Whether dealing with international colleagues (where language and cultural differences create communication barriers); with the public and the press (who may be resistant to unfamiliar work); or with the colleagues and the funding community (where advocacy efforts may be necessary), presenters face multiple communication issues. In analyzing these issues, participants concluded that the field needs to develop specific communication "tools"; work more strategically to "build an appetite," and convene with regularity.

Developing Tools

Use translators and related resources: "We cannot ignore translation issues any longer," asserted a presenter. "It is both insensitive and impractical." Participants urged consideration of both local solutions--such as working with university-based language specialists, as well as more high tech approaches--such as simultaneous translation systems (currently used by the Flemish Theatre Institute) and supertitling machines that can tour to multiple venues (now in use by the French government). Research needs to be undertaken to determine whether a joint investment in such technology is feasible and desirable.

Develop dramaturgy: Unfamiliar stage language presents another communication barrier. "Much of our presenting is done in a very superficial fashion," observed a participant. "Unlike the fields of theatre and music we have not made sufficient use of dramaturgy." Participants called for curatorial approaches that help audiences engage more fully with difficult and unfamiliar work. For example, presenters could work collaboratively to develop a series of tools--program notes, catalogues, etc.--that could travel with a production. In this way, there would be no need to reinvent the wheel at each performance venue. Similarly, by identifying a scholar who could tour with a production, a valuable human resource would be available to presenters in each of their home communities. Local artists too, can play helpful roles as cultural interpreters, as can service organizations, who may be able to spearhead and oversee the development of communication tools that are useful field-wide. Other possible approaches include internet chat groups that can stimulate lively interchange about a work; web sites that can provide audience members with access to interpretive materials; and theme-based festival programming that accommodates a range of learning opportunities.

Integrate marketing and education. Building appetite for international work--within the field, with audiences, and with the larger community-- is a difficult, long-term process that must be carried out on multiple fronts. It begins with the recognition that marketing and education are inextricably linked. International work often offers built-in opportunities to cultivate audiences based on the political and social content of the work, or the race and ethnicity of performers. But participants also urged the field to "trust the audience" and attend to aesthetic stewardship. "We need to reassert the central value of art," explained a presenter. As they seek to build audiences, presenters must work locally (building upon natural connections within their community), nationally (exploring such strategies as coordinated national marketing, cultural planning and vertical marketing) and across disciplines (especially with the visual arts community, which has a long history of successful international exchange).

Plan meetings that foster learning and action. While a range of print and electronic media can facilitate communication, they function best as complements to face-to-face convenings. Gatherings can better serve the field if conveners: identify specific meeting objectives in advance, build on the outcomes of previous meetings, and establish documentation and evaluation processes so progress over time can be monitored. While the content needs of specific convenings are likely to evolve and develop over time, participants suggested combining nuts-and-bolts discussions with opportunities to see work (i.e. covening in conjunction with international festivals), including artists, and developing reading lists and curricula. For example, presenters might serve as faculty to one another on specific topics, or sessions might be planned to explore particular aesthetic or cultural traditions.

Broaden participation: Careful attention needs to be paid to who is invited, with a focus on diversity, equity and parity of representation. Artists, "key insiders", and scholars were among those who should be considered for inclusion. "We must continue to look at a careful mix of who comes to these meetings," said a participant. "Internationalism sometimes becomes a code word for new or experimental work. We need to be more careful about inviting people from different segments of the field." Extending invitations to people outside the field is also critical. By seeking out likely partners in government, state tourism bureaus, and the business community--and inviting them to various convenings--the context and rationale for engaging in and supporting international work can be extended.

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