East European Performing Arts Platform (EEPAP) supports the
development of contemporary performing arts (dance and theatre)
in 18 countries of Central and Eastern Europe.

EEPAP projects in 2016

EEPAP projects in 2016:


1)   East-West: EEPAP travel grants for IETM Meetings

East European Performing Arts Platform / EEPAP in collaboration with International Network for Contemporary Performing Arts / IETM  announces an open call for the new mobility programme for performing arts professionals from Eastern Partnership countries (Armenia, Azerbaijan, Belarus, Georgia, the Republic of Moldova and Ukraine).

The program gives a unique opportunity to experience the benefits of being an IETM member through attending the Spring and Fall Plenary Meetings.

Next open call will be announced in September 2016 for IETM Plenary Meeting in Valenzia (Spain) and for the next two Meetings in 2017.

More info here


2)   EEPAP Grant - IETM Campus Lublin 2016, 3-10 July 2016

The second edition of IETMCampus, organised in partnership with East European Performing Arts Platform /EEPAP and Konfrontacje Teatralne Festival, will be a week of intensive training in all aspects of international working: intercultural communication, ethical collaboration, funding and recruitment planning, dealing with censorship, press and public, etc. 

More info here. Application form is here



In May 2016 East European Performing Arts Platform will announce an open call for the fifth EEPAP Residencies / Internship Programme - 2016.

The residencies / internships are co-organized by EEPAP partner institutions and organizations from Poland, Romania, Serbia, Bosnia and Herzegovina. They will take place in September, October and November of 2016. The length of the residencies varies from two to three weeks.

List of the offered residencies / internships will be published soon.


4)   Maps of Fear / Maps of Identity

The Culture Practitioners Association (Stowarzyszenie Praktyków Kultury / Warsaw) together with numerous Ukrainian partner organizations and institutions, and with the support of EEPAP,  have launched the Polish-Ukrainian performative project “Maps of Fear / Maps of Identity”.

The project is realised in four Ukrainian cities and co-financed by the Ministry of Culture and National Heritage of the Republic of Poland. 

More info here.



CHOREOGRAPHIC TERRITORIES – EASTERN PARTNERSHIP is a programme aiming at presenting contemporary dance and choreographies made by best Polish artists, educators and theorists of dance affiliated with Polish Dance Platform 2014, full of dance presentations, workshops, meetings and debates in four countries participating in Eastern Partnership: Belarus, Ukraine, Georgia and Azerbaijan.

The project is realised in cooperation with EEPAP and co-financed by the Ministry of Culture and National Heritage of the Republic of Poland. 

Its aim is to build a platform of dialogue and exchange of experience between dance scenes in Poland and between selected countries of EP. The mission of the programme is to “recover” contemporary dance in Eastern Europe, bringing it into the general historical discourse of contemporary dance and into the current circulation of contemporary art.

More info here.


6)   Konfrontacje Teatralne appendix – south/south-east

A residency and educational project on Balkans in collaboration with Bunker in Slovenia, BITEF Festival in Belgrad, ACT Association from Bulgaria and CollectivA in Romania – presentation of performances from Lublin, workshops as well as lectures conducted by Lublin artists.

The project is co-financed by the Ministry of Culture and National Heritage of the Republic of Poland. 

More info soon.


7)   Performative Centre

Performative Centre is a new initiative by EEPAP  and Centre for Culture in Lublin, Poland. It is conceived as a research and artistic practice laboratory which creates and elaborates the discourse around contemporary performing arts practices.

The first meeting of the Performative Centre will take place in Lublin at the Konfrontacje Festival in 2016. It will be organised around workshops and seminars run by artists taking part in the festival and other artists and thinkers invited especially for the meeting. We plan to open the meeting to up to 10 participants from Eastern Europe, who will receive a scholarship to take part in the meeting.

More info soon.



The EEPAP website will publish articles on performing arts in local contexst including social and political aspects. The idea is to present different aspects of performing arts and delve quite deeply into the local specificity of 18 countries involved in EEPAP.
Three articles per month are to be published. The authors who agreed to take part in the project are:

Taguhi Torosyan (artistis curator from Armenia), Svetlana Ulanovskaya (dance curator and critic form Belarus), Goran Injac (theatre curator and director of Mladinsko Theatre in Ljubljana, Slovenia), Rok Vevar (theatre and dance critic, Slovenia), Oksana Dudko (theatre critic, Ukraine), Iulia Popovici (theatre and dance critic Romania), Marta Keil (curator, Poland) and Grzegorz Reske (curator, producer, Poland)  

The first articles are to be published in June.


9)   Publication of Platform: An East European Performing Arts Companion on EEPAP website eepap.culutre.pl

The invitation to join in the creation of Platform: An East European Performing Arts Companion was taken up by theatre researchers, historians and critics from twelve countries of the region: Belarus, Bulgaria, Croatia, the Czech Republic, Hungary, Macedonia, Poland, Romania, Slovakia, Slovenia, Serbia and Ukraine. Each of the themes was elaborated by a different author, sometimes two – and thus there are a total of thirty-seven.

The idea for Platform: An East European Performing Arts Companion arose over years of working with critics, historians and theorists of theatre from the countries of Central and Eastern Europe, who have been meeting since 2008 at conferences and workshops devoted to questions of Theatre After the Change in postcommunist countries. In particular, we have examined the question of how the performing arts – from the artistic and organisational side – in each country handle issues such as the elaboration of the past and responsibility for the present. These debates, held first in Budapest and later in Kraków, and taken up during various academic and festival meetings, concerned both the history of theatre in academic discourse and historical narrative conducted in the theatre; both the political entanglement of theatre in the past and its contemporary engagement in public life. All of these questions were considered both at the level of possible general statements and taking into consideration local contexts and the specifics of a given country.

Edited by Joanna Krakowska

Co-published with The Institute of Art of the Polish Academy of Sciences in Warsaw.

Platform: An East European Performing Arts Companion is to be published in August.