International (non english speaking) Producers - how to work with them & post-Brexit Europe collaborations The following are unconnected jottings from this session which I will, in time, re-fashion into a more structured response to the provocation.* Upstart Theatre - creative europe funded with Macedonia, Grasse and Munich creating work connected by skype. "Phone Home" also wiith Athens. Action: Talk to Hannah more.* "A piece of the continent" festival at Tristan Bates 8-27th April with 9 international companies. Talk to Amy C-T more. Challenges they, Viola, have is now to get multi-national audiences to particular mational work - so not just french audiences to a french work, maybe avoid mentioning where a work comes from.* More funding from cultural institutes like Italian and Japanese institute to bring artists from their country to the UK, rather than UK creatives funded to go to the host country. Action: connect onto a range of e-lists with these institues to gain knowledge of what is already happening between, say, Japan and UK.* In terms of training, there may not be Creative Producer courses internationally but there are Arts Management and Cultural Leadership. Maybe connect with Universities and courses like IESA Paris and Boccini/Milan.* Remember the Globe's many programmes working internationally and bringing senior managers (who speak English) to study in Globe. These could be gatekeepers to emerging creatives, artists and theatremakers producers in their home nations who need what CGO is thinking about in their own language and own cities. Action: Talk Neil and or Patrick* The was a conference "Brexit Stage Right" at Central run by Sarah Grochala (7-11 Jan) - check online who was there and what was explored, Action for CGO - check Edinburgh Uni and other universities who are working in these Arts and Humanities connecting fields. * Although we don't necessarily learn foreign languages well in schools, we suspected that there were probably 50 fluent languages in the D&D room today. How to harness those language/translating skills to enable access to the D&D magic for someone who does not speak English. Improbable agreed that this was like BSL access provision and could be part of the future. Explore more.* Understand that there are different financial models in many countries. Amy explored the challenges of helping international companies understand how Fringe theatre and money (or lack of it) works in the UK. We seem to be more entrepreneurial and create in a slightly different way..* Producers may not understand this. Solo artists definitely need support to understand this when working internationally. * Highlighted the amazing books (from ABTT) with technical terms in 10-15 languages which were produced a few years ago. * Maybe the Royal Court international writers programme is a good model to explore. Working with writers from many countries and supporting the development of new work infrastructure where it may not exist for writers.* Be good to identify countries that would benefit from this bilingual or local language training. CGO mentioned his work in China, Russia, Korea and Japan in working with local producers on classes and short courses on producing and international models of working. Also who do those involved want to work with creatively and culturally where language is a real challenge. Mention of the need for three language translation in Kazhakstan.* How about a directory of theatre translaters as there is for BSL theatre specialists. Does this exist. Could this also include local based translators that UK companies and artists have worked with and love to bits.* Link to international producers who are already welcoming international and UK companies to their countries. Are they also gateways into the creative community and local producers in their patch who would welcome access to own language training and skills sharing.* Producers Pool now has 350 independent and organisational producers in the UK (mainly London I suspect) on the network. Is it time for Producers' Pool international and multi-lingual. Action - CGO to think more about this development remembering a recent PP meeting had creatives from 15 nations present because they were all based in UK, travelling here, or studying at Mountview or Central. * Check the Fence Network - Jonathan ?? the-fence.net* Check out IETM / Hull 29th March* Check out IETM Campus in July* What about ISPA but very biggies and $1800 a pop to visit* Maybe EFA - European Festivals Assoc* Maybe PEARLE - the network of arts management networks like ITC and SOLTIn each case they have international members. Mostly run in English and French. But delegates are gatekeepers.* Internationally worth exploring University Drama Departments for bi-lingual theatre savvy translators when we are on the road.* Maybe worth talking BFI for translators in the UK too* Talk to British Council. Chris had an email from head of British Council theatre Scotland this morning and is seeking a meet when she has time.* Chris is based in Edinburgh so working within the EdFringe massive array of nations in the city in August could be good. CGO already runs Producer meetings bilingually in Korean/English and Mandarin/English. Keep this going and grow it.Present for the discussion: Emma Attwell, Lucy Avery, Nassy Konan, Chris Grady, Amy Clare Tasker, Hannah Tookey, Penny Babakhani, Steph Clarke and Loren O'Dair.