hosny Abo bakr el Sheref Ahmad el Hoshy

Ahmad Sabra Mohamed Katamish Mohamed Fathy

Hazem Shebl

∗ Technological Commission:

Mohamed Hashim Mohamed abdel Hamid Ahmad Salman

Hazem Shebl

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∗ Educational –Theoretical Commission:

Eslam el Nagdy, PHD Mohamed Saad, PHD Ahmed Abdel Aziz, PHD

Waheed El Saadani, PHD Samir Shahin, PHD

∗ Publication and archiving Commission:

Ahmed Khamis

Mostafa Awad

Membership

Any creative person, graduated or student of a higher institution of

Theatrical Art, Fine Art, Design departments or individual who shares the (E.S.T.T.C)

Aims and objectives and complies with provisions of this charter May be a member of

(E.S.T.T.C).

A person seeking (E.S.T.T.C) membership shall apply with the written formulated by

the association to the association board, the application shall be accompanied with a

written recommendations of at least two members of the (E.S.T.T.C), the board will

decide on adoption of a new member within one month following the receipt of the

application.

A person who actively supports the (E.S.T.T.C)’s activity may be Adopted an

honorable member of (E.S.T.T.C) under a decision of The (E.S.T.T.C)’s Board.

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6.2 YTA Union/Valerian Gunia Union of Young Theatre Artists,

Georgia

Organization Profile ∗ Mission

-YTA UNION is a non – governmental organization, that presents and supports

performance and visual art activities and research, develops and promotions

Georgian Culture

-YTA UNION, as a network among artists and organizers, promotes knowledge of

Performance and Visual Art as well as increasing opportunities for its practitioners

and organizers.

-In YTA UNION representatives of different professions - artists, designers, actors,

directors, theatre and art critics, curators are united.

∗ YTA UNION goals

- Development of Theatrical and Fine Arts

- Support of creative activity and promotion of artistic search and young

artists self-expression

- Protection of creative, professional and social interests of young theatrical artists

and critics

- Development of cultural policy

YTA UNION objectives

Creative work, research of cultural policy and intercultural dialogue in Georgia:

1. Excitation of new creative ideas in theatrical art.

2. Stimulation and support of active integration in international theatrical creative

processes of young Georgian theatrical artists and their propagation. Promotion

of contacts between young people.

3. Creation of the union young scenographers and protection of their professional

interests.

4. Carrying out of scientific research and educational activity in sphere of the

Georgian theatrical arts.

5. Development of new methodologies (including cultural policy).

6. Support of mutual cooperation of the nongovernmental organizations working in

sphere of culture. Coalition cooperation in sphere of a cultural policy.

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Structure

1. The controlling of YTA Union is the General Meeting /Congress/ which is

formed when the members of YTA Union are assembled plenary session.

2. YTA Union is administered Board/ Union founders/ and its Executive Director.

3. At the Union Executive Director is established the deliberate board - the

Directorate composed of the directors appointed by the Executive Director,

managers of the Center and Studio, manageress of Union branches.

4. The Union consulting body is the Advisory Board headed by the Honorable

President of the Union.

5. The control over the compliance with the Union Charter and use of the financial

assets and other property by the Executive Director and the Board in

accordance with the Charter aims and objectives is provided by the Auditing

Commission of the Union composed on two members of the Union. A person

being a member of the Auditing Commission at the same time shall not be a

member of the Union Board, the executive Director or program coordinator.

Honorable President

Alexandr Slovinsky - Stage Designer; Architect; Professor of Shota Rustaveli State

University of Theatre and Film and Tbilisi State Academy of Arts; The National Artist of

Georgia

YTA UNION BOARD MEMBERS/ Union founders

∗ Executive Director-Nino Gunia-Kuznetsova - Stage Designer, Curator, Art Critic; EC

National Expert of Cultural Policy (CE/ERICarts), Founder& Board Member.

• Manana Gunia - Stage and Costume Designer,YTA union Founder & Board

Member. Lives and works in Italy;

• David Gogolashvili - Artist, Sound Designer, YTA Union Founder & Board

Member

• Bekar Jumutia - Artist Tumanishvili Film Actors Theater, YTA Union Founder &

Board Member. Project Manager & Producer PQ07 Georgian School Exhibition

• Zurab Nakashidze - Manager, YTA union Founder & Board Member

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∗ Directorate

• Malkhaz Barbakadze - Screenwriter, multimedia engineer, Head of YTA

Union`s Multimedia studio, YTA Union Board Member, Professor Shota

Rustaveli State University of Theater and Film.

• Rafaelle Romano - web developer, programmer. Lives and works in Italy

∗ Auditing Commission

• Nikoloz Lomashvili – Artist, YTA Union Board Member. Lives and works in USA.

• Maia Koupounia – Artist, YTA Union Board Member. Lives and works in USA

∗ Advisory Board/ YTA Union EXPERTS • Marina Baliashvili –Doctor of Psychology; Deputy Director of the D. Uznadze

Institute of Psychology of the Academy of Sciences of Georgia.

• Tamar Bokuchava -Doctor of Arts, Full Professor, Shota Rustaveli State

University of Theatre and Film

• Nana Kipiani - Doctor of Arts, Associate Professor, Ilia State University

• Marianna Oakley - Doctor of Arts, Head of Ilia State University Theatre

• Meri Matsaberidze - Head of Scenography Department, Georgian State

Museum of Theatre, Cinema, Choreography and Music.

YTA UNION MEMBERS

1. Maxim Obrezkov – Stage Designer of Vakhtangov Theatre. Lives and works in

Russia.

2. Eka Sologhashvili – Stage Designer

3. Lasha Khidasheli – Sculptor. Lives and works in U.S.A.

4. Maia Beroshvili -Stage Designer

5. Tea Tomadze -Stage Designer

6. Nino Lominadze -Stage Designer

7. Tamar Grdzelidze -Stage Designer

8. Nino Tatarashvili -Stage Designer

9. Tiko Sanadze - Stage Designer

10. Nana Kalandarishvili - Stage Designer

11. Nino Maglakelidze - Stage Designer

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12. Avtandil Dolaberidze - IT Manager

13. Shio Abrakhamia - Conductor

∗YOUTH SECTION

1. Giorgi Bokuchava - Architector

2. Sergey Shivts - Stage Designer

3. Tamar Bulalauri - Stage Designer

4. Nino Javakhishvili - Stage Designer

5. Sandro Nakashidze - Sound Designer

6. Tamta Mandzulashvili - Sound Designer

7. Nino Meladze -Artist

8. Nikoloz Megrelishvili - Directed

9. Lasha Sherozia - Directed

10. Georgi Khositashvili - Directed

11. David Chkhartishvili - Directed

∗Candidates for Membership • Mariam Gochashvili - BA of Arts Science

• Nino Kobaidze - BA of Arts Science

• Khatia Chokhonelidze - BA of Arts Science

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6.3 UDS /Union Des Scénographes , France

« The scenography is the art to design the space convenient to the public representation or presentation of a work, an object, an event. There is no scenography without theatrical experience.”

What is Union des scénographes ?

The Union of scenographers (Union des scénographes) is an independent trade union

which gathers in France set designers, theatre consultants and exhibition designers.

UDS emphasizes on the links between all scenographers in the exercise of their skill

and their intellectual, artistic and social mission.

History Succeeding in 1996 to the AFSTT-Association française des scénographes et

techniciens de théâtre (French Association of theatre scenographers and technicians,

created in 1969 after Oistatt creation), the UDS was established by Alain Batifoulier,

Yves Cassagne, Frédéric Chauvaux, Jean Chollet, Françoise Darne, Gérard Didier, Guy

Claude François, Marcel Freydefont, Claudine Gastine, Evelyne Guillin, Jean Haas,

Yannis Kokkos, Christine Marest, Richard Peduzzi, Marc-André Risacher, Raymond

Sarti, Nicolas Sire and Lionel Soulié.

Objectives

Under the successive chairs of Guy Claude François, Christine Marest, Gérard Frisque,

and at present of Raymond Sarti, the object of the union of scenographers is the

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protection of their rights, the establishment of the administrative and legal frames of

this profession, and to maintain constant relationships with the other labor unions or

associations in France and abroad.

Relationships and actions

Since 1996, UDS works together with the national Labor union of authors and

composers (SNAC-Syndicat national des auteurs et compositeurs) for the recognition

of the scenographer as an author himself and for the protection of copyright on his

work.Since 2005, UDS has started a fruitful reflection with the national Labor union of

the theatrical directors (SNMS-Syndicat national des metteurs en scène), which i also

an authors' labor union.

UDS also opened a dialogue with REDITEC, national association of live performances

technical managers.

UDS is connected to RésoScéno, national association of schools and training centers of

scenographers, on the creation of a national Diploma and also with the European

Institute of scenography (IES), implanted at the University of Grenoble whose object is

the development of research in scenography.

French center OISTAT

UDS is the unique trade union in France for this profession and constitutes along with

REDITEC, the French center of the OISTATT, international Organization of the

scenographers, architects and technicians of theater.

Publications

In 2013, UDS originated the publication of Scenographers in France (1975-2012), an

anthology of the scenographers in France. Also with the belgian rewiew Etudes

Théâtrales What is scenography?

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Members of the organization

∗ Office

Président : Raymond Sarti

Vice-Présidents : Jean-Paul Chabert, Gérard Didier, Gérard Frisque

Secrétaire Général : Marcel Freydefont

Trésorier : Philippe Marioge

Trésorière adjointe : Magalie Lochon

Conseil d’administration :

Enguerrand Chabert, Jean-Paul Chabert, Josette Chassard, Muriel Delamotte, Claire

Dehove, Gérard Didier, Alain Dumont, Guy-Claude François, Marcel Freydefont, Gérard

Frisque, Jean-Guy Lecat, Magalie Lochon, Christine Marest, Philippe Marioge, Danièle

Rozier, Raymond Sarti, Nicolas Sire

Relationships with Oistat : Jean-Guy Lecat

U D S

Syndicat des scénographes de spectacle, d’équipement et d’exposition

1 rue Mercoeur F 44 000 Nantes

Email : [email protected]

Numéro de Siret : 4438679080016 Code APE 911 A

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mailto:[email protected]

6.4 PRO SCENA /SLOVENSKÁ SCÉNOGRAFICKÁ SPOLOČNOSŤ, občianske združenie profesionálnych scénografov a technikov, Slovak Republic

PRO SCENA

www.proscena.sk

PRO SCENA – SLOVAK SCENOGRAPHIC COMMUNITY A civil association of professional scenographers and technicians

WHO WE ARE It’s been autumn, a year 2008 and there has been many various events which many

of us, scenic designers, have attended. We’ve been glad to see each other and we’ve

had a number of common topics so we have come up with an idea to establish civil

association of scenic designers. Our first general meeting took place on December

12, 2008. About 35 of us have met and while having a traditional Christmas soup,

we have established a civil association called PRO SCENA. We have agreed on the

following statute:

PRO SCENA is a voluntary, open and independent civil association established as a

professional-corporative association of personal and legal entities active in fine arts,

arts and crafts, technical and theoretical professions working in the field of theatre,

film and television.

MISSION STATEMENT

Our mission was to organize a professional and corporate platform for active

professions in the field of scenography, costume design, architecture, their theories

as well as all the theatrical, television and film techniques related to visual, handcraft

and technical type, support of professional development and presentation of the

association members, coordination of membership basis cooperation, state

administration and consulting in specialized enquiries.

During the years of our existence we provided several exhibitions about Slovak

scenography which were very successful. Our plan is to continue in presenting Slovak

scenography platform, we are cooperating with young generation of theatre artist as

well. Our aim is to encourage young scenographers to present their work in Slovakia

and abroad as well.

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MEMBERS OF PRO SCENA OISTAT CENTRE

(which are different than the one who are leading Pro Scena for Slovakia, if you need

to know the Slovak leadership look the page www.proscena.sk)

President: Peter Čanecký, 0905 543018, [email protected]

General Manager: Zuzana Hudeková, 0908 585417, [email protected]

Contact person: --------//---------

Other, Office: Naďa Šimunová, 0944 133709, [email protected]

Architecture: Jan Ptačin, 0911 861106, [email protected]

Education: Jan Kocman, 0905 273759, [email protected], Marek Gašpar Šafárik

History and theory, and Publication: Dagmar Podmaková, 0903 700450,

[email protected]

Technology: Jakub Kováč, 0948 366859, [email protected]

Scenography: Zuzana Hudekova

Costume: -------//-----------

Lighting: Jan Ptačin

OBJECTIVES The objectives of the Association are as follows:

• The project of civil association PRO SCENA starts to fill in the information gap

within this field: a summary of works of professional scenographers and

costume designers in the area of theatre, film, television and several other

activities in Slovakia and abroad.

• to create professional and corporative platform for those professions, which

specialize in scenography, costume design, theatre architecture and their

theory as well as any theatre, television and movie techniques of visual, craft

or technical nature;

• to support professional growth of the members of the Association and their

external presentation;

• to initiate and coordinate cooperation between the member base and the

state administration;

• to provide consultancy in professional issues, which fall within the scope of

its activities;

• to be a member of the International Organization of Scenographers and

Theatre Architects and Technicians administered by UNESCO (Organization

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Internationale des Scénographes, Techniciens et Architects de Théátre with its

seat at Suite A, 2F, No.7, Sec.2, Renai Rd., Taipei 10055 Taiwan – hereinafter

referred to as “OISTAT”),

• to serve as the Slovak OISTAT centre and nominate its representatives in

OISTAT bodies;

• to prepare and initiate enacting of the Act on the Slovak Chamber of

Scenographers, Technicians and Theorists specializing in theatre, television

and movies.

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6.5 ASC/Associazione Italiana Scenografi Costumistie

Arredatori, Italy

A.S.C., Associazione Italiana Scenografi, Costumisti e Arredatori (Italian Production

Designers, Costume Designers and Art Directors Association) was founded 34 years

ago.

The Association today is in line with similar European Associations to gather together

artists and professionals who share the same goal:

Spread out and give visibility to the quality, knowledge and creativity of the Art of

Production and Costume Design in Italy.

Its purpose is to become a “point of attraction”,to create fertile ground for historical

and scientific research, to stimulate “critical” approach through the incredible artistic

heritage which finds its expression through Cinema, Theatre, Opera, TV and generally

every field to which Production and Costume Designers have given their contribution.

The Association is now aimed to all those Professionals who want to join together to

stand up for the quality of our Professions.

One of our goals is to build a bridge between old and new generations of dedicated

Production Designers, Costume Designers and Art Directors, thus contributing to the

transmission of knowledge and experience.We are also joining forces and energies to

defend the dignity of our category and our work, ensuring that our presence and voice

will not be unheard in any Political or Cultural Institution, where we can actively

promote initiatives to bring attention to our issues, problems and plans for the future.

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7. World Stage Design 2017 Proposals

7.1 China Association of Stage Art & Central Academy of Drama &

National Academy of Chinese Theatre Arts, China

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7.2 City of Vigan ,Philippines

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7.3 TATT/Taiwan Association of Theatre Technology, Taiwan

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8. Discussions

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9. Voting

Voting Process

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Appendix I


Louis Janssen

Theatre consultant, director at ‘theateradvies bv’

www.theateradvies.nl

Louis has more than 40 years of experience in theatre. He has worked in several theatres, working his way up from stagehand to technical director. He also worked for ‘Toneelgroep Amsterdam’, the largest Dutch touring drama company, as technical director.

In his professional practice, he has directed the design of theatrical infrastructure for the construction and renovation of more than 100 theatres in various countries. Additionally, he has distinguished himself as designer for his innovative contributions, such as the “wireless” grid, which has become a standard in the Netherlands and is gaining ground in other countries. He is a strong advocate for good working conditions in theatre e.g. daylight on stage.

Louis has been long active in both national and international theatre associations. As member of the VPT he has served on the board of that organization, member of the editorial board of 'Zichtlijnen', the Dutch theatre magazine and board member of 'Stichting Tekening', a foundation that manages a digital database of drawings of all Dutch theatres. He is also on the board of 'Stichting Vakbeurs Theatertechniek', a foundation that organizes the biannual Dutch Theatre Technical trade show.

In OISTAT he has held positions at the Executive Committee and Technology Commission. He has been member of the TC for almost 20 years, 12 of them as vice chair. He was a member of the EC for 12 years, 8 of them as vice president. After a 4 year pause in his activities for OISTAT, Louis was elected President of OISTAT in Seoul in 2009. He is frequently invited to give lectures and workshops at conferences and international theatre events.

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http://www.theateradvies.nl/

Member of the VPT (the Netherlands); STEPP (Belgium); DTHG (Germany); TATT (Taiwan)

Honorary member of OISTAT

Member of the Society of Theatre Consultants

Recipient of the “Frits van den Haspel” award

International collaboration has always been key in Louis’ professional career. As technical director of theatre company ‘Toneelgroep Amsterdam’, as theatre consultant for his own company ‘theateradvies bv’ and as an active member of OISTAT he has travelled around the world, and built an international network of colleagues.

Louis loves cooking!

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Piotr OBRACAJ









3. History of Work:

Full time job:






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Part time job:

Design Office for Town of Bytom – designer, 1975-1978 University of Silesia, Katowice, Faculty of Radio and TV –

lecturer,1978-1980 (photography and scenography) Cooperation with Silesian Theatres from 1980 as a

scenographer Cooperation with Design Office for Town of Zabrze as a

designer, from 1987 Cooperation with Polish Centre of Scenography in Katowice,

from 1995

4. Other important achievements:

Award at Regional Survey of Architecture in 1987 for “Project and realization of Audiovisual Hall in Bytom”

Silver Medal at Praque Quadriennalle –International Exhibition and Competition for Scenographers, Technicians, and Theatre Architects in 1999, co-author (together with Jerzy Moskal)

Award of Polish Ministry of Culture as Person of Merit for culture activity, 2001

5. Participation in organization and associations:

OISTAT -International Organization for scenographers, technicians, and theatre architects , Commission of Architecture, chief of Polish Committee

Polish Association of Scenographers – member Polish Association of Architects – member

6. Hobby: Music, Literature, sport ( skiing, swimming, canoeing, judo)

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Aby Cohen

Sao Paulo│Brazil. Scenographer and art director, working on creation and production of Theater, Museology, Expography and Cinema projects. Currently developing PhD studies in Performing Arts/Scenography at ECA│USP – School Of Arts and Communication at University of Sao Paulo, continuing from the completion of the M.A. with a research dedicated to the practice and educational processes of Brazilian scenographers in the contemporary scene. Graduated in Arts and Design at FAAP │SP. Started working in Theatre at the scenography department of the Theatrical Research Center - Centro de Pesquisa Teatral│ CPT - directed by Antunes Filho from 1992 to 1997, after that with Paidéia Theater Co. from 1999 to 2006. Since 1992 has also working on numerous projects for a variety of independent theater productions. In the Expography│Museology field develops projects with diverse institutions in Brazil as SESC Pompeia, Sangari Institute, Israeli Cultural Center, The Museu da Casa Brasileira, Lasar Segall Museum, International Bienal of Arts of Sao Paulo, Centro Cultural Banco do Brasil, Funarte, among others. Has been also developing international collaboration projects as BienalFindelMundo, 2007 with Fundação Patagonia │Argentina; Bienal do Mercosul, 1999 and 2005│various countries from Latin America; MixMax Brasil, 2012-2015 with Tropenmuseum │Holland.

Has participating of the Prague Quadrennial since 1995 representing Brazil - in 1999, as co-curator and designer of the Brazilian Thematic Section, and in 2011, as co-curator and designer of the Brazilian National Exhibition at PQ’11, the exhibition awarded with the Golden Triga.

Founder-member of CenografiaBrasil, a group that, since 2002, congregates professionals from scenography and related areas, in order to develop actions focused on reflection, debate and development of Brazilian scenography. Affiliated to OISTAT since 2003 as individual, becoming a member of ABrIC│OISTATBr, and member of the OISTAT Education Commission.

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H. B.(Bert) Determann

1978 ATHENEUMDIPLOMA

1978-1982 AKADEMIE VAN BEELDENDE KUNSTEN ROTTERDAM ACADEMY OF ARTS, ROTTERDAM (nowadays ‘Willem de Kooning Academie’)

1980-1984: 'U-KOLLEKTIEF' (‘U-Collective’) Arts collective in which 4 artists worked together in a shared workshop. As a sideline, it developed into a foundation for stimulation of the arts in a low-developed quarter of Rotterdam, specializing in art courses for the people living in that particular part of town. Cooperation with city council and municipal arts programme. Various projects, amongst others a film for ‘het Havenbedrijf’ (Port of Rotterdam), participation in radio programmes, first steps in theatre by manufacturing the giantess for Robert Wilson’s “CIVIL WarS” in Rotterdam as part of the global tour. By 1984 ‘U-Kollektief’ was the third largest organisation on arts courses in Rotterdam. Involvement prolonged for some years as chair of the foundation.

1984-1989: 'BERT DETERMANN VORMGEVENDE PRODUKTIES' (‘Artistic Design & Production’) Creative and artistic design, and production of projects. Set- and exhibition design and construction, special affects, interiors, scenic painting. As of 1984 involved with all (decors/scenery for) performances of ‘RO Theater’, the city drama company of Rotterdam.

1989-1993: 'VORMGEVING DETERMANN & SMITFOORT BV' (‘DETERMANN & SMITFOORT DESIGN Ltd’) Expansion of activities and development towards project coordination. Increase of activities in theatre, musea, events. Workshop expands and specialized employees are engaged. Various projects, amongst others scenic work for for ‘Diergaarde Blijdorp’ (the Rotterdam Zoo), and design and construction for a Rotterdam City information centre. Expansion of involvement with the ‘RO Theater’ ( www.rotheater.nl ). In this period

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the company takes charge of their decor workshop. Personally responsible for all scenic painting and modelling.

1993 - present: ‘DECORATELIER VORM & DECOR BV’ (‘VORM & DECOR SCENERY WORKSHOP Ltd’) In collaboration with the RO Theater, their company’s workshop was privatized and merged into ‘Vormgeving Determann & Smitfoort Ltd’. The company carried on under the name ‘Vorm & Decor’. All activities now take place in the (2000 m2) workshop in Rotterdam ( www.vorm-decor.nl ).

‘Vorm & Decor’ develops into the largest independent scenery workshop in the Netherlands. In the first years of the century it has around 35 full time employees. ‘Vorm & Decor’ specializes, due to the Dutch system, in travelling sets and scenery.

Sets are technically designed and built for numerous companies in the Netherlands and abroad: England, Japan, Belgium, France and Germany (see website).

In 2003 the scenery workshop of ‘Toneelgroep Amsterdam’, the nations largest drama company, was also privatized into a sister-Ltd: ‘Atelier Amsterdam’. The workshop’s Amsterdam location (also 2000 m2) became the company’s second base. Together the workshops hosted almost 50 highly specialized employees.

In 2006 a reorganisation was implemented and both workshops merged into the Rotterdam location. Logistics in the crowded area of the agglomeration of Amsterdam and Rotterdam were driving up the costs to an untenable level.

In 2004 – ’05 daily (practical) involvement decreased, after over 20 years of physically working on almost 500 decors. Daily responsibility was handed over to my brother, by then a long-time comrade in business. From then on commitment to the company continued as supervisor and owner of the company.

2006 - present: General Manager of the ‘Rotterdamse Schouwburg’ (Rotterdam City Drama Theatre, www.rotterdamseschouwburg.nl ), member of the board of directors and in charge of all divisions. The Rotterdamse Schouwburg belongs to the best Dutch theatres and programmes drama, dance and opera. It has its own production entity and produces and hosts several renown festivals. It yearly shows over 500 performances and activities in three venues, welcoming 150.000 visitors.

The theatre was privatized just four months before I was asked to join the team. Used to being embedded in the municipality, the organisation stood for the task of becoming an independent foundation. Hence, the theatre needed change management. Being specialized in governing and people management, my task was to integrate my experience as an entrepreneur in the cultural field into the new organisation.

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http://www.vorm-decor.nl/

http://www.rotterdamseschouwburg.nl/

FURTHERMORE:

Daily activities: Being owner of ‘Decoratelier Vorm & Decor BV’ responsible for and in charge of policy, governing and management.

Being one of the two directors of the ‘Rotterdamse Schouwburg’ and in charge of general management.

The two functions are combined.

1996-2009: Appointed as volunteer fireman in the community of Ouderkerk a/d Ijssel Education: firewatch, chief firewatch, instructor and technical specialist on succour. For several years treasurer of the firemen’s club.

2002-2008:

• Member of the board of ‘Vereniging voor Podiumtechnologie’ (VPT), the Dutch OISTAT centre (secretary, member of executive committee). VPT represents 1400 members.

• 2002-2005: Member of the board of ‘Zichtlijnen’ (‘Sightlines’), the Dutch trade paper / magazine on theatre technology.

• 2004-2005: Participant of the special committee for reorganisation of the VPT.

• Member of the board of ‘Frits van den Haspel Boekenfonds’ (Frits van den Haspel Book fund, on theatre books).

2004 - present: Being the successor of Louis Janssen actively engaged with OISTAT, voting member of the Technical Commission. Never missed a meeting. Technical chair of the Dutch OISTAT committee. Member of the CEN workshop on ‘Lifting and Load Bearing within the Entertainment Industry and other Production Area’s’.

2005 - 2011: Member of the board of ‘Dorpvisie Gouderak’ ( www.ouderkerk.nl ), a commission in charge of developing and implementing a vision and scope of 15 – 20 years, on a rural village and it’s surroundings in an agricultural area in the vicinity of Rotterdam. The commission works closely together with the local authorities and municipality.

2005 – 2008 chair of the board, now a member.

2007- 2010: Commissioner on the Board ‘Rabobank Krimpenerwaard’ ( www.rabobankkrimpenerwaard.nl ). Rabobank is a renown Dutch ‘triple A’ bank, consisting of 160 independent RABO banks, one of which is the ‘Rabobank

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http://www.rabobankkrimpenerwaard.nl/

Krimpenerwaard’. This bank has 11 places of business, 5 bank offices, 260 employees, and a balance sheet value of over 1,5 billion euros.

2001 – 2005 Member of the board of Commissioners of ‘Rabobank Gouderak’. 2005 – 2007 chair of the Board of Commissioners of Rabobank Gouderak, which merged during my chairmanship with two other banks into ‘Rabobank Krimpenerwaard’ (see above).

2007 – present: Member of the board of the ‘Ondernemersfederatie Rotterdam City’ (OFRC), the federation of economic operators and entrepreneurs in the City district of Rotterdam. The federation represents 1500 members and acts as discussion partner to the City administration. Chair of the cluster ‘Arts & Culture’ ( www.cityrotterdam.nl ).

2007 – present: Member of Lions club ‘L’Esprit du temps’ ( www.lions.nl/rotterdam.lespritdutemps/ ), a club with a special bond with Arts and Culture.

Characteristics: Talent for working with people. Accurate organiser with a feel for structure and governing, combined with knowledge of the cultural field and entrepreneurship. Able to combine all kinds of tasks and activities and taking pleasure in creating surplus value out of all these aspects.

Mother tongue: Dutch. English, German: fluently. French: adequate.

Trivia: Member of the board of a culinary club in Gouda and in general supporter of the good things in life. Involved in various village & rural activities (both leisure and managerial).

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http://www.lions.nl/rotterdam.lespritdutemps/


Nomination for OISTAT Executive Committee

Chris van Goethem Stage technology educator & consultant; STEPP board member

Chris Van Goethem is a member of Steunpunt voor de Producerende, Ontwerpende, en Technische krachten van de brede culturele sector (STEPP) the Belgian OISTAT centre and a member of the STEPP board. He teaches and is responsible for the expertise center for technical theatre at RITS, Erasmus University College, and is involved in research on history, technical theatre, education and competence management. He works as a consultant and educator in technical theatre internationally.

His career started as technician in a rental company then he became active in non‐professional school and community theatre, later he became stage manager touring Europe with companies like Théâtre de la Place Luik, De Warande Turnhout, Young Persons Theatre (UK), Open Doek, different festivals in Morocco, Squonk Opera Pitsburg (US), Theater aan Zee, Champs d'action, Cultuurmarkt Antwerpen, Theater Stap, Behoud de Begeerte, Villanella, Kommil Foo en Raamtheater.

His fields of interest are lighting, production, special effects and history of technical theatre. He has consulted on the creation of the Flemish professional profiles and standards for theatre technicians, and the creation and establishment of several education programs and adult continuing education programs.

He has been very active in OISTAT involved in international projects like Scenofest (03 & 07, Prague), Wakha‐Wakha (Morocco) , EuroMei, Scenart (Romania), OISTAT EduCom (vice chair 2004‐2011), OISTAT Time line.

STEPP vzw Sainctelettesquare 19 1000 Brussel Tel: 02 203 92 06 www.stepp.be ondernemingsnummer BE0422 .254.757 IBAN BE24 4025 5251 6138 BIC KREDBEBB

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Duncan Ei Eu Chang

Education: St. John’s Institute of Technology; Mechanical Engineering

Professional Organization: -- Founding President of TATT (Taiwan Association of Theatre Technology) 1998-2004 -- Elected as Vice President of OISTAT 2009 -- Member of the International Advisory Committee of the 7th International Symposium on Optical Storage 2005 -- A member of the International Selection Jury for the inaugural World Stage Design Exhibition ~2005 in Canada -- Director of Radio Frequency Developing Committee, R.O.C. 1991-1998 -- Member of the International Selection Jury for the inaugural World Stage Design 2005

Professional & Investment -- Executive director of the Linfair Engineering and the President of the Group since 1986. Responsible for formulating the overall business strategy and direction of business development and overseeing the entire operations. Linfair Engineering is a service & system integration provider in the broadcasting, performing arts, entertainment, optoelectronics and air traffic control industry established 1958 in Taiwan with branch and subsidiaries at Kaohsiung, Hong Kong, Beijing, Shanghai, Guan Zhou, Macau, Kuala Lumpur & Kobe. (www.linfair.net) -- Full Shine Film Laser Subtitle Co. Ltd. Founded with 2 partners at 1999 in Taiwan. Business including: film laser subtitling, documentary Film Production and service for film subtitle. -- Gold FM Network, an FM radio network in Taiwan -- Taipei Philharmonic Radio, a classic music FM station -- Lynxtech Precision Technology Co. Ltd., a manufacture of factory automation, process production equipments and LED display system. (http://www.lynxtech.com.tw)

Publication -- Ticket Box, a magazine about motion picture 1986-1988 -- Behind the Scene, a magazine about technology of performing arts and broadcasting; 1982-199

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Gerard van Hezewyk

Professional Objective

A leadership position that would fully utilize the skills and knowledge that I have acquired through twenty-one years of experience in managing the technical and production aspects of live performances for many prominent cultural institutions.

Summary of Qualifications

Project/Event Management

Effective decision-making in planning and executing the production requirements for live presentations in many genres in accordance with the objectives and standards of several renowned performing arts organizations.

Capacity to multi-task as demonstrated by concurrently managing the opening of a major performing arts facility, hiring and training of a large staff, and overseeing the planning of an inaugural season of presentations.

Experienced in creating ministerial level reports, drawings and schedules utilizing many PC- based applications, facility/event management software and CAD programs.

Financial Resource Management

Demonstrated ability in integrating artistic achievement with fiscal responsibility through successful negotiation and monitoring of agreements with performing groups, suppliers and contractors for hundreds of projects.

Effective cost control of annual budgets of over five million dollars in operating, and tens of millions of dollars in capital expenditure and project budgets.

Human Resource Management

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Led departments of up to twelve management staff and over 100 support staff to provide all aspects of technical/production support in busy producing and presenting environments.

Adept in maximizing achievement in work environments involving a diverse range of skill sets and abilities. This includes highly structured unionized labour settings, as well as within institutions of higher learning.

Possess a broad knowledge of and strong commitment to safe working practices as demonstrated by the founding and chairing of a health and safety committee for an organization of over 400 full-time and temporary staff. Developed of a set of ISO certified occupational health and safety policies and procedures for this institution.

Facilities Management

Proficient in current international practices for technical systems design and engineering as demonstrated through the effective supervision of the installation, testing and commissioning, training, operation, preventative maintenance and repairs for over 50 million dollars worth of state-of-the-art theatrical infrastructure and equipment.

Professional Experience

Production Manager / Administrative and Professional Officer, Facilities and Operations UNIVERSITY OF ALBERTA -Department of Drama (Edmonton, AB) 2010 – PRESENT http://www.drama.ualberta.ca/

As a senior administrator (Assistant Chair rank) within the Faculty of Arts -am currently responsible for all logistical aspects for Canada’s foremost university theatre training program.

Lead a full-time team of ten specialist support staff while facilitating teaching and research initiatives for a department consisting of over 24 full-time faculty members, and 350 graduate and undergraduate students in eleven programs of study.

Manage operational aspects of Canada's top theatre training facility, while ensuring operational readiness of its four venues and numerous support spaces (average capital equipment and infrastructure expenditures of $300K per year).

Oversee the creation and presentation of more than twenty fully staged productions during the academic year, as well as a multitude of creative research projects.

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Oversee multiple practicum courses and supervise independent study projects for Production, Design and Acting Fine Arts majors.

Production Manager THE GRAND THEATRE (Kingston, ON) 2008 - 2010 http://www.kingstongrand.ca/

Project managed all production/logistical aspects for the reopening of this newly restored vaudeville era performance venue.

Worked with the construction management team to resolve warranty and defect rectification issues following a 17 million dollar renovation. Established service contracts for key systems preventative maintenance and repairs. Managed a five-hundred thousand dollar audio system installation project.

Negotiated the renewal of a three year collective bargaining agreement with the International Alliance of Theatrical Stage Employees (IATSE).

Organized an inaugural season of city funded programming of theatre, dance, variety and music acts for this 130 year old receiving venue. Liaised with many popular touring acts and regionally based producing organizations to facilitate their presentations in this historic theatre, as well as within a newly commissioned ‘black-box’ studio.

Technical Director – Believe CIRQUE DU SOLEIL (Las Vegas, NV) 2006 - 2008 http://www.cirquedusoleil.com/

Lead a technical project team to support the creation of the Cirque’s sixth resident show on the Las Vegas strip.

Managed technical aspects of the production from concept through installation.

Led a project management team of 12 and installation crews of over 120 persons in the creation and implementation process.

Controlled a 30 million dollar budget for scenic elements and state-of-the-art technical equipment.

Collaborated with a variety of stakeholders to ensure that the 1500 seat hotel showroom was retrofitted and staffed to accommodate the demands of the production as they constantly evolved.

Production Director ESPLANADE-THEATRES ON THE BAY (Republic of Singapore) 2001 – 2006 http://www.esplanade.com/

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http://www.cirquedusoleil.com/

http://www.esplanade.com/

As a member of the senior management team, played a key role in the development and running of a 550 million dollar multi-venue performing arts centre within a fledgling arts industry.

Represented the Singapore Ministry of the Arts by collaborating with the architects, specialist consultants and project managers to ensure that a world-class product was constructed.

Created and implemented a detailed testing, commissioning and handover plan that facilitated a rapid and smooth transition from construction to full-fledged operations.

Developed and led the Production Services department - the single largest unit within the organization comprising of over 45 full-time staff (over ¼ of the company’s headcount) to handle all operational aspects of the over 2,000 events staged per year.

Initiated an elaborate training plan to educate a novice staff in the technical support requirements of a busy world-class venue within a diverse cultural environment that possessed no background in the formal presentation of large-scale theatrical events.

Technical Director – Theatre THE NATIONAL ARTS CENTRE OF CANADA (Ottawa, ON) 1992-1994, 1995-2001 http://www.nac-cna.ca/

Organized the technical aspects of over 200 English and French language theatre productions and co- productions on stages across Canada while consistently meeting or surpassing the organization’s objectives pertaining to creative outcomes, deadlines and budget control.

Associate Technical Director LIVENT/Live Entertainment of Canada Inc. (Toronto, ON) 1995

As a contract with impresario Garth Drabinsky’s theatrical production company, and in collaboration with the Technical/Production Director, managed the creation and Canadian tour of Music of the Night, a multi-million dollar tribute to the music of Andrew Lloyd Webber. Achieved the standards of quality set by Sir Lloyd Webber for the original touring production, which subsequently resulted in an extended tour throughout the United States.

Technical Director THE MANITOBA THEATRE CENTRE (Winnipeg, MB) 1994-1995 http://www.mtc.mb.ca/

Led teams of technicians and artisans in the creation of theatre productions for one of Canada’s largest and long established regional theatre companies. Implemented improved cost control management in the creation process as well as the use of CAD drawings in the production department.

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Technical Director LES GRANDS BALLETS CANADIENS (Montréal, QC) 1990-1992 http://www.grandsballets.qc.ca

Planned and executed all technical/logistical requirements for two seasons of classical and contemporary ballet performances while in residence at La Place des Arts (3200 seat opera house) for this company of 48 dancers. Successfully managed extensive tours throughout North America, Asia and Europe while gaining a strong reputation for quick and effective decision-making, stamina and collaborative approach.

Education

Graduate of the Technical/Production Program THE NATIONAL THEATRE SCHOOL OF CANADA (Montréal, QC) 1990 http://www.ent-nts.qc.ca/

Chosen as one of seven students selected annually from applicants across Canada and abroad to this conservatory. Educated by several prominent theatre practitioners in all aspects of project/event management for cultural presentations. Elected as a student representative to the school’s board of governors.

Other Professional Training Management Seminars and Courses

Strategic Planning University of Alberta 2012 Triage Coaching Kesa 2011 Project Mgmt Principles and Practice University of Alberta 2011 Process Mapping National Quality Institute 2010 Facilitative Leadership Interaction Associates 2010 Managing Unionized Environments Pearlman, Iddon and Associates 2008 Project Management Cirque du Soleil 2007 Business Risk Management Deloitte and Touche (USA) 2004 Contract Negotiation Management Institute of Singapore 2004 Managing On-the-Job Training Public Service Association of Singapore 2001 Team Building Blair Singer Accelerated Training (USA) 2001 Human Relations Albini Formation (Ottawa) 1993

Skills Development Lectures and Workshops

Microsoft Application Testing 85% (adv.) in Excel, 76% (inter/adv.) in Word 2008 Structural Design for the Stage Ben Sammler - Yale University (USA) 2005 Theatre and Arena Rigging Jay Glerum and Harry Donovan (USA) 2000 Pyrotechnic Special Effects Dept. of Natural Resources (Ottawa) 1996 AutoCAD (2-D and 3-D) University of Manitoba - School of

1995

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http://www.ent-nts.qc.ca/

French Language Instruction (Adv.) Centre Linguistique de Jonquière 1994 French Language Instruction (Inter.) Algonquin College (Ottawa) 1993 High-Angle Rope Access Pacific High Mountain Guides (Vancouver) 1993

Health and Safety Training Defibrillator training St. John's Ambulance 2009 H&S Risk Management Cirque du Soleil 2007 Industrial First Aid International Red Cross Society 2005 Stage Occupational H&S CREATE (Australia) 2004 Supervising Safely in Theatre Technical Theatre Training Services (UK) 2001 Elevated Work Platform Use Dwight Crane (Toronto) 2000 Working at Height Fall Protection Group (Calgary) 2000 Fall Protection Harcourt Rigging (Toronto) 1999

Other Professional Activities

Memberships National Vice President, Canadian Institute of Theatre Technology United States Institute of Theatre Technology Association of British Theatre Technicians

Instructor 2003-2004 LaSalle College of the Arts (Singapore) 2002 Esplanade Production Management Workshops (Singapore) 1998 - 2000 National Theatre School of Canada (Montréal)

Guest Speaker 2007 CITT Conference – Plenary Session (Vancouver) 2006 Theatre Engineering and Architecture Conf. (London, UK) 2004 World Lighting Fair (Tokyo, Japan)

Program Advisor/Consultant Canada Council Flying Squad - Grand Theatre Renovation (Calgary) Hong Kong Council for Academic Accreditation Institute for Technical Education (Singapore) Technical Theatre Association of Singapore

Lighting Design/ Direction National Arts Centre, Les Grands Ballets Canadiens, La La La Human Steps

Stagecraft 1987-2000 Part-time freelance stagehand work in all disciplines, for the set-up and running of numerous theatrical and dance presentations, festivals, rock concerts, musical revues, industrial shows, television programs and sound and light shows in Toronto, Montréal and Ottawa

Languages

Fully fluent in English. Attained Canadian federal government level BBB fluency in French.

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Hazem Shebl

Scenic and Stage Lighting Designer. (Free Lancer) Technical Director

Founder and president of ESTTC – The Egyptian Scenographers and Theatre Techniciana, Candidat Centre member of OISTAT - Organisation Internationale des Scénographes, Techniciens et Architectes de Théâtre.(International Organization of Scenographers, Theatre Architects and Technicians)

Education: (1990 – 1992) Diploma of Graduate Studies, Academy of Arts, theHigher Institute of Theatre Arts, Department of Design. (1985 – 1989) Bachelor of Arts, Academy of Arts, The Higher Institute of Theatre Arts, Department of Design.

Awardes and Honers: (2004) The Egyptian Prestigious Incentive State Award for the best Stage- Designer. (2006 - 2007) Fulbright Fine Art Grant for the year (2006-2007)

Working Experiance: September 2009 till Now Teaching ( Part Timer ) Scenography and Technical Theatre at Ain Shams University, Arts Faculty, Dama department. From September 1994 Technical Director At The American University in Cairo, Till June 2006 Department of Visual and Performing Art, From November 1989 Set Designer at the Production Section of the Egyptian Till August 1994 Radio & Television Union. Assisting Designing and Supervising Execution for more then 15 main productions ( T.V. Series , T.V. Showes and playes).

Scenic and Lighting designer for: September 2011 Teccos AlEsharat wa AlTahawolat, Dir by: Efat Yehya. AUC. March 2010 Rabaa el Adawaya Dir: Ezzat Zian at Fayoum Culture Centre. August 2007 Al Eskafi Malikan Dir. Khaled Galal at the Egyptian National Theatre. February 2006 The Captures written and Dir by: Linin El Ramly at El Sawy Culture Center. December 2004 The Maniquan Dir by: Hanaa Abd El-Fattah at Falaky Theatre at AUC. July 2004 The Animal Summet Dir by: Mohamed Abd El Moaty at Egyptian National Theatre for Children. September 1999 Waiting for Godot Dir by: Tori Haring-Smith at Wallace Theatre, AUC.

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May 1997 A Midsummer Night Dream Dir:Eric Grischkat at Wallace Theatre,AUC. May 1996 Khamasseen Dir by: Eric Grischkat at Wallace Theatre, AUC.

Scenic and/ or Lighting designer for Egyption National and International Celebrations at Cairo and Alexanderia Opera Houses : Sept. 2001 till 2009 The opening and closing cermony for the Cairo Experimental Theatre (except 2006 & 2008) Festival. Sept. 2004 till 2007 The Opening and closing cermony for the Alexandria Film Festival. (except 2006) July 2007& 2009 The opening and closing cermony for the Cairo National Theatre Festival. March 2002-2004 The opening and closing cermony for the Cairo International Film And 2006 Festival for children. April 2003 - 2004 Egyption National Film compitation. January 2003 presedental celebarations at the openning of El-Shikh Zaied tunel at Toshka. November 2002 Celebaration For Loyer Sendecat (at the Egyption Convention Center). October 2002 The opening outdoor celebaration for Cairo International Cenima Festival September 2002 Annual popular culture celebaration for popular songes and dance.

Scenic Designer for: February 2012 Fi Baytena Shabah, Dir by: Essam El Sayed, National Theatre. October 2010 37 October Army celebration. International Cairo Converance main Hall July 2010 Graduation Ceremony for Mobarak Police Academy. June 2010 “ Alam Araguzat “ Dir: Galal Elsharkawy at The Art Theatre. December 2009 “ El Nass Betheb Keda “ Dir by: Essam Elsayed, El Comedy Theatre. October 2009 “ 36 October Army celebaration “ Dir by: Essam Elsayed, Al Esmaelaya. October 2009 “Wahm el Hob “written and Dir by: Linin El Ramly at Hanagur Theatre. April 2009 Al Zir Salem Dir. Hamdy Hessen at Shebin Alkom Theatre, Mnofaya. January 2009 Taralamlam Dir. Hany Metawea at Al Horraya Privet Theatre. December 2008 Ce Ali and Koffa Dir. Murad Monir at Al Salam Theatre. October 2008 35 October Army celebaration. Cairo International Stadium, Coverd Hall. July 2008 Morsy Awiz Korsy Dir. Khaled Galal at El Rehany Privet Theatre. March 2008 Mohamadaya Night Dir. Yasser Sadek at the TV Theatre. January 2008 Zaki fi al Wizara Directed by: Essam El Sayed at The Egyptian National Theatre. Otober 2007 34 October Army celebaration. Cairo International Stadium, Coverd Hall. January 2006 Ahla ya Bakawat “Welcome Gentelman” Directed by: Essam El Sayed at The Egyptian National Theatr. December 2005 “Al Zogaga Al Mashora” Written and directed by: Walid Yousef. March 2005 Design The Outsid looking for The Moubarak Publique Library. January 2005 Ain El Hayat Directed by: Essam El Sayed at El Hanaguer Galary.

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February 2003 Tow in Koffa Directed by: Hanaa Abdel Fattah at Falaky Studio at AUC. May 1999 The Tempest Directed by: Tori Haring – Smith at AUC November 1998 Waiting Room Directed byTori Haring-Smith at AUC 1992 La Traviata Opera Directed by: Mohamed El-Shikh at Acadimy of Arts. 1992 Love’s Elixir Opera Directed by: Abdalla Saad at . 1992 The Collection Directed by Hamada Shosha at Acadimy of Arts. 1991 El-Imprisario Opera Directed by: Abdalla Saad at Acadimy of Arts. 1989 Shooting in the Back Directed by: Maher Labib at Acadimy of Arts. 1989 The Maids Directed by: Hisham Abdel-Hamid at Acadimy of Arts 1987 Gave People Directed by: Ashraf Abdel-Hamid at Ein Shams 1987 War & Peace Directed by: Saied Khater at Cairo University.

Lighting designer for: November 2007 At Home Dir by: Nathan Jeffery Jameson Theatre, Rutgers,The State University of New Jersey, USA. November 2007 Feeding the Moonfish Dir by: Michelle Seaton Jameson Theatre, Rutgers, TheState University of New Jersey, USA. March 2006 Autumen in New York Directed by: Tom Marcus at Falaky Studio,AUC Augest 2002 A night dream at August at The Artistique Center Directed by:Khaled Galal. At the Cairo Artistic Creativety Center. May 2000 Seckat el-salama Directed by: Mahmoud El Lozy at Wallace Theatre, AUC April 1999 Sultan’s Dilemma Directed by: Mahmoud El Lozy at Wallace Theatre, AUC December 1999 Blithe Spirit Directed By Eric Grischkat at Wallace Theatre, AUC March 1998 Fout Aleina Bokrah wi Elli Baado Directed by: Indji Elsolh at Wallace Theatre, AUC December 1999 Stories Directed by: Eric Grischkat at Wallace Theatre, AUC March 1997 Tannery Tower Directed by: Mahmoud El-Lozy at Wallace Theatre, AUC December 1999 Octahedron Directed by: Indji Elsolh at Wallace Theatre, AUC

Technical Direction: From 1994 till 2006 for more than 60 main productions at The American University in Cairo, Department of Visual and Performing Art, include : Antigone, The Comedy of Errors, Greese, Twilfeth night, The Glass Merageri, Kiss Me Kate, Hedda Gadler, Betrayal, the Good Doctor, the Tempest and Traveler without Luggage.

International Experience (Particibations and Attendance): March 2012 USITT Conference, Tech Exbo at Long Beach California, USA March 2012 The OISTAT Scenography meeting at Las Vegas, Nivada, USA September 2011 The (ITI) International Theatre institute 33rd World Congress in Xiamen, China from 19 till 24 September 2011. June 16 -26/ 2011 Prague Quadrennial of Performance Design and Space (Portfolio). Sept. 2006 till May 2007 One Acadymic year (Non- Degree) studying The Stage Lighting Design in the MFA program at Rutgers, The State University of New Jersey, USA May 2007 Certificate of Browdway lighting Master Classes under Mr. Jules Fisher

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supervision and others. New York, USA April 2007 Backstage Tech. Touring at the Good Man Theatres in Chicago, USA March 2007 Attinding the USITT conference, Tech show and The Orphiom Theatre backstage at Phoenix, USA March 2007 Backstage Tech.Touring at Kenady Center theatres and The arina Stage at Washington D.C., USA February 2007 3 days Academec traning with Mr.Douglas Schmidt in opera Il Tabarro at the Metropolitan Opera, New York, USA November 2006 Academic Traning at the Paper Mill Theatre at New Jersey, USA November 2006 Assisting Lighting Designer for Cloud 9 Dir by: Amy Saltz at the New Theatre at Rutgers, The State University of New Jersey, USA October 2006 Attinding the Las Vegas Back Stage program ( KA, Love, Blue man, Le Rave, O , Phantom of the Opera and others) and attending the LDI conference and Tech exhibation at Las Vegas, USA August 2006 Visiting the Holyood Universal Studios, the Chinis theatre and Kodak theatre at Los Angelos, USA July 2006 Visiting the Santa Cruz Shakspaire Festival Theatres at Santa Cruz, California, USA March 2005 The Scenec design for the 20 m Modern dance Scene (The Pharaoh Cemetery Secret), which was presented in Egyptian Opera House in the closing ceremony for the Cairo Experimental Theatre Festival (September 2001), inclusion in physical form in the World Stage Design Gallery Exhibit, Toronto, Ontario Canada. October 2003 Light Designer for " A night dream at August" at Egyptian Culture nights at Rabat, Morocco. July 2003 The International meeting at the Avignon Theatre Festival in France. June 2003 The design for AUC's 1999 production of " The Tempest " selected for inclusion in the Egyption section of the Prague Quadrennial Exhibition at Czech Republic. Summer 2002 Lihght designer assestant For Macbeh, A Midsummer Night’s Dream, Richard III and Shakespeare in Briefs at Colorado Shakspaire Festival at USA. August 1997 Set & Light Designer & T.D. for Khamasseen Directed by: Eric Grischkat at the Edinburgh Fringe Festival in Scotland. July 1997 The theatre Amateurs meeting at the Avignon TheatreFestival in France. December 1995 Workshop Certificate (Light & Sound) with French Technicians from “Institute Superiur des Technicques du Spectacle d’Avignon” at the National Theatre in Cairo. July 1992 Set Designer for Harold Pinter’s The Collection Directed by: Hamada Shosha at the International meeting at the Avignon Theatre Festival (off- off) in France.

Related Experience: 2003 till Now Leading many ( More than 20 ) Design and Stage Technical Workshops in Cairo and many other regin such as: Alexandria, Esmaeylaya, Mansora, El Fayoum, Marsa Matroh, Zagazik and others.

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1996 till now Member of many Regional Theatre evaluation and Judge Committees in many Theatre Festifal and Competations.

Activities: 1992- 2006 Set Designer for trade shows booths in different faires in Egypt and abroad, like ( Interbuild - Winterbuild – G15……etc )

Member of : - Egyptian Syndicate of Artists. - Unitet States Institute for Theatre Technology (U.S.I.T.T) at the USA - OISTAT (International Organisation of Scenographers, Theatre Technicians and Architects), the world-wide parent organisation for scenographers and theatre technicians.

Computer Skills: - Auto Cad 2009 - Photoshop cs3 - Word 2007 - 3dsmax 9 - Internet user.

Language Skills: - Fluent in written and spoken Arabic. - Very Good knowledge of spoken and written English. - Good knowledge of spoken and written French.

Cairo, December 2012

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PERSONAL INFORMATION

Name JAN K. ROLNÍK

WORK EXPERIENCE

• Dates (from – to) 2011 – PRESENT • Name and address of employer CIANT – International Center for Art and

New Technologies, Kubelíkova 27, Praha 3


• Main activities and responsibilities Project management for several international projects. Fundraising, organization, realization of various projects in the field of New Media Arts and creative use of new technologies. Funds raised altogether cca. 280 000 EUR. Example of projects:

TransISTor 2012 (http://transistor.ciant.cz/2012/) – European workshops for audiovisual professionals in S3D movie technology co- financed under EU MEDIA programme. Budget cca: 200 000EUR.

Parallax 2011 (http://www.parallax.cz/) – first festival of artistic / independent / experimental S3D movies and network of such festivals.

In the Kitchen with The Vasulkas (http://vimeo.com/38717197) – series of lectures, seminars,

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screenings about Czech-American pioneers of early videoart.

World S3D – training for professional cameramen with UCSD, California, USA and CG-ARTs, Tokyo, Japan.

• Dates (from – to) 2008 – PRESENT

• Name and address of employer ILD – Institute of Lighting Design Prague, Celetna 17, Praha 1

• Type of business or sector Culture • Occupation or position held Co-founder and manager

• Main activities and responsibilities Development, project management, fundraising. Main focus of the ILD is in education, consultation, creation and support of communication in the field of lighting design in performing arts in Czech Republic. In four years we realized

45 workshops (4 days) with 17 tutors from CR and 16 from abroad (Netherlands, Australia, Germany, Italy, Brazil, France...) We had around 200 unique participants going through our workshops and many installations in public space. Photos from some of the events: http://svetelnydesign.rajce.idnes.cz/

• Dates (from – to) 2008 – 2011

• Name and address of employer Národní divadlo, Ostrovní 1, Praha 1 (National theatre Prague)


• Main activities and responsibilities Management of project Theatre Architecture in Central Europe for The National Theatre. The aim of the project was to map and present the cultural heritage of architecture of theatre buildings in Central Europe. Results were in the form of big book (600 pages, 900 photos), travelling exhibition, workshops, symposia,

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http://svetelnydesign.rajce.idnes.cz/

lectures etc. 3 years long project co-financed by EU in the framework of the Culture 2000 programme. The project was co-organized with 4 central European countries (POL, SLO, SI, HU). Overall budget: 1,27 M EUR. (www.theatre-architecture.eu)

• Dates (from – to) 2007 – 2008

• Name and address of employer Institut umění - Divadelní ústav, Celetná 17, Praha 1 (Arts Institute)


• Main activities and responsibilities Management (organisation, conception, budgeting...) of national campaign of European Year of Intercultural Dialogue 2008.(www.dialogue2008.eu, http://www.mezikulturnidialog.cz/) Results of the project: theatre performances, publications, music festival, concerts, website etc.

• Dates (from – to) 2006 – 2007

• Name and address of employer Institut umění - Divadelní ústav, Celetná 17, Praha 1 (Arts Institute – Theatre Institute)

• Type of business or sector Culture • Occupation or position held Project manager, part of the core

management team. • Main activities and responsibilities Organisation, conception, budgeting on

segment of Prague Quadrennial 2007– the largest exhibition of scenography, theatre design and architecture in the world.51 countries, budget cca 1,4 M EUR (www.pq.cz, http://2007.pq.cz/en/pq.html)

• Dates (from – to) 2005 – 2006

• Name and address of employer TV Prima, Na Žertvách 24, P raha 8 • Type of business or sector Media (private TV channel)

• Occupation or position held Leading property master • Main activities and responsibilities Management of props department

during TV reality show VyVolení 1 and 2. Production assistance.

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http://www.theatre-architecture.eu/

http://www.mezikulturnidialog.cz/

http://2007.pq.cz/en/pq.html

• Dates (from – to) 2004 – 2005 • Name and address of employer Česká Informační Agentura, Klimentská

52, Praha 1 (Czech Information Agency) • Type of business or sector Private business news agency.

• Occupation or position held News editor for real estates. • Main activities and responsibilities Writing and editing of news. Monitoring

real estates market in Czech Republic.

• Dates (from – to) 2002 – 2004

• Name and address of employer Divadlo v Celetné – Gaspar, Celetná 17, Praha 1 (Celetná Theatre)

• Type of business or sector Private theatre in historical centre of Prague.

• Occupation or position held Technical manager, production. • Main activities and responsibilities Technical maintenance of building and

all its staff and equipment, PR, production, sound and lighting technician.

• Dates (from – to) 2002

• Name and address of employer James Cook Languages, Rybná 14, Praha 1

• Type of business or sector Private language school • Occupation or position held English teacher

• Main activities and responsibilities English teaching in households and corporate offices.

EDUCATION AND TRAINING

• Dates (from – to) 2003 – 2010 • Name and type of organisation providing education and training

Philosophical Faculty, Charles University, Prague

• Principal subjects/occupational skills covered

Aesthetics, philosophy of Art.

• Title of qualification awarded mgr.

• Dates (from – to) 23. – 24. 2008 • Name and type of organisation providing education and training

Central European Arts Management Symposium with Michael Kaiser (USA) – Director of The Kennedy Center (Washington)


Planning and fundraising in arts management.

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• Title of qualification awarded


University of Economics, Prague and University of Hradec Králové


Management, financial analysis, international relations, microeconomics, macroeconomics.

• Title of qualification awarded Bc.


Gymnasium T.G.M., Ústí nad Orlicí


English, IT, Czech, Mathematics.

PERSONAL SKILLS AND COMPETENCES Acquired in the course of life and career but not necessarily covered by formal certificates and diplomas.

MOTIVATED EXPERIENCED AND FRESH THINKING CREATIVE, COMMUNICATIVE EAGER TO LEARN EDUCATED WITH ARTISTIC BACKGROUND, KNOWLEDGE OF TECHNOLOGIES AND MANAGEMENT SKILLS LOYAL, RELIABLE, EFFECTIVE AND HARD-WORKING WELL ORIENTED IN LIGHTING, ARCHITECTURE AND NEW TECHNOLOGIES STABLE AND FLEXIBLE

MOTHER TONGUE CZECH

OTHER LANGUAGES

ENGLISH SPANISH GERMAN • Reading skills Excellent Good Basic • Writing skills Excellent Good Basic • Verbal skills Excellent Good Basic

Quick learner for languages

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Marina Raytchinova

Associate Professor of Scenography at the National Academy of Art in Sofia, Bulgaria.

Since graduating from the National Academy of Art in Sofia in 1985, Marina Raytchinova has designed over 120 shows for theatre companies in Bulgaria, USA , Russia, Macedonia. Marina frequently designs shows at the National Theatre in Sofia and at TBA theatre, where she serves as resident designer since 1999. Her recent projects include Uncle Vanya at Thoressen Theatre, Lynchburg, VA, USA, and Marriage Italian Way at the National Theatre in Sofia.

Over the last ten years Marina Raytchinova has taught regularly at the University of Tennessee, Knoxville. She has been guest – lecturer at the University of Nebraska, University of Kansas, Furman University, USA; RITS, Brussels; UT Design Seminar - Salzburg; North Karelia Polytechnic, Finland; Theatre Academy in Maastricht, The Newtherlands. Marina Raytchinova has been special international guest – lecturer at USITT in Phoenix in 2006 and presenter at International Summit Forum on Theatre Education, Taipei, 2011.

Marina’s set and costume design work has been featured at the Prague International Quadrennial of Scenography (PQ) in 1987, 1995, 1999, 2003, 2007 and at World Stage Design Gallery Exhibit– Toronto 2005.

Since 2004 till 2012 Marina served as a Chair of OISTAT Education Commission. In this capacity and in collaboration with colleagues and design schools form across the world she organized EduCom annual conferences in conjunction with theoretical seminars and practical workshops in the UK, Japan, Canada, Finland, Russia, China, Serbia, The Netherlands.

Marina Raytchinova was involved in the organization of Scenofest 2003 as a leader of Puppet Design program. She was one of the main organizers of Scenofest 2007 and curator of the Birds critiqued exhibit.

In 2011, in collaboration with the Stage Design Department of the Central Academy of Drama in Beijing Marina Raytchinova organized ISDSWE ( the International Stage

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Design Students’ Works Exchange) – a students exhibit and practical workshop, held in Beijing. The program repeated in 2012 with an exhibit at the National Performing Arts Centre in Beijing and workshop attended by over 23 students and 16 professors from over 17 schools from across the world. Plans for the project are to grow and repeat again in 2014 ( More information at www.isdswe.com ).

Besides her activity as Chair of the Education Commission Marina Raytchinova has been involved in other OISTAT projects as well. She served as organizer and editor for the Bulgarian translation for the New Theatre Words in 1996 and 2003 as well as for Digital Theatre Words in 2011.

In 2011 Marina Raytchinova contributed to the work on OISTAT publication World Scenography.

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http://www.isdswe.com/


Michael Ramsaur

is currently on the Executive Committee of OISTAT and is a past President of OISTAT, he also served 8 years as Chairman of the Education Commission. He was a co-originator and organizer of Scenofest at the PQ in 2003 and also with Scenofest at the PQ in 2007. He is currently working on the Digital Theatre Words project as Managing Editor and as a contributor to WSD/Scenofest 2013 in Cardiff Wales. He is the Head of the OISTAT USA Centre at the United States Institute for Theatre Technology (USITT) and he was recently elected as a Fellow of USITT, its highest honor.

Michael is a Professor of Lighting Design and Director of Production at Stanford University in California, he is an Honorary Professor at the Central Academy of Drama Beijing, and has served as a Consulting Professor at the University of Arts Belgrade, taught regularly at the Bavarian Theatre Academy München, as well as at Trinity College Dublin, and Taiwan University of the Arts Taipei. He has given lectures and workshops at schools in 20 countries as well as at the ShowLight Conference, ShowTech, USITT, LDI, the Nordic Technical Theater Conference, Podiumtechnologie, Themadag Netherlands, Sahne Tasarimcilari Dernegi Istanbul, Egyptian Scenographers and Theatres Technicians Center Cairo, PALM Beijing, The Global Alliance of Theatre Schools Conference Bucharest Romania, and the Prague Quadranalle.

Michael has enjoyed a 40-year career in theater including lighting designs across the USA and for many theater companies in the San Francisco Bay Area where he lives, including Broadway by the Bay where he is the Resident Lighting Designer. He has been awarded Outstanding Lighting Design Awards from the San Francisco Bay Area Critics Association, Dean Goodman Awards, and Drama Logue Awards.

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Miljana Zeković

is Assistant Professor and Vice-chair in Art Applied to Architecture, Technique and Design at the Department of Architecture and Urbanism, Faculty of Technical Sciences, University of Novi Sad, Serbia. She is a graduated engineer of architecture, licensed practicing architect (Member of Serbian Chamber of Engineers), and is working at the Faculty in number of courses. The main field of her current and future interests refers to Scene Design practices in Architectural Design. She works in the course line of Architectural Design, with 3rd and 4th year students, as well as with students form Master Course. Since 2009 she holds a course in Ephemeral Architecture. Her work with students considers leading and supervising architectural design projects - bachelor and master, as well as organizing and leading workshops and performances with students involved.

Her main interests and researches consider architecture of temporary and scenic spaces, interrelations among contemporary architecture and other media, as well as analysis and improvement of artistic creation processes, design and education. She publishes articles in professional journals; frequently presents papers at national and international conferences and has presented her artistic work at both national and international level.

She is a member of SCen (Centre for Scene Design, Architecture and Technology) – OISTAT Centre Serbia and is the Official delegate for Serbia in OISTAT Education Commission.

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Piotr OBRACAJ









3. History of Work:

Full time job:






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Part time job:

Design Office for Town of Bytom – designer, 1975-1978 University of Silesia, Katowice, Faculty of Radio and TV –

lecturer,1978-1980 (photography and scenography) Cooperation with Silesian Theatres from 1980 as a

scenographer Cooperation with Design Office for Town of Zabrze as a

designer, from 1987 Cooperation with Polish Centre of Scenography in Katowice,

from 1995

4. Other important achievements:

Award at Regional Survey of Architecture in 1987 for “Project and realization of Audiovisual Hall in Bytom”

Silver Medal at Praque Quadriennalle –International Exhibition and Competition for Scenographers, Technicians, and Theatre Architects in 1999, co-author (together with Jerzy Moskal)

Award of Polish Ministry of Culture as Person of Merit for culture activity, 2001

5. Participation in organization and associations:

OISTAT -International Organization for scenographers, technicians, and theatre architects , Commission of Architecture, chief of Polish Committee

Polish Association of Scenographers – member Polish Association of Architects – member

6. Hobby: Music, Literature, sport ( skiing, swimming, canoeing, judo)

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Reinhold Daberto Dipl.-Ing. (Univ.) Architecture, architect.

Education:

1958 – 1962 Elementary school, Salzburg 1962 - 1970 2. Bundesgymnasium, scientific sectionin Salzburg/Austria (high school; diploma qualifying for university entrance)

University:

1971 - 1978 Technical Faculty of Innsbruck University, studying architecture. Degree: Dipl.-Ing. (Univ.) Dissertation about theatre construction : “Integration of a Conservatory for music and performing arts” in a protected building for Innsbruck.

Professional Experience:

Theater Projekte Daberto + Kollegen theapro” Owner and managing director

Projects:

Design and Project management/(stage technique and stage design (selection):

2012 till 2017 Renovation and extension of Stadttheater Landshut

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2011 till now development of programm for integration of Dresden State Operetta and youth theatre “Theater der Jungen Generation” in an existing factory and power plant building

2010 till now Renovation” Bühnen Köln” ( Stages of Cologne), renovation of drama theatre, opera-house, child opera, opera terraces / Small house, architecture, stage technology, stage lighting, audio engineering and media technology

2010 Feasibility study “Bühnen Köln” ( Stages of Cologne), after citizen initiative and decision of city parliament not to demolish existing drama theatre

2010 till now Kulturpalast Dresden, planning stage technology, stage lighting and media technology for concert hall for the Dresden philharmonic orchestra and cabaret "Die Herkuleskeule"

2004/ 2011 Renovation Staatstheater Nüremberg, Project management

2009 Congress Centre, Tashkent, Uzbekistan new building of a convention hall, realisation in 6 months, multipurpose hall with big hall 1900 people–planning stage technique, stage lighting, media technology as well as site management

2006/2007 Renovation of the “Ronacher theatre”, Vienna Project management

2002/2006 Renovation and reconstruction of Theatre Bielefeld General contractor for design of theatre, technique and site survey

2000/2005 Opera House Athens – Extension of Concert hall Stage + stage lighting, project management

1995/2003 Kammerspiele München (Theatre, Rehearsal and Workshop building) Stage technology, workshop equipment, reorganisation of technics above protected auditorium ceiling

2000/2002 Schillertheater NRW, Wuppertal Feasibility study

1998 Municipal Hall Lörrach “Burghof” Complete design of stage and auditorium seating system

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1998 International Congress Centre in the New Trade Fair Munich (ICM)

1992/1996 Municipal Theatre Ulm Renovation stage (fly tower and podium)

1989 Bavarian State Opera Munich Complete new hydraulic fly tower with 116 flies and Hydraulic power plant OM and UM

1989 Stadthalle Weingarten Stage technology, lighting + sound design

1989 Stadthalle Aalen Stage technology, stage lighting, concert shell

1987 Municipal Theatre Landshut Renovation of stage and integration of stage technology, stage lighting and sound system

1985/1982 Cultural Centre “Am Gasteig”, Munich Philharmonic Hall (2400 seats), Carl Orff Hall (700), Concert Concert Hall (200) , Black Box (200), Acoustic clouds 1992

1981 – 1982 Freelance employee with Prof. H. Keilholz Hanover, Working on the project Cultural Centre “Am Gasteig”, Munich.

1978 – 1981 Employed by Prof. H. Keilholz, Salzburg/Hanover Technical office for acoustics and stage technology; Working on the following projects:

Concert Hall Athens Concert and Congress Hall “Alte Oper”Frankfurt/Main Concert Stage in the Festspielhaus Salzburg for the

Opernfestspiele of Herbert v. Karajan Congresshouse Villach Municipal Theatre Klagenfurt Opera House Hanover

1976 ABC - American Broadcasting Corporation Production Services Covering Winter Olympics 1976.

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Co-operation in Organisations:

since 1989 Committee member of the advisory board for architecture and planning in the DTHG (Deutsche Theatertechnische Gesellschaft/German association of stage technique)

since 1995 till 2012 Member in FNTh 4 Fachnormenausschuss fü r Theater im DIN (now: N 107) (Association of technical standards for theatres according to DIN-German industrial standard)

since 1997 Official delegate of the FRG in OISTAT (International Organisation of Stage Designers, Theatre Technicians and Architects) Architecture commission.

since 2004 – 2012 Chair of Architecture commission of OISTAT Organisation of a student workshops for Theater architecture during annual meeting of OISTAT in Taipeh/Taiwan Organisation of student competition TAC in 2007 and 2011 Organisation of meetings and excursions for OISTAT Arch Com between 2005 and 2012

since 2005 - 2007 FRG Member of CEN CWA 25 “LESEI” on –European standards for lifting equipment in the entertainment industry

Lectures:

2002 Faculty of architecture Kassel University Sequence of Lectures on „Architecture and acoustics“

2002 YOKOHAMA World Light fair Lecture on „scenic lighting in different spaces for performing arts“

2003 Sempertage Dresden – 200 th anniversary of Gottfried Sempers birthday “Look out in the future - Development of theatre design in the 21st century”

2005 USITT Tagung Toronto, Kanada “German Contributions“ – Developments in theatre design of the 20th century

2005 Taiwan OISTAT Congress “Germany – do you know what these theatre guys are dealing around?”

2006 Rotterdam, VPT Vakbeurs “Improvements of German theatres”

2006 Leibniz University Hannover, architecture department “About theatres and their history”

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2012 Stage technology workshop in Ulaan Bator, Mongolia

Different lectures on congresses like SHOWTech and BTT “Bühnentechn. Tagung”

Miscellaneous:

1970 - 1971 Military service (12 months)

1978 - 1980 Set design for Elisabethbühne Salzburg, Productions:

Macbeth, Shakespeare Die Physiker, Frisch Die Schmutzigen Hä nde, Sartre Peer Gynt, Ibsen

Further Qualifications:

Foreign languages: English

Application software: AutoCAD, Excel, Word, ORCA-AVA and others

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Richart Bauer

Education

Engineer, Malmö, Sweden, 1976 DMC management and leader education, Copenhagen, Denmark, 1988 Various educations in the theatre field, 1990 - 2008 Complete pilot license for instrument and night flights IR/SE /SP, 1999

Employments

Sound engineer in the Swedish Television, Malmö, 1975 – 1976 Manager for the sound department in the Opera House, Malmö, 1976 – 79 Technical director in the Opera House, Malmö, 1979 – 1987 Technical, production, and building manager in the Royal Opera House, Copenhagen, 1986 – 1997 Teacher and one of the founders of the education "Stage and theatre technology" at Malmö Högskola K3, Malmö, 1998 – 2005

Companies & Investments

Bauer Jensen Ing. Konsult KB, 1995 – present Real Estate Company Bacour AB, 1992 – present Sturup General Aviation AB, 2004 – present Stage Vision AB, 2006 – present

Summary of activities

Technical director/production building manager at the Opera House in Malmö and The Royal Opera House in Copenhagen.

Teacher and one of the founders of the education "Stage and Theatre Technology" at Malmoe Högskola K3. A three year education for stage, lighting and sound technicians.

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Initiated TTTS project Theatre Technical Training in 2006, a network improving the education for stage technicians working in Scandinavia with more than 60 participants from Sweden, Norway and Denmark. www.ttts.nu

Responsible for creating and organizing the technical theatre event NOTT, 2004. An event with over 750 participants and 45 seminars. OISTAT was invited and there I got the first contact with the organisation. www.sttf.se/NOTT04/index2.html

Participation in four international theatre architectural competitions. Awarded with second prize for both The Opera House in Oslo and The Music House in Kristiansand, and the third prize for The Drama House in Copenhagen.

Vice chairman for the Swedish STTF, Svensk Teaterteknisk Förening (Swedish Association of Theatre Technics). www.sttf.se, 2006 - present.

Swedish delegate in OISTAT Education commission as second delegate since 2004, and in the Executive Committee since 2009 - present.

Responsible for the production of over 500 theatre performances in opera, ballet, drama and experimental performance.

Teaching at the Architect/Landscape University, Lund/Alnarp. Working as a theatre/stage consultant and with financial projects through my

private company Bauer Jensen Ing Konsult in Malmoe. A passionate aviator. Part-owner and operating manager in Sturup General Aviation AB at Malmoe

Airport. www.sturupga.se Owner and operating manager in the real estate company Bacour AB in

Helsingborg, Sweden. www.tegelborgen.se Part-owner and Vice CEO in the theatre company StageVision AB.

www.stagevisison.se

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http://www.ttts.nu/

http://www.sttf.se/NOTT04/index2.html

http://www.sttf.se/

http://www.sturupga.se/

http://www.tegelborgen.se/

http://www.stagevisison.se/


Sean Crowley

Sean studied theatre design at Wimbledon School of Art, graduating in 1985 and then worked across the design spectrum, as a designer and assistant designer, in Opera, Dance, Theatre, film and television.

In 1993, he left London and returned to Wales to live in Swansea with his wife and four children. Over the past 18 years, he has designed over 150 productions for companies across UK and Europe. Including, Aberystwyth Arts Centre, The Wales Theatre Company, The Tron Theatre, Glasgow, The Grand Theatre, Swansea, The Torch Theatre, Milford, The Sherman Theatre Cardiff, Theatr Y Byd, Theatr Nanog, Script Cymru, The Hampstead Theatre London, The Soho Theatre London, The Birmingham Stage Company, Northampton Theatre Royal, St Pauli Theater Hamburg, The Hamburger Kammerspieler the Theater am Kurfürstendamm, Berlin, and The Danish Royal Opera.

He became Head of Design at The Royal Welsh College of Music, Drama in 1999 and was made an honorary fellow of the College in 2007. In 2008, he became Director of Drama, and in 2010, he became an Associate Director of the Torch theatre Milford Haven

He was Chair of the Association of Theatre Design Courses for 9 years, is a member of the Linbury Prize committee, and as Vice Chair of the OISTAT Education Commission, was Project Leader and designer for the Prague Quadrennial international student festival Scenofest, in 2007. In March 2011 he was the exhibition designer for the Society of British Theatre Designers national exhibition Transformation & Revelation held at RWCMD in Cardiff, March 2011. He became Chair of the Society of British Theatre Designers in September 2011 and has now working as the Project Leader for World Stage Design 2013 which will also be held in Cardiff.

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