The goal of the project is to develop a new proposal of theater education and activities based on democratic, common and team principles (sometimes far from the traditional teaching model), responding to dynamic social transformations and changing working conditions in culture, also taking into account transformations that will take place in the theater environment after a pandemic of COVID-19. The assumptions of the project result of the thinking that conviction overlapping now crises of the ecosystem, the economy, the public sphere, social trust and solidarity affecting the entire European community with varying intensity, put specific obligations on culture and its leaders. Our answer cannot only consist of minimizing losses, but should be a constructive vision of building a new, open and democratic community and regenerating the public sphere. The partners of the project are: Royal Conservatoire of Scotland, Justus Liebig University Giessen, Conservatoire National Supérieur d'Art Dramatique. We will also cooperate with The Institute of Performative Arts in Maastricht, Studio Theatre, Powszechny Theatre, Nowy Theatre, Komuna Warszawa. Implemented in cooperation with European universities and theaters the project takes into account the most important areas that need to be changed and it's based on the synergy effect: exchange of good practices and mutual learning of all partners, each of which brings different elements of innovation, already developed and tested successfully at home universities and in institutions cooperating with them. We would like to develop a new education proposal in four basic dimensions: 1) a new theater production model and institutional transformation, 2) development of constructive feedback methodology supporting artistic self-development, 3) prevention of discrimination and strengthening of diversity, 4) prevention of harassment and abuse of power against students and work on changing awareness and social practices in this area. Project participants are both students and lecturers of the schools participating in the project, as well as outsiders: highly qualified theater practitioners, people open to social and cultural changes, aware scientific creators with integrated humanities tools and key competences that can allow developing of new models of communication and cooperation, shaping a new language for describing reality and rebuilding the logic of culture, verifying the primacy of productivity, competition and individuality for the purpose of valuing cooperation, solidarity, and striving to empower all entities involved in its creation and reception. Those goals will be achieved through a series of integrated actions, serving both the entire theater community and all participants of culture. The final project results will be:1.Setting up an international recruitment and selecting 16 participants of the masterclass course heads up by experts from AT and partners.2.Realization, production, exploitation and documentation of 4 performances staged by selected participants of the masterclass in Warsaw theaters.3.Realization, production, exploitation and documentation of small theatrical forms created by other participants, which will inculde the context of cultural ecology and possible to production in Europe struggling with the pandemic and its consequences.4.Organizing 4 open conferences combined with practical workshops for people participating in the project.5.Development of a new, democratic and team theater education proposal based on constructive feedback and equality measures, taking into account social and economic changes after / during the pandemic of COVID-19.6.Proposing new principles for cultural workers at European level, constituting a constructive vision of building a new, open and democratic community and regenerating the public sphere.7.Introduction (and refinement of existing) regular training in the new assessment method for lecturers in at least 4 European schools8.Introduction (and refinement of existing) regular training for students in the field of anti-discrimination, student rights, the possibility of obtaining assistance in problematic situations in at least 4 European schools9. Preparation, production and publication of two project books in English (online access) summarizing the entire project (including workshops and research part) also taking into part a set of proposed guidelines related to the procedure for implementing the new methodology for working with students.

Conservatoires are places of outstanding training excellence, in intense interaction with the national and international labour market, through the recruitment of highly qualified teacher-artists. They enjoy means that give them the possibility to carry out innovative actions, in connection with a research dimension on the one hand, and with the evolutions of the profession on the other hand. Their aesthetic and pedagogical choices reflect a strategic vision of the profession that the students graduating from these schools will then disseminate in the industry, of which they are often high-profile participants, and where they frequently work themselves as trainers, with other professionals, school and university teachers, or amateurs.The six conservatoires and superior schools of theatre involved in this project and operating in five European countries (France, Germany, Poland, Spain and Scotland) are aware of the various challenges this situation involves. They are constantly trying to open up to the diversity and the whole range of audiences in vocational training, and to adapt their courses to the cultural and economic changes in the sector, while taking into account major social issues, particularly from the point of view of the inclusion of disadvantaged audiences. Five of these schools are also members of the EUTSA network, where their dynamism and willingness to get involved in Europeanisation and international cooperation is reflected in their presence on the steering committee, where they were elected in 2016.However, the initial vocational training provided in these institutions is still very much marked by a more than century-old, national and monolingual teaching model. It needs to evolve, in particular by integrating a transnational and multilingual dimension, and thus contribute to supporting the internationalisation of the sector, which is desired by the stakeholders and the supervisory authorities, of training and vocational provision as a whole. This observation, shared by these schools and conservatoires, was further developed and quantified in a dialogue with a pair of researchers who are the authors of the attached study (ANNEX 1). Its main conclusions were shared in the course of intensive exchanges with several artistic and professional organisations in the performing arts and cultural diplomacy, especially focusing on issues of linguistic diversity and transnational cultural cooperation. All of these actors share the conviction that internationalisation, and in particular the increased mobility of professionals in Europe, supported by the introduction of multilingualism and cross-cultural skills, is a very relevant response to the economic and societal challenges that these schools, and the whole professional sector, are facing today.The overall objective of the project is therefore to strengthen transnational cooperation in order to create the conditions for a true European integration in the professional field of theatre. Which will be done through:-the development of training contents and skills (in particular language skills) which students and professionals in the sector need in order to be able to develop their professional life at a European/international level;-the pooling of practices, pedagogical and artistic approaches, and heritages, with a view to developing shared education and training programmes for professionals in the performing arts within schools and in particular via a dedicated platform E:UTSA Online Academie;-strengthening the mobility of European actors and directors, by acting on both the supply side (development of skills) and the demand side (creation of new opportunities for transnational collaboration).The target groups are:Current and recently graduated students, educators, relevant staff, associated artists and researchers in schools.Active members and users (artists, researchers, volunteers), staff (artistic direction, partnerships and international development) of partner arts organisations.Educators, users, audiences and relevant staff (cultural cooperation, language teaching) of cultural institutes.Trainers and users, national vocational training agencies.The whole sector and in particular actors and directors wishing to develop their activity internationally, production and distribution venues whose activity requires knowledge of the different European professional contexts, deaf artists, theatre or dance companies integrating sign languages.