Is the touring system broken? We need events that help build relationships between artists and people who run venues- a bookings speed dating event?Are venues more risk averse? We need new approaches.How has the industry changed?Is it the same as disruptions in other areas: look at the BFI as an example. The cinema going culture has really changed and they are looking at their survival.Festivals are more openMaybe the problem is cuts at management level, especially in marketing.Theatre is still fertile ground for thought, experience and meeting.What are the terms you are expecting? What income do you need to tour? Is your work subsidised? Is this something that the funding bodies need to address?We need creative venue managersGood example of new models: Pint, pie and play in Glasgow. Audience will go and see whatever is on and are used to variety and to seeing work that isn't perfect. Good place to fail.Royal court in Liverpool is packed. You can eat at your seat and it is an event.Now we need to bring our audiences to tours. Link between marketing and programming.We have lost something now that we don't have a comprehensive listings book like Time Out.People are still interested in enhanced performances/performance and film/dinner.Maybe we can change our perspective. Not audience:community.The bookers we are looking for do not exist.Reaching audiences needs to happen all year round. Is there funding for this?Maybe we could create a touring festival. Build alliances.You were never going to recoup all your money anyway.Some shows are small and will never scale to make money.You will encounter difficulty around politics within institutions.Is the rural touring circuit open to new people.Is Patreon an good model? Connecting to audiences directly.Questions to answer: What is the current infrastructure and how can it be accessed? How can the work serve the purpose of the venue? How can we find ways to initiate conversations with venues we don't know?