OUTPUTS - TEXTS AND OTHER MEDIA

In the early 1980’s, the German director Philip Gröning wrote to the prior of the Carthusian Monastery “La Grande Chartreuse” located in the mountains near Grenoble (France) asking the permission to make a video inside the monastery, for a documentary about the life of prayers, work and contemplation of the Carthusian monks. There was no answer until 15 years later when the prior called the director saying “We are ready”. 
The Great Silence (Die Große Stille) is a documentary in which even the banalest thing, like a chair, a table or a glass becomes an important tangible presence. The precise aim of the director is to offer to the contemporary society the picture of a possible alternative existence. 
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In 2018 the research group of the Erasmus+ Project “Entrepreneurial Challenges in Theatre Higher Education Curricula” made interviews with performing arts students in different schools in Europe, asking questions: what does it mean for a student to be an artist, how students imagine their ideal profession and what does the word “entrepreneurship” mean to them. The responses collected from students of Lithuanian Academy of Music and Theatre show that for performing arts students to be an artist in the first line means: a way to get to know themselves better, to share their thoughts with the public and to change it to the right direction, “... create and … go into a flowing stream”,“(...) to share (...) discoveries and pain with other people and help them to understand things and to talk about it”.   
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‍We often wonder what artists and entrepreneurs may have in common.
Can the artist comply with the laws of the market? How far can the entrepreneur be creative in his value proposition? Are these two completely different dynamics? We record for you some opinions expressed in the literature on this subject.  
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For me, San Miniato (SM) has been a landmark; personally and professionally. SM has offered me new inspiring insights to explore and develop in my teaching approach and my research in the future. Below I try to share some personal and professional reflection on what I explored, learned and which knowledge I gained. I attended in SM July 14- 24, 2019.
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The Magic Carpet is a method for mapping job possibilities alongside the theatrical structures of our countries so we ourselves can see, choose and develop together with the young professsionals that leave our universities, what they would like to do with the knowledge they got. The work field of theatre professionals differs a lot from country to country that participates in the research as well as it is immensely diverse in every country itself. 
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I dived into the atmosphere of the San Miniato laboratory in the second half of the period but, due to the preparation and mutual thinking with the Erasmus + research team beforehands, I felt like I am welcomed home by all the warm hearted people that this bizlikesounding [businesslike-sounding] topic brought together. This group is most obviously interested in creating soil for ideas to grow in the heads and hearts of their students, their colleagues, themselves or shortly said: in all of us as professionals, students, reseachers in our fields. 
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How do you enter a field of unknown possibilities? A space already alive with beating hearts, passionately engaged in the dynamics of playfulness and discovery? A time decided day by day, through a timetable that became the grounding force in the life of Santa Chiara’s Convent, a small polis, with the perfect scale to reinvent the original, active democracy? A field of equal rights, where teachers, researchers and students came together as citizens, an artistic and politically engaged community, deciding, at the end of each day, what they wanted to do the next: what to initiate, what to continue, what do finish, what to recreate, what to celebrate…? Embracing the unknown, glancing at and flirting with mystery and risk. 
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In July 2019 a group of teachers and researchers from 6 European performing art schools invited 34 students and graduates to join a three-week long working laboratory within the field of artistic entrepreneurship. The lab happened in the Italian village San Miniato and is the main event of the two-year long ERASMUS+ project “Entrepreneurial Challenges in Theatre Higher Education Curricula”. Six partner schools have attended the project since 2017 and at its core it is a research project. And so became the stay in San Miniato.   
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This international theatre laboratory encouraged me to rethink the responsibility of our work as pedagogues. It convinced me how important it is to create an environment that encourages creativity; how important it is to devise a learning model that identifies and meets students’ needs, nurtures their awareness, responsibility and collegiality; and the importance of student participation in the structure of this process and its formation. 

During the summer school in San Miniato, teachers and students worked as a team, unanimously searching for ideas, analysing, creating and sharing experiences. We were encouraged to be brave and experiment. Such an opportunity allows the pedagogue to discover new and more interesting teaching tasks and to renew your educational methodology. I came to the conclusion that it is important to experiment, but you have to pay attention to the quality, not only quantity.  
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There is a vitality, a life force, a quickening that is translated through you into action and, because there is only one of you in all time, this expression is unique. And if you block it, it will never exist through any other medium and be lost. The world will not have it. 
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The Theatre Academy Hamburg works together with the universities in Copenhagen, London, Lyon, Vilnius, Lisbon and Teatro Pisa on the Erasmus Plus project "Entrepreneurial Challenges in Theatre Higher Education Curricula". Since 2017, teachers have been discussing the question of how a forward-looking education system must be structured so that young people can develop creative autonomy, formulate and realize their artistic vision.
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The Hamburg Theatre Academy is profoundly changing and rebuilding the directing and the acting curricula. For the last two years the Erasmus + Project has given us a lot of wonderful new impulses und inspiration to rethink our artistic education. 

At the beginning the term “artistic entrepreneurship” was alien to us. For German artists it sounds like self-marketing, capitalistic and commercial competition. 
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Are you an artist? On day one in San Miniato we wrote this question on a largepiece of paper, put it within the circle of participants, timed forty-five minutes,and waited for the silence to break. 
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What happened in the entrepreneurial laboratory of San Miniato

- Or how to write about living experiences during three weeks.
- Or a try out to do an ontological verbalism of something meaningful. 
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The term Entrepreneurship has existed for centuries but recently, at the beginning of the 21st one, it has reached its maximum diffusion understood as the aptitude and attitude of people and companies to face new challenges allowing progress and innovation, bringing them to achieve new goals of development in the advancement of any activity one can undertake. 
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My journey through this project, and in particular this specific event that we lived in San Miniato, has been intimately connected with my institutional roles in it: researcher, teacher, coordinator.
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At the island Holmen in Copenhagen some of the most expensive educational institutions in Denmark are placed. Art schools with different disciplines, art forms, languages andprocesses. But also schools with similar circumstances, narratives and challenges: Seeing themselves as the ‘worlds best school’ and being forced to create the ‘worlds best actors, directors, architects, designers, filmakers....’.
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In recent years, a constant significance has been given to the relation between the arts and arts education, including the performing arts, and entrepreneurship. Not surprisingly, though, the reception to the possibilities and implications involved in this relation is dissimilar.
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El término emprendimiento ha sido tratado desde la antigüedad pero ha sido recientemente, desde principios del siglo XXI, cuando ha alcanzado su máxima difusión, entendido como aptitud y actitud de personas y empresas para enfrentarse a nuevos retos que permiten avanzar, innovar y alcanzar nuevas metas de progreso y desarrollo en el avance de las empresas.
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1. Training and education in cultural management: brief situational analysis; 2. Basics in cultural entrepreneurship; 3. Important topics when teaching cultural entrepreneurship; 4. Starting a new program or course in cultural entrepreneurship; 5. The importance of interactivity in teaching cultural entrepreneurship.
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