The aim is to create an international network where performer trainers and researchers of performer training from various fields of performance, as well as from different countries and institutions of higher education in arts, could negotiate and share their pedagogical practices in a confidential and supportive setting.
The basic ethos behind the platform is that the performing training exercised in higher education must take the responsibility of the development of the performing arts also in the future. This is possible only in so far as that pedagogy itself is put under critical examination, i.e. if it is based on shared practices, discussions and research. The autonomy of artist pedagogy cannot be taken for granted but, instead, it is always a position which has to be conquered; dependent on our common effort to create space and opportunities for free reflection and dialogue. On the level of bodily practices, however, this sharing can never be too easy. It is difficult not only due to the lack of common vocabulary and discourse, but also because global, transnational political decisions seem to foster institutional and individual traditions and identities, as well as the growing concurrence between them. Hence: How should performer training react to the economic, political and ideological pressures of our time? In which ways could today’s performer trainers carry this consciousness, and the corresponding feeling of responsibility together?
An increasing worry about our common future might serve as a basis for a new kind of dialogue between practitioners, pedagogues and researchers. The suggested platform is a simple, efficient and inspiring way for people engaged in performer training to develop their professional skills and mutual understanding. It offers a new type of international collaboration and provides significant pedagogical, moral, and even political support.
Modes of collaboration
The leading idea of the collaboration is to support one another and gather up know-how andstrengths. As one can understand, some institutions have longer traditions, others more resources. Some are specialized in research, others in art pedagogy. In some places, performer training may involve an important social dimension, etc. From the point of view of the platform, each country, institution or department has its own particular strengths that are beneficial and interesting for the others.
The collaboration takes place in the form of 1-3-day-long gatherings held on regular basis at the respective institutions. The hosting institution would provide the necessary venues and infrastructure and be in charge of the programme and other practical details. Each meeting could have a specific theme and contain workshops and discussions. The emphasis would be on practice and critical discussion. The meetings would circle from institution to institution. They will serve as a rich ground for developing trainer exchange and/or other, more focused collaboration between different institutions.