It‘s as if you take a map of Europe, and this map is empty, you don’t have any contacts. So this European theatre network really helps you to have your entry door, to get to know other contexts, to get to know other organisations, and of course to get to know other people
in the theatre. For us, joining ETC was an obvious decision. Why? Because Malta is an island, but we don’t want to think like an island, we want to be European and the ETC gives us that opportunity. ETC did a lot for the Ukrainian theatre area. You receive fantastic and unique possibilities to present yourself and your productions, and to open Europe for Ukraine, and Ukraine for Europe. Besides the opportunity to see different festivals in different places around Europe in the ETC meetings, we have the wonderful possibility to apply for artists to go, for example, one week to Avignon, to the Festival. And what I really like about this network, is that it is mainly the artistic people that meet twice a year. So you really get to know each other, you build up trust to collaborate, and then you can really start collaboration
projects. And that’s what I really like about ETC. We organise each year, for the opening of the season, a picnic in the street in front of the theatre. It has become an event in the city, and this is after a conference of ETC about how to create links with the audience and the city. What does it mean to be European today? What does it mean to make theatre in Europe today? Which productions are the relevant ones today? And I think we are stronger together when
we discuss these things. So the ETC is our natural home for internationalisation.