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The vote took place during the general assembly which was held in in Turin in the framework of the Europe Prize for Theatre (12 March 2006). The association, presided by Jack Lang, thus pursues an active policy of openness to new memberships, to new identities and artistic expressions that, in the words of Elie Malka (director of the UTE since its foundation by Giorgio Strehler), further the view points on artistic events, on the repertoires and premises of an idea: that of an Art theatre in Europe. The UTE had previously accepted the memberships of the Teatro Garibaldi (Palermo) in 2000, dedicated to contemporary and experimental work, the Theatre of Moscow-School of Dramatic Art directed by Anatoli Vassiliev in 2001, the Schauspielfrankfurt and the Teatro Nacional So Joo (Porto) in 2003. The Union was not founded, says Victor Arditti, personal member of the UTE and former director of the National Theatre of Northern Greece, on a geographical or political basis, but has chosen to put forward a shared vue on public theatre in Europe, the claiming of an Art theatre that is made of different languages and aesthetic approaches but, even so, shares a common heritage and repertoire. And this, independently of the diverse political and cultural situations in which the member theatres operate. Today, Jack Lang wrote, we find ourselves faced with the same questions: how do we defend art within a market economy whose logistics are designed to standardise our way of life and thought so that we are reduced to a state of passive consumerism? Can public policies that support the arts be more effective? How can we demonstrate that investing in culture and in the shaping of a critical mind, not only in knowledge, is a financial investment in the future of Europe? How can we help young people find their bearings in this space that is both European and global and of which they are both actual and virtual citizens? The response to all these questions can be summed up in one word: encounters. Encounters of the mind to remind us of the rightful place of culture; encounters between all partners in creation (writers, artists, producers, distributors, cultural institutions) in order that they may join forces to become stronger despite differences of opinion and interests; encounters across generations, because in a society based on communication and information exchanged in real time, knowledge also requires actual steps in learning and in time. An exchange between master and apprentice. The Union of the Theatres of Europe, a network of artists and theatres who for the most part have been working together for over fifteen years, leads the way within all of these areas. The Union draws from the wealth and fabric of its history and keeps a finger on the pulse of new forces, recently got into the Union; new forces alive within current theatre and politics in Europe, in all their various linguistic and theatrical expressions. This is the spirit in which these three new members are joining the nineteen present members of the Union. The new membres: The Dramatic Theatre of Yogoslavia in Belgrade (directed by Gor in Stojanovi) was founded in 1947 as a theatre representing the new Yugoslavia. Its first director, Bojan Stupica, with the critic Eli Finci, decided to base the theatre on research and on the pursuit of a high literary level. It is still so today, although the questioning of new forms is just as important. The theatre was also directed for fourteen years by Jovan Cirilov, current director of the BITEF. The importance given to the turn-over of young talented artists, writers and set-designers, also contributed to the Dramatic Theatre's particular position in Jugoslavia. Its close links to Europe and its modern artistic approaches prevented the Dramatic Theatre to adopt, even during Tito's rule, socialist realism which had taken over Russian theatre. The question of the reality of power and society has from the very beginning guided the choices of the productions. This proves the theatre's engagement in contemporary Yugoslav society. The Habimah National Theatre of Israel (directed by Ilan Ronen) was founded in 1917 in Moscow, during the Bolchevic revolution, as a symbol of the Jewish revolutionary spirit, at a time when public libraries hid books in Hebrew and learning the language was forbidden. Its founders' enthusiasm and persistance drew Stanislavsky's attention. He transformed the Habimah into a studio of the Moscow Art Theatre, and appointed one of his best pupils, Yevgeny Vakhtangov, as director. Gorki viewed the Habimah as a miracle, Einstein speaks of it as a monumental initiative. In 1935 a corner stone of the Habimah is laid in Tel-Aviv. The theatre has given generations of playwrights, actors, directors and set-designers the opportunity to develop their talents. This tradition is confirmed by the current director, Ilan Ronen, who founded a young company within Habimah. As a national theatre, Habimah presents its productions all over Israel, and must speak to all communities (Arabs, Jews, Ethiopians, Yeminites, Russians, Armenians, Europeans) by developing a repertory that puts forward a multi-cultural Israeli society. In this sense, Habimah has always represented a voice and a conscience in the party of peace. Its international activity is witnessed by a regular presence in the world's most prestigious festivals. The Teatro Stabile di Torino (directed by Walter Le Moli). Founded in 1955, it's structure and organisation is very much like several other members of the Union. It is a remarkable example in Italy of artistic dynamism and actively participates in the development of its territory and its population. In this sense, if artistic excellence remains the first criteria in the selection of new members, the Union does not forget to consider these special circumstances when a theatre, a city and the public authorities share the idea that culture can be a true factor to social and human growth. On top of the seven spaces that the Teatro Stabile uses today, it will soon be able to count on two more, as soon as the renovation of a former cinema is completed. These transformations allow the theatre to explore non-conventional spaces and encourage contemporary creations, laboratory work and classical theatre in a new relationship between the theatre, the city and its territories. The Union of the Theatres of Europe The Union of the Theatres of Europe was created in March 1990 at the initiative of Giorgio Strehler and Jack Lang, with support from the French Ministry of Culture. It is an alliance of public theatres whose mission is to contribute to the building of the European Union through culture and theatre, to encourage a collective cultural movement that breaks through language barriers in order to develop an art theatre which is seen as a vector of fraternity among people. The UTE promotes productions and co-productions, theatre exchanges and shared experiences, while respecting individual identities and cultures. Every year the UTE organises a festival of theatre productions, hosted by a different member theatre. This flagship event offers a unique occasion for the diversity of European theatre production to challenge both itself and the public. The UTE organises workshops for young actors, directors and stage designers, exhibitions of European stage designers, international conferences, and translations of contemporary plays. Etched in continuity, the sum of these activities helps in elucidating the objectives of artistic and cultural policies that aim to reinforce artistic cooperation and transnational circulation in Europe, to further the spread of knowledge and dialogues between generations of artists and between tradition and innovation, and to encourage the mobility of artists and productions that they may reach new audiences. Most of the activities become the subject of publications: exhibition catalogues, festival programmes, and conference proceedings. In 2006 the Union of the Theatres of Europe will support the following activities : - The Royal Shakespeare Company is proposing a European workshop in the framework of its Complete Works Festival, the largest theatrical event ever produced by the Royal Shakespeare Company. The workshop will consider Shakespearean theatre from the perspective of contemporary European writing, using modern theatrical forms. - The third edition of Masterclass, directed by Luca Ronconi at the Piccolo Teatro in Milan this year will be addressing the theme of space in theatre, after acting and writing. The theme of space will be explored through the work of young students from the universities and academies from Milan and all over Europe. - The Festival Das neue Europa: auf die barbaren? proposed by the Dsseldorfer Schauspielhaus was prompted by the recent enlargement of the European Union and is developed around the point of view of four contemporary Eastern and Central European playwrights. - The second edition of the Festival Premires imagined by the Thtre National de Strasbourg in collaboration with Le Maillon. The Festival presents first productions from young European directors freshly out of school. - The 15th Festival of the Union of the Theatres of Europe this year will take place in Germany at the Schauspielfrankfurt: Wenn liene kme (If love would come). Public relations and press contact Valeria Marcolin Union des Thtres de l'Europe 80 rue de Vaugirard  75006 Paris tel. 01.75.00.09.14 presseHYPERLINK "mailto:vmarcolin@ute-net.org"@ute-net.org HYPERLINK "http://www.ute-net.org/"www.ute-net.org  SEITE \*Arabisch 3/ ANZSEITEN \*Arabisch 3 (bd nprtJLNprt\&^&`&&00000p8r8v88899;<<l<ͽͽ꽭͍ͭ|!aJCJOJQJB*ph^JPJaJCJOJQJB*ph%aJCJOJQJB*ph\5\5aJCJOJQJB*ph\5aJCJOJQJB*ph\5B*phOJQJCJaJB*phOJQJCJ5aJ\B*phOJQJCJ5aJ\ jU0l<== >?@@ D"DD(E*E,E.E0E2EEEtHKMNNN,P.P0PvPPPQBQNQPQQQQQŵťŵŁwa*0J40J4\aJ5>*CJOJQJB*phjUU"\aJ5>*CJOJQJB*ph"\aJ5CJOJQJB*phH*\aJ5CJOJQJB*phB*phOJQJCJ5aJ\B*phOJQJCJ5aJ\B*phOJQJCJaJ\5B*phOJQJCJaJaJCJOJQJB*ph%QQQQ R RR,R.R0R2RVRXRZR\R^R`RRRRRRżżżż#aJCJOJQJUaJCJOJQJaJCJOJQJaJCJOJQJU'0J40J4\aJ5CJOJQJB*phjU"\aJ5>*CJOJQJB*phU(bd nprtJL$a$$a$$a$$a$$a$$a$$a$$a$$a$$a$$a$$a$$a$$a$$a$$a$$a$LNprt\&^&`&000p8r8t8v888=$d%d&d'd$a$$a$$a$$a$$a$d$a$$a$$a$$a$$a$$a$$a$$a$$a$$a$$a$==@@ D"D(E*E,E.Ewf$d%d&d'd$a$$d%d&d'd$a$$d%d&d'd$a$$d%d&d'd$a$$d%d&d'd$a$$d%d&d'd$a$$d%d&d'd$a$$d%d&d'd$a$$d%d&d'd$a$ .E0E2EEEtHKMN,P.P0PvPPPQBQQ0Rd$a$d$a$d$a$$a$$a$$a$$a$^]`$a$ $d%d&d'd$a$$d%d&d'd$a$0RRRRRdw$a$.. 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