From legal issues, to physical production problems, to meeting the basic human needs of performers, technical issues can too often derail an engagement. "We are touching on the very identity of the presenter," said a participant in reflecting on the skills needed to address technical difficulties involved in international presentation. "There is a breadth of obligation in being cultural providers and we must communicate this new identity of the holistic provider to the field." The skills needed for presenting international work effectively are of the high standard needed for presenting in general, only greatly heightened by specific demands of cross-cultural relations. Training accomplished international presenters could have a great positive impact on the overall field.

Address union and immigration: Immigration and union issues are a source of continuing frustration to presenters. Published guidelines and tutorials could usefully distill information that has been hard-won through practical experience. (As of this writing, a recent publication by the American Symphony Orchestra League called Artists From Abroad: The Complete Guide to Immigration and Taxation Requirements for Foreign Guest Artists is available through ASOL and the Association of Performing Arts Presenters.) But if the field wants to move beyond case-by-case crisis management of these issues, more strategic action may be necessary. "We are reactive to immigration issues," observed a participant. "It's a failure of will on the part of the arts community." In the area of union issues, participants suggested a range of potential strategies. Some felt it was within the field's best interest to remain below the 'radar screen' of Actor's Equity; others suggested that a more frontal attack might be effective. One presenter, for example, reported that his organization would soon challenge Equity regulations because current restrictions constitute an obstruction of business if one's mission involves international presenting.

Involve technicians. By traveling with stage technicians on research and development trips abroad, presenters can identify areas of equipment and stage incompatibility in the early stages of a project's evolution. Especially as presenters seek out non-traditional work that is not crafted for proscenium formats, input from technicians becomes particularly important. Attaching expert, multi-lingual technicians to tours provides another mechanism for insuring adequate communication surrounding technical issues.

Upgrade and further develop facilities. Many presenting facilities cannot meet the technical demands of international work (making it necessary for international groups to travel with their own equipment). Spaces require upgrading and redesign, especially if they are to accommodate a wider range of performance formats and ways for artists and audiences to interact. By becoming involved in local urban planning and land use discussions, presenters can help their communities recognize the importance of cultural space and expand definitions of what this might involve.

Provide orientation for international artists. By providing international artists with tools to decode American stage culture, a range of technical problems can be avoided. International artists need handbooks, written in their language, that describe presenter culture, technical terms, key contract language and travel tips.

Attend to basic needs of performers: As presenters welcome international artists into their home communities, they've discovered that successful engagements are often contingent on meeting a range of personal as well as artistic requirements for foreign visitors. These include food (do the performers have special dietary needs?), clothing (will they have attire appropriate to the climate?), shelter (where will international guest feel most comfortable?), and emergency situations (if an artist gets sick on tour how will medical expenses be covered?). Participants pointed out that these issues should be on the table whether an artist hails from the next state or another continent, but they do come into much sharper relief during international engagements. "I don't agree that international artists are different than other artists," said a presenter. "America is a foreign country."

Educate staff: The taxing nature of international work necessitates that staff is adequately prepared--not only for the expanded workload, but also for issues of cultural sensitivity that inevitably arise. "Months and years of work at relationship-building can be undone by staff that is inadequately prepared," said a presenter. Staff must be ready to solicit input from artists about their needs, rather than make assumptions. "Use common sense and seek advice," advised a participant. As in many other aspects of international exchange, universities may provide useful resources in helping staff address language and cultural barriers.

Consider fee-for-service approaches: As presenters embrace a more holistic identity as service providers, their already strained resources are additionally taxed. "My response to the issue of being a service provider is to hire ten more people," said a participant. "We may need to develop services for which we pay and should explore international fee-for-service technical assistance programs."

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