Letter For Asking A Housing Allowance

MAB Theatre Association. Proposals for the region Sardinia

THEATRE ASSOCIATION The MAB is grateful for the opportunity given to be able to expose their thoughts, their own proposals on the basis of some reflections.
These reflections do not have as its objective the controversy, it is reflections from which, hopefully, we can act on the basis of an asset, a common growth, more generally, of Sardinia. No finger pointing at anyone, no charges, only descriptions of a situation which prevents the growth and development for young people in theater, there were historical conditions and contexts that generated the current state of things, now times have changed and there should evolve.
Very often the non-consolidated companies grow or fail to realize laudable projects (which are based on market research, an analysis of needs "cultural" the area, etc..) because they have resources available to enable them to provide, for example, adequate physical structures within which programming and scheduling activities or because they can not bear the costs that the recruitment of human resources demands.
The Young Entrepreneurs' play on the field more generally of the show, very often has no chance of creating real and lasting jobs because they do not have economic resources to be invested to launch or implement their own business, and create "jobs" real. Very often these young people is the capital of their time and their failure to pay, since the resources earned are used to carry out activities, it goes without saying that a job that does not allow its actual existence without an initial capital, to develop projects and actions on the territory, implode. There are no funds readily available / identifiable as for the other categories ... Like any business, this show has the right to be funded, has the right to offer opportunities to young people who want to invest in this area. Today happens that the funds are distributed to those who in theory has not really needed. The regional funding should serve as a basis for investment to launch the theatrical business, not to nourish it constantly in its entirety. It 'obvious that some of the funds should be distributed and assigned to support important initiatives and cultural events, just to support, not to allow this in fact will be realized only after the contribution. The companies should be able to produce a consolidated capital to walk mostly on their own feet, on their own. The money saved in this way can be used wisely, to fund young people working in the field show.
Very often it happens that funding from major companies is established to varying degrees, sometimes large, permanently occupied by people in other sectors. When this happens, the whole line of the program or activity is conditioned by the fact that the primary source of livelihood for the members of the companies does not come from the theater and so on. But by other applications. Very often, this undermines the urgency to produce and offer to renew the show, making the production of non-competitive, sometimes obsolete and of little cultural depth, not able to "reinvent itself" and suggested actions that are not seeking to survival independent of the companies that often rely only regional or state funding to exist. Economic resources to finance these companies are excluded from, so to speak, those the theater that are their sole concern, and as such they operate. It would be good that some of these funds were instead designed to encourage and promote young professionals, or more generally those exclusively dealing with entertainment and the spectacle derive their economic livelihood.
E 'therefore necessary that there are objective parameters of assessment, based on a project, taking into account that they are primarily made up of professionals show that the work from which they draw sustenance both the show and other occupations. And 'these people must take precedence over those who bring the theater to the "second place".

The MAB Ass.ne Theatre proposes
Upon presentation of a project, whose goal is to act in the long term in the field to promote employment and social action through performing activities, provide funding to develop the theatrical business youth, mostly represented by non-consolidated companies. This funding should be controlled, ie the investments made by companies for which were prepared funding should be strictly monitored to verify the correspondence between planning and investment type. The non-consolidated companies must demonstrate at least 3 fiscal years.
are some parameters we identified:
, vocational training of members of non-consolidated companies, the same evaluation of curricula.
· original of the proposed projects, thickness, and the cultural value of what is proposed.
· feasibility of proposed projects to the resources that are to be used (minimum cost maximum yield)
· quality of the actions presented to educate the public to the enjoyment of live performance, with particular attention to young people.
· Ability / willingness to create partnerships, to create synergies, involvement of local workers, organizations, individuals, and land resources in general.
· Ability to involve other companies operating in the field show local, national and international.
· Ability to find alternative funds to finance public
· Ability to intervene and promote the area
Other suggestions:
· Reduce the threshold for access to ex-56 from five to three fiscal years. The allocation of funding will be based on activities and demonstration projects in this period.
· Elections by operators in the sector of members of the Performing Arts.
· Exclude as a criterion for the allocation of budget funds and the number of working days as currently planned, we need a reversal of perspective the funds should encourage young people working in the theater to create jobs, companies with established whether there should be no role in funding.

Itching With Brazilian

Aldo Sicurella - Representative of the Teatro Stabile of Sardinia in the Regional Committee for performing activities

Rubo words to the presentation of this conference highlighting the uncertainty that dominates the show and culture in Sardinia. The news announced just five minutes ago for the murder of the poet Peppino Marotto Orgosolo me frozen blood and anger aroused in me. Effective
cultural policy could change anything?
My work mainly addressed to children and youth if he has as primary objective.
Back to us .... After many years of debate and dialogue not just peaceful, I think many of us are still here for fear of losing some phantom train of privileges. I hope this is yet another opportunity lost.
I'm here to talk about stability, and thus I begin by clarifying the two key aspects that characterize it: the economic importance of the theater and the service territory.
In Sardinia there are 4 permanent theaters: 3 Stable Innovation (Barrel and Cylinder in Sassari, Akròama in Cagliari, the Teatro Paulilatino unstable) and the private establishments of the Theatre in Cagliari, Sardinia. The company of the Teatro Stabile has very consistent with the obligations, 4000-4500 contributory days, an administrative, organizational, technical and artistic building and direct management of a theater that is cultural landmark for the area in which it acts, as regards the latter aspect would be the optimal: to have a relationship and the continued support of local authorities, the reference to young people and to schools and the opportunity of training for student actors as well as the acquisition of more skills for young players of the show and not least the 'job opportunities. The artistic design
constant over time and expanded to various forms of entertainment (drama, dance, music, opera and so on) is in my opinion a very important aspect of stability. In our theater, the theater of Grazia Deledda Paulilatino, last year, thanks to the decentralization policy in 2007 of the Fondazione Teatro Lirico di Cagliari has been able to plan the "Traviata" for two nights. The hunger for work is so strong that the presale tickets almost 1000 ended in a matter of hours.
this example, of how to convey a large audience in a theater "decentralized" but service in the territory known as proactive and constantly.
Our institutional activity that is directed to the younger generations constantly involves local schools and does not pass that morning bus full of students arrive in the square outside the theater. For them we are a "stability" and seasons of "Children's Theater," an annual event missed. Just as I think it's "Time in Jazz" for the territory and for the whole region and I am sorry to have met only today that Paolo Fresu with his love for jazz has attracted the interest of many to the festival Berchidda and other iniziattive making them famous and international.
In conclusion I hope that, as he said Fresu in the initial report, this day is a milestone for the joint performance and culture in Sardinia. The commissioner
Mongiu invited us, and for that I am very grateful, to create concrete proposals for the implementation of Law on the show.
I therefore hope that, with my colleagues on the committee, you can actually, with the backing and support of individual sectors of the show, be constructive.
In 1978, when a young theatrical group basis, (those to be clear which players roll the streets and jumping on stilts), organized the first National Festival of the basic groups in Dongo (CO), a country known for the murder Mussolini. I took my colleagues in the example of the metal workers who, through their national union, they got great benefits: for example the status of workers, but also to Dongo was, for us actors, an opportunity lost. I want to make a prayer to the whole industry. Forget
for a moment "our private" and create a unified movement that, together, work with law enforcement that may mark the future of our companies.
Twenty years ago, following a meeting held at the Teatro Grazia Deledda of Paulilatino, the whole world of entertainment Sardinian made an appointment to the Civic Theater in Sassari with the goal of a unified action to obtain guarantees that in the complete law and order, made uncertain.
work one morning, just as today, interventions, discussions and then, in the presence of an official of the Bank of Sassari, and if I remember correctly, some regional officials, we decided to sign a petition common to be sent to the Regional. That
sheet for signatures began to turn to the audience at the Civic. ... Leaving the theater we wondered who would deliver the document myself, but that document did not exist anymore ... someone had disappeared and almost all the show operators had left.
From that day to this, I personally have participated in at least fifteen of these meetings. Once even came from Rome, in an attempt to help the National dall'AGIS for the emergence of an effective union in the industry but also in that case did not end anything. That's why I talk about
VERA SYNERGY FUND and must stop being a beggar.

The money is short is true, but if they were best used? However, you start to talk about joint projects, projects that will benefit from which we could finally have certainties. Thanks

To Get Keratine From Ottawa

Intervention by Roberto Calari - Project Manager Bes

Time in Jazz and I thank Paolo Fresu, for inviting us to this initiative which I think is important to reason on your part on the need for a new stage of confrontation between all those who produce culture to verify the possibility of defining proposals , shared priorities and instruments in respect of the lines of intervention, in the first place in the Region and State in Culture.
Region, on the other, we feel committed at this stage, to complete a new also legislative framework and promotion of culture that requires a stronger connection and comparison subjects. Time Jazz took, I think, this urgency of meeting, listening to each other and proposal, which is essential to tie the threads of the network of individuals performing in the general interest of promoting the island of Culture.
The conference involves, on the other hand, in their direct representatives of different sectors of the show in the newly established See, in line with the recent Regional Law on the show, which could perhaps represent an important opportunity to identify these priorities and ensure that they can be commonly represented in This reference tool, as against the administration.

then I come to a sense of presence in this conference, both as director of Ater, the Theatre Association of Emilia Romagna, is in charge of the RTI has the task of carrying out the Project Bes, awarded the tender called by the Autonomous Region of Sardinia the promotion, development, communication and marketing of major events and cultural and entertainment events in Sardinia. How we can refer
Ater, is reported here, the presence of President Maurizio Roi, an experience of a service organization for local people and managers of cultural spaces in the show program and important experiences in the promotion of production of the main members: a desired network and supported by the Emilia-Romagna, in many years, has forged relationships with the major cultural institutions and public organizations and private national and international levels in line with the its mission of fostering the development of culture in Italy.

of Ater said, allow me, as a professional trader and culture, some preliminary statements useful to share a reading frame of political and economic role of culture in which some (but not always policy-makers or economic) and try to relate which fits our thoughts today:

1) Culture can be a factor for development of the area? I think in terms of increased quality of life, affirmation of the right of citizens to use and increasing opportunities for cultural growth, the answer to that question is yes to all of us. Investing in shares of public expenditure to sustain the culture, its dissemination and its use is a fundamental fact that "connotes" the "quality" and "potential" for economic development in an area.
2) In this context, support, through public policies on culture, not only elements that reward "circuitry" or "dissemination" of cultural products, but also, with specific and strong attention, "new cultural products" made by local actors, is a first difference between the different territories.
3) If then there is a tendency to promote those productions that depart from the deep roots of identity and are able to decline it and talk with other identities and cultures, both nationally and internationally, we are faced with a further distinction, pass or strong that can make a difference in the strategies of cultural policy. We, that is, faced with cultural products that come from the identity and look at the world and, as such, are entitled to, and with little risk of losing autonomy and specific nature, dealing with the market and become one of the most formidable vehicles of "promotion" and "export" of an area, where the "export", it is worth emphasizing, is to "put into circulation", compare, create a dialogue, and create an identity with other identities At the same time, the conditions of "economic sustainability" of the cultural project.
4) Here, then, that although from a motivation, in the activation of cultural policies, taking only reference to the role of culture as a factor contributing to the improvement of quality of life and a new right of citizens to be leaders of the same terms of use and output culture, you'll always come to emphasize another aspect too often ignored or underestimated by the fiscal policies and the choices of government investment. The transition from a reading that sees the cost of cultural policies as a necessary cost to be incurred to that, however, the expenditure for culture as an "investment" and "opportunity" for a different and more innovative development of the territory.
5) Our experience, but, fortunately, those of us with many economists, scholars of cultural economics, planners and experts in planning and spatial development testify to the fact that culture can be an important factor for economic development in the area. But only .... Under certain conditions! Not all areas have, of course, equal opportunity to start: there are actually rates "cultural" other, a potential (such as the presence of infrastructure dedicated to cultural entities, networks in the sector) that are more advanced and there are other realities which are today the most disadvantaged or that access just now to open a route that goes in that direction, but that will take many years and many investments to deliver concrete results.

Sardinia Sardinia
We think that having these conditions.
The rate of culture, understood as the summary of a series of indicators that characterize a region indicates that the reality shall be consolidated with strong points of excellence, but also with many new subjects that "claim" space and that can help, if properly supported, the renewal of the languages \u200b\u200band to foster a more widespread "social knowledge" of the territory.

do not know the existence of organic searches on the validity of my statement, although some indications are coming from the elaboration of the National Performing Arts, as we anticipated an employee of the Ministry of Cagliari to our workshop, inside the 'Jazz and other Expo, comparison between the regions, I derived from data from the Regional Performing Arts of Emilia-Romagna, I work at for years.
I will just note, however, that derives from a more direct, which occurred in recent months:

a) The local government has dedicated significant portions of 2000-2006 Por this purpose, in particular the support for carrying -renovation of new space to expand the geographical spread of places of culture, with the support of the identification and initiation of specific forms of management, with support for the promotion and marketing. In particular for this last action was suggested to create the reality around some of the most established and best known attraction of new opportunities for cultural tourism, travelers, that can to understand and appreciate the identity, the uniqueness of places and territories, together with the cultural productions and events of the show or shows or some of the main manifestations of identity as are those related to Carnival in many countries or related to the rites of the Week Santa. Although there are obvious points of criticism on how to provide effective opportunities to manage some of these structures can be said that the conditions are there to "think of a strategic action", development and consolidation of a regional cultural network that this first form of aggregation can build on to refer to more growth in this sector.
b) There are laws industry, particularly that on the show, or that the film, newly approved, vital for planning of cultural policy, programmatic and useful to give certainty to start a stronger involvement of stakeholders in the lines of public programming culture.
c) There is the presence of a strong pole of knowledge in the Universities of Sardinia
d) There is the presence of a strong "innovation hub" in Cagliari, which offers a significant opportunity to position, nationally and internationally, between territories where most significant reservoirs of technology, innovation and knowledge and where it can become a virtuous link to this peculiarity richness of the presence of cultural producers to decline a new leading role of Sardinia in the production of quality content for digital.
e) There are, then, so many events and cultural and entertainment events that are going through the Island "for the whole year

But these potential" competitive advantage "also engages some" threat "!
seems, in fact, for those who are like me, to observe closely the Sarda reality shows and events that are not often in a position to define their programs in good time for the uncertainty of available resources, both government and and private. It also seems that a network approach, collaboration and joint planning that too often is used instead of the "lack of dialogue or" go it alone "

how to make, then, these events and cultural productions, or at least a substantial part of them, stable elements of a program which allocates resources certain, in time data and requesting, conversely, to every person to contribute to the growth of a strategy to promote the area and even communications, common? And how to help that we can build around them two virtuous
a) that the leading role of facilitator and to the realities of the child (not the other way as sometimes happens) helping to find merit in the criteria access to finance
b) that the leading role that it starts to Offer Sardinia culture, aimed at an audience that can be motivated towards the proposal of a "Sardinia all year," even outside the tourist-related reasons its beautiful sea.
The new regional law is undoubtedly a crucial opportunity to build a shared strategic path between the Region, local government and people of culture.
is set to identify the priorities that tow the development of the whole system of culture: this, in short, a hard-opportunity whose solution would favor more rapid development of the region through culture and may fuel more consolidation and capacity planning by the subjects.


The network
Finally, I meet these thoughts with some of the goals and actions to be part of the project Bes, in particular with regard, of course, the music festival circuit and also show how far
stated result for us, a reflection on the possible construction of a Network for Bes this means operating in the involvement of public and private holders of the events that the region has identified as the first reference of the project to build a network to certain actions:. a network that shares common tools of promotion, which will build in relation to the guidelines of the Region, the Site www.sardegnacultura / grandieventi.it , toll-800881188 and the contact center, it can share coordinated lines of communication between players and with the region, which is the reliable partner tour operators, who performs a common search for funds to strengthen and support the growth of events and events in the context of growth that produces the image of Sardinia culture that is credible bodies for consultation and address of the region within culture and which promotes the identification of criteria for expansion to other parties / events, events in the Internet

One lightweight tool, for self-government, using the effects, the tools of the BES Project and the potential in the multi-year project MIBAC and the possibility, therefore, to build, in time, the second edition based on broad participation, to initiate a being organized and new relationship between public and private, and to uncover, entertainment, real production opportunities, as well as the consolidation of recognition by the Ministry.
a network that, while respecting and safeguarding of the differences and specificities, all those born between the most respected and recognized and is open to new players who have the characteristics to form more solid foundation to support the growth of the projects of each and all territories and the autonomous region of Sardinia. A network that marks a turning point with respect to fragmentation and do each for its own account ..

a network, then, that does not fear the differences, but also a place that celebrates becoming important for laboratory and common projects that could involve a high level of Sardinia, which produces the best music, entertainment and culture, comparing with the rest of ' Italy and the world.
The advantage of being able to propose, even within an institutional framework to be recognized and shared by the Region, as a person who is able to interact with the best organized of other instances territories is an opportunity not to be underestimated, especially in a situation like that of Sardinia, where it seems that the richness of the proposals is a terrific calling card for anyone who wants to invest and cooperate with organizations that can deliver a strong identity and creative ability .
We have seen this as a project Bes, in Seville when we have represented the island that produces music to Womex, leading and enhancing the production of some of the most significant experiences of Sardinia and its Festival of Music (Fresu, Favata, Ledda, Palmas , the productions of the border between Sardinia and Calagonone Jazz and Jazz, and, above all, the ability of these artists work together Identifying a research and comparison with other cultures). Export

culture

The Music of Sardinia, the production of The Opera, dance, prose, the productions for children and youth, the most representative works of the authors of contemporary art Sardinians are many moments of a single Laboratory culture that is already present in the region and to which we have tried to become conscious during these months of work. So we are part of this process and we would like to give, in all modesty, our small contribution to operators in that it can be fully realized.
For this, beyond the developments already outlined in the invitation for the Project would like Bes groped, as Ater, to promote some moments of confrontation and collaboration that go in this direction. These
to encourage the creation of a production involving the most recognized artists of Sardinia and that he could become a useful business card for a general promotional activities in Italy and Europe, Sardinia, which produces music, to promote a meeting between Sardinia and Emilia producers of the show, particularly in drama, dance, children's theater, a meeting that is scheduled between March and April before the Court in the Province of ReggioEmilia Hospitable and could encourage new ideas of collaboration, to help strengthen the potential of becoming a more Ogliastra Theatre large European point of reference for production and a comparison on new ways of social engagement and civic theater and a comparison on the development of new theatrical languages, to contribute in May to promote reflection, in Cagliari, on the value of experience as an advanced Memorials to Open in spreading the culture and cultural heritage in 'approach and build new audiences and new awareness of the value of cultural heritage, but also emphasize the essential value of the proper relationship between public and private sectors to enhance the value of the Goods, in accordance with the universal value and their importance to the community. Reflection also aims to understand how to build and consolidate new skills new businesses and not for profit on the territory able to match quality of business responses to skilled jobs and services.

On this, with the due modesty of those who sincerely believes important to work for a culture of growth, we will continue with many of you, this reflection and collaboration in the coming months. Thanks

Attractive Names For Cultural Club In College

Intervention Tiziana Scalas - Responsible for planning "An Island in Festival"


ISLAND FESTIVAL IN NEW ROUTES FOR COORDINATION OF CULTURAL PROJECTS


In January 2007, the Ministry of Heritage and Culture and Local Authorities have signed a pact for the enhancement of Cultural and Performing Arts recognizing that " the show is an activity of public interest, is an essential component of culture and identity of the country and a growth factor, social, civil and economic society .
To give substance to this agreement, dated March 27, 2007 the Ministry published an announcement in respect of funds allocated by Law 296/2006 (Finance Act 2007), with which Local Authorities are invited to submit art projects for 2007-2008-2009 annuities, expiring May 31, 2007.
The guidelines provide that notice of each project can be financed up to a maximum of EUR 1 million and must include the commitment of local proposing to raise the same amount as the requested budget funding.
The Autonomous Region of Sardinia chooses to present a single project in partnership with the eight provinces and to this end May 15, 2007 instructs the Fondazione Teatro Lirico di Cagliari in the definition of a project pursuing " the objectives of the development of identities and vocations spatial enhancement of programming related to the contemporary ", having" particularly for young people and the development of projects in network.
In this context, the Opera Company participates as an instrumental entity of Sardinia, managing the functions of art direction and organizational.
In recent years, the Opera House has strengthened its regional vocation in the direction of a project for the city and the region, in a process of opening up to the demands of the context in which it operates. The Foundation is incorporated in this way in developing new ways to promote innovative services of public interest, making system to key institutional, economic and social island.
this purpose is established recently through a synergistic effort between the Opera House and the Province of Cagliari, the door Eurocultura.
The door was created with the aim of providing cultural operators in the region as an information service targeted assistance in planning participation in community programs in order to promote a rational policy of aggression to funding by the European Commission by the Italian and Sardinia.


An Island Festival in


SUMMARY In accordance with the guidelines of the Ministerial announcement, the project implements a logic of supra-provincial-wide network. It aims to encourage the diversification of cultural planning and development related to the contemporary, with particular emphasis on youth and experimentation with new artistic languages.
In this area there are multiple actions aiming at the dissemination of performing at the younger generations and audiences with fewer opportunities to fruition.
We think of a local development model built around a culture that is able to seize the untapped potential of a territory, not kept in museums but rather to encourage the emergence of new avenues for cultural and economic entrepreneurship. Through a conscious mobilization of resources and environmental arts in fact generate significant benefits in terms of both quality of life and of economic impact.
The project deals with the concern to overcome the size of immediate consumption of culture, actively involving the citizens, including through appropriate training interventions the public.
The paradigm is reversed with respect to what he sees citizens as passive consumers of entertainment without any unqualified artistic content and identity.
The local development model on which the draft Festival is based not only aims at strengthening a cultural center called mechanically to irradiate the surrounding area. It provides a configuration unlike the district, creating an integrated system of actors.
The relationship between culture and territory is crucial to establish processes to value not so much through vertical integration of production chains, as a means of mainstreaming, in which the artistic act as a catalyst to high rate of value-added intangible.
Under the three-year time horizon envisaged by the Ministerial announcement, the project focuses on organizing a festival that can evolve with a view to permanent appointment, acting as a promotional opportunity to raise awareness of Sardinia in a different light than the typical seaside and thereby to achieve a cultural showcase through which car outside the wide range of material culture and symbolic of the island.
Achieving a target of this magnitude necessarily involves a social contract that favors the formation, the emergence and consolidation of creative energies. An Island in
Festival brings together a network of cooperation expressed by the coordination of the eight provinces of Sardinia, to guarantee the participation of the entire region in the development and subsequent implementation of the event.
Their intervention comes from the complexity of the project, which includes measures aimed at the quality of the cultural development of local talent, attracting talent as well as external training and citizen involvement.
The project enhances the numerous tangible and intangible POR Sardegna 2000-2006 that led first to the creation and restructuring of spaces to be used for business entertainment, the other to corresponding promotion of cultural events, creating the preconditions to qualify for the entertainment industry and enhance both the identities and territorial vocations. The project's artistic programming
An Island Festival in also reflects the increasing importance of cinema in Sardinia, providing for a review article dedicated to the seventh art that encompassed the entire region during the entire month of December 2007 .



ORGANIZATION PARTNERSHIP
Fondzione Teatro Lirico di Cagliari territorial Financial support

Province of Nuoro Ministerial announcement of the objectives the project intends to pursue are:
· the promotion of quality and innovation of artistic productions;
· the creation of a network of international cooperation that encourages the circulation of the works to regional
· the distribution balanced territorial supply of entertainment and film;
· training to the public.


http://www.teatroliricodicagliari.it/pages/nuovasardegnaunisolainfestival.htm

Laptop With External Gps Maps

Contributed by Giancarlo Biffi - Cada die Teatro

TOWARDS THE SPRING SHOW IN SARDINIA


begins a new year of shows, old problems but also the determination to improve this for a future run towards us quickly.
I have always believed that art is not the end but merely a means to "pull out" from the people the best of themselves. One tool to get somewhere else, to touch other strings, the ability to cross the threshold ...

The year begins with the intent on the part of the Regional Administration to give legs to the recent law on the show. The representatives of the various artistic fields will have the important task of suggesting how to apply the policy in the best way the law, how to ensure that the implementing Regulation goes beyond the short horizon.
difficult task but not impossible. Difficult because the various components of entertainment islands are also companies in competition for the acquisition of market spaces, theaters, audiences, funding, sponsors ... but not impossible, because there is a great need for clear rules for those of art and culture are professionally involved.

Standard Minimum Rules, clear and transparent, of course each company will try to "pull" towards the composition of a regulation that encourages its cost structure.
If that happens it would be an short-sighted and short-sighted ...
Instead, you must work for a regulation that goes beyond the present, which is made according from which the jump ... Legislation that face as neutral as possible the interests of the whole community and that will push the varied professional reality competition more artistic than to the company, claiming first place and by all means the production of works of theater, dance, music, cinema ...

Focusing on the production means to believe in a Sardinian who has something to communicate to the world.
artistic production should be the main pillar of any legislative architecture, you can not ignore this. More and more works are carried out among these is the possibility that there might be something like the "masterpiece". Should be given opportunities to push the artists to do what they do best, that for which you are given so much to do. Force them to move away from the administration, paperwork and force them from their real work in space: the stage. We can not allow our finest artists, old and young, are forced to use most of their time in the management of a company or organization, more than in practice their art. Each argument on the implementing regulations of the law, must be based on "production" and the study of all possible rules to encourage ...

addition to press for the implementation: the Triennale, streamlining bureaucracy, the certainty of timing for granting
... It would be good to think radically about what is the basis for all reasoning.

We are certainly in a field, the artistic one, where supply far exceeds demand. In light of this, let us ask ourselves two fundamental questions: 1

. How is it possible to raise the question? 2. What to do to improve the quality of?

improving the "quality" of the offer can certainly increase the "quantity" of demand.
To improve the quality, you must first concentrate on actions to trigger specific tend to promote production.

is possible to follow five "ideas" normative:

Hospitality
reward artistic situations that provide their own space and their services for free to theater companies, dance or music without suitable premises or technical services. Adoption

Rewarding the most well-established artistic situations that "adopt" young companies, taking on the burden and responsibility of their artistic training and technique.

Reward Distribution: festivals, tours, exhibitions, all kinds of events that directly produce or present performances in their program as well as national teams and also international productions by local artists. Encouragement of quality

Establishment of an annual prize on the model of the "Premio Ubu" directly by the RAS, to the best show, actor, director, playwright, rookie ...
Facilities
The possibility of putting in the budget (revenue and expenditure) also shows performed outside of Sardinia

Giancarlo Biffi

January 2, 2008

5 .1/2new Real Leather Cricket Ballwith String

Antonio Lampis said

A new museum can not do much good to Cagliari, especially in the district Sant'Elia. True that "contemporary art and archeology" idea seems obvious, but sometimes obvious ideas can be structured in very good manners. We'll see.
The focal point is certainly one: the new cultural facilities, especially in the costly implementation of the "walls" must be pursued with additional resources, at the architecture that contains them, accompanied by investment brokerage with the people and especially with nothing remove the existing projects in the rest of the territory.