Category: Uncategorized @mt

Saturday 27th March 2021, was possibly the saddest World Theatre Day ever since this was instituted. On that day, we noted some concern with our position to focus on R&D and to this effect we are clarifying and explaining our position.  

I will start by saying that in the context of protests all over Europe, I understand the anger, frustration and disappointment out there. Europe has seen many theatre practitioners protesting. And we take criticism and protest in this context. But I will also further explain how we came about this decision.   

Last year, I wrote an article about how I feel theatre should be put on the same level of the catering industry when discussing Covid measures. Despite the recurring problems with clarity remain, Teatru Malta’s situation now is very different. First of all, let me clarify that this decision has been taken in the context of the local situation of the pandemic. However, if one has a look internationally right now, we are not the only ones currently not producing. National Theatre London? Closed. Teatro Stabile di Torino, Teatro Nazionle? Closed. National Theatre of Strasbourge? Closed. D. Maria II National Theatre in Lisbon? Closed. The Odeon Theatre de L’Europe in Paris performed two productions since last March and then cancelled or postponed fourteen. When asked when they are reopening, Braunshweig – their artistic director –  said “I have no answer for when.” The list could go on. They all have no theatre performances for the time being. The latest article I read in neighbouring Italy on World Theatre Day read “Palcoscenico vuoto, sipario chuso, e poltrone fredde”. There are various reasons why we decided to focus on R&D, which I will try and explain.

1. Teatru Malta has a line vote of 450K, out of this around 200K of public funds go directly into our programming. This is less than what is spent on some operas or what most local festivals spend in weeks, let alone the theatres I mentioned above. During the pandemic, our recurring agreement with other entities were not renewed as have most of our ministerial collaborations, either due to ministerial changes, budget priorities or issues related to the pandemic. Considering that between 2018 and 2020 an average of over 50% of our programming funds came from other sources and collaborations, you can say that we had more than a 50% budget cut.
2. Yet, right now and with the current plan for R&D, we are investing most in artists in our history. Artists that work in the industry are getting more from us now than ever because we have completely slashed our marketing budget, production budgets and put it all into R&D with artists and their collaborators. We are spending less on venue rentals, equipment, marketing and more on our artists than ever before. Last year, Theatre Depożit took more than 25% of our yearly budget and we are developing projects with the successful applicants…
3. As you well know, it is not easy to get audiences to the theatre right now. I read with interest MEIA’s position paper on the MTA Tourism Strategy. It said “MEIA will not accept the position of the state as a direct competitor of private enterprise”. This is another reason for our decision. Right now we believe the independent and private sector needs more space to breathe than ever; be it online events or small scale shows. There is access to over one million euro of Restart Funds via ACM available to the independent and commercial sector. There are also other national entities who were doing good work when it was possible in creating shows for small audiences.
4. We are very different to these other public cultural organisations. We do not employ actors, dancers, musicians. We do not own a venue of our own and have doors to open or spaces to use. Teatru Malta was modelled differently to international national theatres, we are a flexible company and we can use this to our advantage. In this case, spending tens of thousands to get around 300 people to the theatre is not our priority. Making online video art, or streaming live theatre is not our priority either. Again, a lot of good work has been done in this regard, however we believe that we can take a different position.
5. My position on live streamed theatre is similar to Thomas Ostermeier who said that it is “like methadone for heroine addicts”. The Schaubuhne in Berlin in fact decided to stay shut last summer – even though they could have opened – and will only be opening in May this year. Similarly, we decided to use funds for the aforementioned Theatre Depożit last summer and since the situation here is not the same as Germany’s we are working on reopening later on this year.
6. We had a production programmed in April called Nouveau Riche, which would have cost around 50K to produce. It is important to note that Teatru Malta needs to pay for a venue, audiovisual set up and all. This production could have had 80 people per night in the venue we had planned. That means a maximum of 400 people for six nights if they’re all full houses, less than one night at the Manoel Theatre. We are the national theatre and the way we see it, we need to produce shows that are special in one way or another, whether it’s process or product; we can’t produce just for the sake of it. We do not want to go for a cheaper version of a show, so that it makes financial sense to get a small audience. That is a commercial perspective we can leave for the private sector.
7. We have read that some people are skeptical when it comes to our decision using this time to preserve and plan, rather than producing. We actually believe it could be a great time for planning the future. Veterans like Eugenio Barba said that he sees this a time to keep silent and let gestation prepare the future that will demand all our imprudence. I tend to agree.  
8. Whilst both methods and perspectives (opening now at all costs vs R&D and preservation) have their pros and cons, we decided to go for this and I, as the artistic director, take full responsibility for this. This is even harder for our team… We are built as a production company and instead of being in production mode for three performances, we are now working on fourteen projects in R&D besides other initiatives.
9. We never said all theatres should take this position, or that all public funded organisations should go into R&D. We look forward to independent initiatives funded by the Covid Restart grant and festivals happening throughout summer and autumn. What we said is that in the context of all of the above we are going to be working differently, for now. We’re still making theatre, rehearsing, writing scripts, developing sets and composing music. We’re not waiting, we’re just not selling tickets right now.
10. This will be over. Science and History both agree that it will be over and most of science and history also show us it takes around three years to do. What will be left after? We will come out with a rehearsal space we can use and offer to artists; the publication of our classics and new writing project; 14 developed productions to be programmed in the next three or four years thus trying to avoid a lost generation of artists due to “a production jam” (read here).
11. On world theatre day we wanted to acknowledge the fact that we all miss theatre. We also announced that we received a grant and the honour to host the first post-covid conference of the European Theatre convention; we issued calls for a masterclass with world renowned theatre makers Cheek by Jowl. In spite of the scepticism, we promise you there is a lot happening. 

We did not rush a decision. We had a lot of plans, discussed it with a lot of local and international colleagues. We thought about this decision, read about this situation day and night. We’re now confident that this is the right way forward for Teatru Malta right now. I am sorry if we have let some of you down. 

Finally, what we do want to make crystal clear is that despite any scepticism and disagreement, we are here to listen, discuss and engage. Teatru Malta has worked with artists of all ages, schools, leanings, sexualities, political and religious beliefs. We do not care what you disagree with, we care about your art. We are on social media, on email, and now have initiatives like the AFE, where it’s even nicer to disagree than to agree.

Criticism can feed decisions and we feel we are approachable in that way. So send us an email, comment, post. Feel free to interact, agree or disagree. We can always still work together. 

Have a good day.

Sean Buhagiar

Artistic Director

 

 

Nhar is-Sibt 27 ta’ Marzu 2021 kien possibbilment l-iktar Jum Dinji tat-Teatru tad-dwejjaq minn meta ġie istitwit. F’dak il-jum innutajna xi tħassib dwar il-pożizzjoni tagħna li niffukaw fuq l-R&D (riċerka u żvilupp) u dwar dan hawnhekk qed niċċaraw u nispjegaw il-pożizzjoni tagħna. 

Ser nibda billi ngħid li fil-kuntest tal-protesti madwar l-Ewropa nifhem ir-rabja, il-frustrazzjoni u d-diżappunt hemm barra. Mal-Ewropa kellha bosta prattikanti tat-teatru qed jipprotestaw, u aħna nilqgħu l-kritika u l-protesti f’dan il-kuntest. Però se nispjega wkoll kif wasalna għal din id-deċiżjoni.

Is-sena l-oħra, ktibt artiklu dwar kif inħoss li t-teatru għandu jitpoġġa fuq l-istess livell tal-industrija tal-catering meta jiġu diskussi l-miżuri tal-Covid. Minkejja l-fatt li huwa ovvju li l-problemi rikorrenti għadhom hemm, is-sitwazzjoni ta’ Teatru Malta issa hija differenti ħafna. L-ewwelnett, nixtieq niċċara li din id-deċiżjoni ttieħdet fil-kuntest tas-sitwazzjoni lokali tal-pandemija. Madankollu, jekk nagħtu ħarsa lejn ix-xena internazzjonali bħalissa, aħna mhux l-uniċi li mhux qed nipproduċu. National Theatre London? Magħluq. Teatro Stabile di Torino, Teatro Nazionle? Magħluq. National Theatre of Strasbourge? Magħluq. D. Maria II National Theatre ġo Lisbona? Magħluq. L-Odeon Theatre de l-Europe f’Pariġi kellu żewġ produzzjonijiet minn Marzu ’l hawn u  mbagħad ikkanċellaw jew ipposponew erbatax. Meta ġew mistoqsija meta se jerġgħu jiftħu, is-Sur Braunshweig – id-direttur artistiku – qal “m’għandix tweġiba dwar meta.” Il-lista tista’ tkompli. Kollha għandhom EBDA performances teatrali għalissa. L-aħħar artiklu li qrajt dwar il-ġirien tagħna l-Italja fil-Jum Dinji tat-Teatru, kien jgħid, “Palcoscenico vuoto, sipario chiuso,  e poltrone fredde”. Jeżistu bosta raġunijiet għala ddeċidejna li niffukaw fuq l-R&D, li se nipprova nispjega. 

 

1. Teatru Malta għandu line vote ta’ 450k, minn dan madwar 200k ta’ fondi pubbliċi jmorru dirett fil-programmazzjoni tagħna. Dan huwa inqas minn kemm jintefaq fuq ċerti opri jew minn kemm jonfqu l-biċċa l-kbira tal-festivals lokali f’temp ta’ ġimgħa, aħseb u ara t-teatri li semmejt hawn fuq. Matul il-pandemija, il-ftehim rikorrenti tagħna ma’ entitajiet oħra ma ġewx imġedda bħalma għamlu ħafna mill-kollaborazzjonijiet ministerjali tagħna, jew minħabba bidliet ministerjali, prijoritajiet tal-baġit jew kwistjonijiet relatati mal-pandemija. Meta tqis li bejn l-2018 u l-2020 medja ta’ aktar minn 50% tal-fondi ta’ programmazzjoni tagħna ġew minn sorsi u kollaborazzjonijiet oħra, tista’ tgħid li kellna aktar minn 50% ta’ tnaqqis fil-baġit. 
2. Madankollu, bħalissa u bil-pjan kurrenti għar-R&D, qed ninvestu l-aktar fl-artisti fl-istorja tagħna. L-artisti li jaħdmu fl-industrija qed jirċievu aktar minna issa minn qatt qabel għax aħna kompletament naqqasna l-baġit tal-kummerċ tagħna, il-baġits tal-produzzjoni u poġġejna kollox f’R&D mal-artisti u l-kollaboraturi tagħhom. Aħna qed nonfqu inqas fuq kiri ta’ venues, tagħmir, kummerċjalizzazzjoni u aktar fuq l-artisti tagħna minn qatt qabel. Is-sena l-oħra Theatre Depożit ħa aktar minn 25% tal-baġit annwali tagħna u issa se nkunu qed niżviluppaw proġetti mal-artisti li applikaw b’suċċess.
3. Importanti niftakru li mhux faċli ġġib l-udjenza fit-teatru bħalissa. Jien qrajt b’interess il-MEIA position paper dwar l-Istrateġija tat-Turiżmu tal-MTA. Hija qalet, “MEIA mhux se taċċetta l-pożizzjoni tal-istat bħala kompetitur dirett ta’ intrapriża privata”. Din hija raġuni oħra li wasslet għad-deċiżjoni tagħna. Bħalissa nemmnu li s-settur indipendenti u privat għandu bżonn aktar spazju biex jieħu n-nifs minn qatt qabel; kemm jekk ikunu avventimenti online jew shows fuq skala żgħira. Hemm aċċess għal aktar minn miljun euro ta’ Restart Funds via ACM disponibbli għas-settur indipendenti u kummerċjali. Hemm ukolll entitajiet nazzjonali oħra li kienu qed jagħmlu xogħol tajjeb meta dan kien possibbli fil-ħolqien ta’ produzzjonijiet għal udjenzi żgħar.
4. Aħna differenti ħafna minn dawn l-organizzazzjonijiet kulturali pubbliċi l-oħra. Aħna ma nimpjegawx atturi, żeffiena, mużiċisti. Aħna m’għandniex post tagħna jew bibien x’niftħu jew spazju biex nużaw. Teatru Malta ġie mmudellat b’mod differenti mit-teatri nazzjonali internazzjonali, aħna kumpanija flessibbli u nistgħu nużaw dan għall-vantaġġ tagħna. F’dan il-każ, l-infiq ta’ għexieren ta’ eluf biex inġibu madwar 300 persuna fit-teatru, mhix il-prijorità tagħna. Li nagħmlu video art onlajn, jew li nxandru t-teatru live, lanqas mhu l-prijorità tagħna. Għal darb’oħra, sar ħafna xogħol tajjeb f’dan ir-rigward, madankollu, nemmnu li nistgħu nieħdu pożizzjoni differenti. 
5. Il-pożizzjoni tiegħi fuq it-teatru mxandar live, hija simili għal dik ta’ Thomas Ostermeier li qal li hija “like methadone for heroine addicts”. Ix-Schaubuhne f’Berlin, fil-fatt, iddeċidew li jibqgħu magħluqin is-sajf li għadda – avolja setgħu fetħu – se jiftħu biss f’Mejju ta’ din is-sena. B’mod simili, iddeċidejna li nużaw fondi għall-iskema li diġà semmejt, Theatre Depożit, s-sajf li għadda u peress li s-sitwazzjoni hawnhekk mhix l-istess bħal dik tal-Ġermanja, qed naħdmu fuq il-ftuħ mill-ġdid aktar tard din is-sena. 
6. Kellna produzzjoni pjanata għal-April, imsejħa Nouveau Riche, li kienet tiswa madwar 50k biex tiġi prodotta. Infakkarkom li Teatru Malta jeħtieġ li jħallas għal post, audiovisual set up, u kollox. Din il-produzzjoni setgħet kellha 80 persuna kull lejl fil-venue li kellna ppjanat. Dan ifisser massimu ta’ 400 persuna għal sitt iljieli jekk huma kollha full house, inqas minn lejl wieħed fit-Teatru Manoel. Aħna t-teatru nazzjonali u l-mod kif narawh, għandna bżonn nipproduċu shows li huma speċjali b’xi mod jew ieħor, kemm jekk huwa proċess jew prodott; ma nistgħux nipproduċu biss biex inkunu għidna li produċejna. Ma rridux ukoll li mmorru għal verżjoni orħos ta’ spettaklu, sabiex jagħmel sens finanzjarju biex ikollok udjenza zgħira. Dik hija perspettiva kummerċjali li nistgħu nħallu għas-settur privat. 
7. Qrajna li hemm min hu xettiku fir-rigward tad-deċiżjoni tagħna li nużaw dan iż-żmien biex nippreservaw u nippjanaw, minflok nipproduċu. Fil-verità nemmnu li dan jista’ jkun żmien tajjeb ħafna għall-ippjanar tal-futur. Veterani bħal Eugenio Barba qalu li dan huwa żmien li nżommu siekta u nħallu l-ġestazzjoni tħejji l-futur li se jitlob l-imprudenza kollha tagħna. Inħossni inklinat li naqbel.
8. Filwaqt li kemm il-metodi kif ukoll il-perspettivi (li niftħu akkost ta’ kollox vs R&D u preservazzjoni) għandhom il-vantaġġi u l-iżvantaġġi tagħhom, iddeċidejna li mmoru għal dan, u jien, bħala d-direttur artistiku, nieħu r-responsabbilità sħiħa għal dan. Dan huwa aktar diffiċli għat-tim tagħna. Aħna mibnija bħala kumpanija tal-produzzjoni u minflok qegħdin fil-modalità ta’ produzzjoni għal tliet performances, issa qed naħdmu fuq erbatax-il proġett fir-R&D, minbarra inizjattivi oħra.
9. Qatt ma għidna li t-teatri kollha għandhom jieħdu din il-pożizzjoni, jew li l-organizzazzjonijiet kollha ffinanzjati pubblikament għandhom jidħlu għal R&D.  Aħna ħerqanin sabiex inizjattivi indipendenti li huma ffinanzjati mill-għotja Covid Restart u festivals li jseħħu matul is-sajf u l-ħarifa. Dak li għidna huwa li minħabba f’hekk se nkunu qed naħdmu b’mod differenti għalissa. Għadna nagħmlu t-teatru, nagħmlu l-provi, niktbu skripts, niżviluppaw settijiet u nikkomponu l-mużika. M’aħniex qed nistennew, sempliċiment mhux qed inbigħu biljetti bħalissa.
10. Din se tgħaddi. Ix-Xjenza u l-Istorja t-tnejn jaqblu li se tispiċċa u ħafna mix-xjenza u l-istorja juruna wkoll li tieħu madwar tliet snin biex jiġri hekk. X’se jibqa’ wara? Se noħorġu bi spazju għall-provi li nistgħu nużaw u noffru lill-artisti; il-pubblikazzjoni tal-klassiċi tagħna u l-proġett ġdid tal-kitba; 14-il produzzjoni żviluppati li għandhom jiġu pprogrammati fit-tliet jew l-erba’ snin li ġejjin u b’hekk jippruvaw jevitaw ġenerazzjoni mitlufa ta’ artisti minħabba “ġamm tal-produzzjoni”. (Aqra hawn) 
11. Fil-Jum Dinji tat-Teatru ridna nirrikonoxxu l-fatt li lkoll nħossu n-nuqqas tat-teatru. Aħna ħabbarna wkoll li rċevejna għotja u l-unur li nospitaw l-ewwel konferenza post-covid tal-konvenzjoni tat-Teatru Ewropew; ħriġna sejħiet għal masterclass mat-theatre-makers magħrufa mad-dinja kollha Cheek by Jowl. Minkejja x-xettiċiżmu, inwegħdukom li qed jiġri ħafna. 

Id-deċiżjoni ma ħadnihiex ta’ malajr. Kellna ħafna pjanijiet, iddiskutejna ma’ ħafna kollegi lokali u internazzjonali. Ħsibna dwar din id-deċiżjoni, qrajna dwar din is-sitwazzjoni lejl u nhar. Issa ninsabu kunfidenti li din hija t-triq it-tajba ’l quddiem għal Teatru Malta bħalissa. Jiddispjaċini jekk iddiżappuntajna lil xi wħud minnkom. 

Finalment, dak li nixtiequ nagħmlu ċar daqs il-kristall hu li minkejja kwalunkwe xettiċiżmu u nuqqas ta’ qbil, aħna qegħdin hawn biex nisimgħu, niddiskutu u ninvolvu ruħna. Teatru Malta ħadem ma’ artisti ta’ kull età, skola, xaqliba, sesswalità, politika u twemmin reliġjuż. Għalina ma jimpurtax ma xiex taqblu jew ma taqblux, jimpurtana biss mill-arti tagħkom. Issibuna fuq il-midja soċjali, bl-email, u issa għandna inizjattivi bħall-AFE, fejn ikun iktar interessanti li wieħed ma jaqbilx milli jaqbel. 

Il-kritika tista’ tmexxi d-deċizjonijiet u aħna nħossu li aħna avviċinabbli b’dak il-mod. Mela ibgħatilna email, kumment, posta. Ħossok liberu li tinteraġixxi, taqbel jew ma taqbilx. Dejjem nistgħu naħdmu flimkien xorta. 

Il-Ġurnata t-tajba

Sean Buhagiar

Direttur Artistiku 

 

Il-Konvenzjoni Ewropea tat-Teatru, jew kif inhi magħrufa aħjar – ETC – qed iċemplilna ☎️ u għandna avviż speċjali għalikom ilkoll mid-Direttur Eżekuttiv Heidi Wiley li qed jaslilna mill-Ġermanja, fil-Jum Dinji tat-Teatru! ❤

Klikkja ▶ ️ biex tara x’aħbarijiet importanti se taqsam magħna…

#roadtoautumn #announcement

When lockdown was suddenly announced bang in the middle of Trikki Trakki’s production week, we weren’t too sure what to do with ourselves. After all that effort our kids unfortunately never got to perform their shows at MSpace As we packed up and sent everyone home we couldn’t help but think of ways that wouldn’t let all their hard work go to waste so instead we asked each child to perform their monologues to their parents at home and film them just the same. 

On world theatre day we would like to present a highlight reel that not only showcases these children’s talent but their undefeated determination to keep the magic of theatre going, even amidst a national lockdown. 

A big thanks goes out to their directors: Ian, Josette, Chris and Lee-N for all their work and their cooperative parents for joining us on this bumpy ride. This wouldn’t have been possible without you. 

We hope you enjoy watching this as much as they enjoyed performing their monologues.

Together now …3…2…1…#TrikkiTrakki

After having postponed ‘Klassi tas-Surmast’ last year due to the pandemic, this year we can finally confirm that we are back and packing the big guns no less, because our guests of honor are none other than the incomparable Declan Donnllan and Nick Ormerod from Cheek by Jowl! Since it was founded in 1981, Cheek by Jowl has established an international reputation for bringing fresh life to the classics using intense, vivid performances, so get ready for an action packed masterclass that you surely shouldn’t miss out on!Interested?

Then download our #KTS applications from here and apply now to form part of our summer masterclass !

Teatru Malta jixtieq jawgura lill-udjenzi kollha tiegħu Jum dinji tat-teatru “tajjeb”!  Verament iċċelebrajna oħrajn fejn konna bil-wisq aktar kuntenti, imma minkejja dak kollu li għaddejjin minnu bħalissa, nibqgħu ffokati fuq l-iżvilupp ta’ xogħol li nafu li tkunu tridu taraw ladarba l-ħajja kif konna nafu normalment terġa’ tibda, it-teatri jitħallew jiftħu bil-kapaċità sħiħa tagħhom, u l-provi jistgħu jsiru fi kmamar ta’ vera, u mhux biż-Zoom.

Għad fadal ħafna xi jsir, imma nittamaw li jekk inkomplu naħdmu id f’id naslu biex negħlbu dan l-għawġ flimkien.

Għalissa nistennew ⏰

#staystrong #staysafe #tghaddiwkoll

Teatru Malta would like to wish all their audiences far and wide a “Happy” World Theatre day! Truthfully, we’ve had happier ones but despite all that’s going on right now, we remain focused on developing work that we know you’ll want to see once life as we once knew it resumes, theatres are allowed to open at their full capacity, and rehearsals can take place in real rooms, and not over Zoom.

There’s still a long way to go, but we’re hopeful that if we continue working with one another then we can overcome this together. 

For now, we’ll wait ⏰

#staystrong #staysafe #tghaddiwkoll

Tomorrow we’re back with #TakeOverThursdays and this week one of our very own associate artists will be taking over live from Amsterdam. This artist-curator has also recently acquired his MA in Theatre from Das Theatre and has worked with us on a number of projects…most notably one that involved the song of a bird. You guessed right tomorrow none other than Jimmy Grima will be taking over our socials. Make sure to tune in on our facebook and instagram pages!

Għada nerġgħu lura b’aġġornament ieħor ta’ #TakeOverThursdays u din il-ġimgħa wieħed mill-artisti assoċjati tagħna stess se jkun qed jieħu kollox f’idejh dirett minn Amsterdam. Dan l-artist-kuratur reċentement kiseb l-MA tiegħu fit-Teatru minn Das Theatre u ħadem magħna fuq għadd ta’ proġetti … l-aktar wieħed notevoli kien ‘song of a bird’. Sewwa qed taħseb, li għada mhu se jkollna lil ħadd għajr Jimmy Grima li se jmexxi l-midja soċjali tagħna. Tinsiex issegwi fuq facebook u instagram!

Jekk il-jiem li għaddew affermaw mill-ġdid xi ħaġa, din kienet li aħna fiduċjużi fid-deċiżjoni tagħna li naqilbu l-gerijiet tal-produzzjoni u li l-performances kollha li oriġinarjament ippjanajna li nipproduċju jidħlu fi stat ta’ żvilupp għal din is-sena. Ilna naħdmu fuq dan għal dawn l-aħħar ġimgħat, madankollu dawn il-jiem li għaddew leħquna u nħossu li issa huwa ż-żmien it-tajjeb biex noħorġu l-pjanijiet tagħna fil-pubbliku.

X’nifhmu bi żvilupp? Ir-riċerka u żvilupp jew (R&D) huwa terminu li bażikament jiddeskrivi meta kumpanija tiddeċiedi li twettaq proġett, jew f’dan il-każ diversi proġetti, u tinvesti fl-iżvilupp tiegħu qabel ma tipproduċih, u għalhekk minħabba s-sitwazzjoni attwali f’dawn iż-żminijiet bla preċedent, ħassejna li nkunu qed nagħmlu aktar ġustizzja lejn il-proġetti tagħna, il-kollaborazzjonijiet u l-etos ta’ Teatru Malta, biex nibdlu l-gear tagħna lejn l-iżvilupp tal-proġetti futuri tagħna.

Aħna teatru nazzjonali orjentat lejn il-produzzjoni bil-prijorità ddikjarata li niżviluppaw udjenzi  filwaqt li ngħinu biex nipprofessjonalizzaw is-settur tagħna. Madankollu m’aħniex ibbażati fuq post u lanqas nużaw ensemble; noħolqu forom varjati ta’ teatru fi spazji varjati. Dan ifisser li rridu nibdew mill-bidu meta niġu għal postijiet ġodda, tagħmir, stadji u oħrajn. Irridu noħolqu proġetti innovattivi u xogħol ibbażat fuq il-komunità mimli avvenimenti u ma rridux nagħmlu kompromess dwar il-kwalità tal-proċess jew dik tal-prodott. Huwa għalhekk li bħalissa nemmnu li l-produzzjoni tax-xogħol li rridu nipproduċu bħalissa ma tagħmilx sens għall-kumpanija nazzjonali tat-teatru f’termini ta’ użu ta’ fondi pubbliċi meta mqabbla mal-ammont ta’ nies li jistgħu jaħdmu fuqhom jew jesperjenzaw l-ispettakli li rridu noħolqu.

Minbarra dan aħna nemmnu li diġà hemm biżżejjed xogħol tajjeb li qed jiġi prodott minn sħabna organizzazzjonijiet kulturali pubbliċi oħra, li għandhom postijiet jew jimpjegaw ensembles, u matul żmien fejn jista’ jkun ta’ sfida li jkollok udjenzi, għandna nħallu wkoll spazju tajjeb għas-settur privat.

Dan ifisser li matul ix-xhur li ġejjin Teatru Malta se jinvesti fir-riċerka tas-suġġetti, t-temi u l-midja kollha meħtieġa biex nipproduċu l-ispettakli li konna qed nippjanaw mal-artisti kollaboraturi tagħna li wħud minnhom ibbenefikaw mill-inizjattiva tagħna Theater Depożit is-sena l-oħra. Apparti l-artisti assoċjati tagħna, Luke Saydon, Abigail Mallia, Prof Gordon Calleja, Teatru Anon, Moveo Dance Company, Alex Vella Gregory, Andre Mangion u The New Victorians huma biss ftit mill-produtturi tat-teatru li se nkunu qed naħdmu magħhom fuq għadd ta’ proġetti li jvarjaw minn teatru fiżiku għal musicals fid-dlam fix-xhur li ġejjin.

Dawn l-artisti jaqsmu l-fehma tagħna li fi żminijiet inċerti bħal dawn li nidħlu fi stadju ta’ żvilupp huwa verament l-iktar mod loġiku u prattiku ‘l quddiem għal Teatru Malta. B’hekk inkunu nistgħu nittellgħu l-aħjar performances possibbli għall-udjenzi kollha tagħna, meta jasal il-waqt. Minbarra dan, irridu naħdmu fuq il-preservazzjoni tal-ispettakli mgħoddija tagħna, il-possibbiltajiet ta’ touring, kif ukoll ninvestu f’postijiet tal-provi. L-inizjattivi l-oħra tagħna bħall-Atelier Francis Ebejer u Klassi tas-Surmast se jkomplu għaddejjin. Għad għandna ħafna x’nagħmlu.

Bħala kumpanija tat-teatru drajna nsolvu l-problemi u nibdlu l-affarijiet fl-aħħar minuta. Madankollu, minkejja li xejn minn dan mhu ġdid għalina, dawn iż-żminijiet urew li huma bla preċedent u għalkemm ma xtaqna xejn aktar milli nkunu lura fit-teatru sal-2021, inħossu li għadna m’aħniex lesti, u dan ukoll ma jimpurtax.

Għad nerġgħu ntellgħu t-teatru, u sakemm nagħmlu dan se nkomplu naħdmu minn wara l-kwinti.

Dawn huma t-titli proviżorji tal-produzzjonijiet li se jidħlu fi stadju ta’ Żvilupp fl-2021:

1. Manwel Manwel
2. Drago 
3. Mother Courage ta’ Bertolt Brecht
4. Kien hemm Siġra f’Nofs ta’ Triq
5. Nouveau Riche
6. Il-Fidwa tal-Bdiewa ta’ Ninu Cremona
7. 2121
8. HAN53
9. Fil-Parlament ma Jikbrux Fjuri
10. Dnegel u l-Mewt
11. Gozo the Greek
12. Billejl is-Suwed kollha xorta
13. A Musical in the Dark
14. The League of Youth ta’ Henrik Ibsen