project partners

The Théâtre de Liège (Belgium) is also referred to as a European Centre for theatre and choreography, relating to its role in theatrical and contemporary dance productions and their dissemination to local, regional and international audiences. The Theatre presents each season around forty shows of which ten or so are new works.

Committed to the fight against climate change, the Théâtre de Liège is implementing a crosscutting sustainable development strategy involving employees, audiences and artists, aimed at meeting the 17 Sustainable Development Goals (SDGs) set by the UN. This engagement is expressed through a dedicated artistic programme, efforts to reduce the institution's carbon footprint and a willingness to integrate eco-design and eco-management at all levels of a performance's life cycle. The Théâtre de Liège is also the initiator, with the Théâtre de Vidy-Lausanne, of the "Sustainable Theatre Alliance for Green Environmental Shift" network.

As a city theatre, NTGent wants to question, motivate and rouse a diverse audience. It does so by making and presenting high-profile productions and by mobilizing theatre for social debate.

Ghent is our home base. As an open and travelling company, we want to use our productions to bring the world to Ghent and to show them to the world. We want to play a leading role in the Flemish and international performing-arts landscape. We’re an open house, accessible to all.

Theatre is always local and live, it is a repetition and a re-enactment of what has been. But theatre is  above all a space for experiments for the future.

The city theatre that we are interested in stands between tradition and utopia. It does not remain on the stage on which it was rehearsed,. It brings global issues to the city. We will research events from northern Iraq to Congo, for example. We offer a stage to actors and non-professionals of different nationalities and languages. We make our plays together: with all those involved, with the audience, in a constant interaction with society. After all, we are not only interested in the canon of classical theatre, but especially in the world we live in.

We are searching for new classics, for myths, tragedies and contradictions of our time: by mythologizing current affairs and by updating mythology. This way we want to shape a political, mobile and creative ‘city theatre of the future'.

The Croatian National Theater in Zagreb is the central and oldest theater institution in Croatia, with three ensembles: opera, drama and ballet, housed in a building from 1895.

At least twelve premieres are performed annually, which, in addition to twenty reruns, results in more than two hundred and twenty stage performances per season. As the central national theater, the Croatian National Theater in Zagreb nurtures a diverse program and, in addition to staging works by local authors of various styles and periods, also performs works from the classical and contemporary world repertoire.

In the last few years, the Croatian National Theater in Zagreb has positioned itself as a relevant theater company in the European and global contexts, and with three permanent ensembles it regularly visits world stages and hosts foreign productions on its stage. The Croatian National Theater in Zagreb greatly contributes to the cultural life of the metropolis, developing and attracting an increasingly diverse theater audience, resulting in performances that are sometimes sold out months in advance.

The Croatian National Theater in Zagreb is part of the European organizations Opera Europa, the FEDORA platform and the European Theater Convention.

The MC93 is a theatre labelled « Scène nationale », heir to the ambitious cultural centres wanted by the State and local authorities from the 1960s and directed since 2015 by Hortense Archambault (Co-director with Vincent Baudriller of the Festival d'Avignon from 2004 to 2013). Open to the international creation since its foundation, the MC93 is a place for the production and distribution of contemporary theatre and dance performances, at the heart of a territory in full mutation and representative of the societal challenges that France must face, including those of youth and cultural diversity. The MC93 promotes a theatre for all, telling new narratives, and including the public, neighbours, spectators, artists, teachers, social workers within a « factory » of experiences (workshops, residencies and long-term projects), designed as a space for creation and emancipation where everyone has the opportunity to deploy and share their imagination.

ETC is the largest network of publicly-funded theatres in Europe, with 55 members in 30 countries. It organises a wide range of activities to create brilliant new theatre, support and develop people working in theatre, and fight for the European theatre sector in a political context.

These activities are open to a combination of member theatres, theatre workers, artists across the continent and audiences interested in theatre.

They are also split into three major categories:

  • Artistic Collaborations
    Activities to bring people together to create or exchange about artistic work.
  • Professional Development
    These activities are workshops, mentoring programmes and monthly meetups.
  • Theatre Advocacy
    Activities to strengthen and support the European theatre sector in a political context.

The name for the entire programme of activities is 'TRANSFORMATIONS'. ETC  is delighted to have been selected to deliver this work as one of the European cultural networks, in a long-term partnership with the Creative Europe Programme of the European Union.

Trafó House of Contemporary Arts in Budapest is an inviting and co-producing venue unique in Hungary, and is also a cornerstone of the international contemporary arts scene, since 1998. Its performances, concerts, exhibitions, and community and audience-building programmes are accessible to all who looking for something new. While focusing on younger generations Trafó is a forum dedicated to social issues, and a platform for establishing values and contexts as well as generating new ideas and productions.

The venue’s professional programme of events, presented inside and outside of the former electric transformer house, trespasses genres, diverse, experimental and audience-friendly, and inspired by new innovations as well as cultural heritage. In a unique and authentic manner it provides a space for the presentation of work by both domestic Hungarian and international artists.


Founded on 14 May 1947 by Giorgio Strehler, Paolo Grassi and Nina Vinchi,  the Piccolo Teatro di Milano was the first public Italian repertory theatre to be established. The idea was to create an institution providing a public service necessary for the well-being of the citizens. “An Art Theatre for All” was the slogan that continues to perfectly  sum up its objectives; to stage quality shows aimed at the widest ranging of audiences.

Today, the Piccolo Teatro’s cultural policy is particularly oriented towards supporting contemporary playwriting and young artists, and to the promotion of internationalization and in-depth exploration of live performance and modern digital technology in the search for new audiences.

Of particular importance is the theme of sustainability, seen in its broadest sense, as a relationship between the environment, politics, the economy and society, and aimed at fostering new forms of participation and levels of awareness within the community.

Riga Technical University (RTU) is a modern, internationally recognized and prestigious multidiscipline technical university. RTU is purposefully evolving to become the fourth-generation university that offers not only high-quality education, but also provides for excellent research and sustainable valorization, as well as smart digitalization. 

The mission of RTU is to ensure internationally competitive high-quality scientific research, tertiary education, technology transfer and innovation for the Latvian national economy and society.

Researchers from different faculties of RTU cooperate in interdisciplinary research within six research platforms that are of special importance for the national economy and society: 

  • Energy and Environment, 
  • Cities and Development, 
  • Information and Communication Technologies, 
  • Transport, 
  • Materials, Processes and Technologies, 
  • Security and Defence.  

RTU Science and Innovation Centre is a science and innovation co-creation platform connecting students, scientists and entrepreneurs. The Centre comprises highly qualified and specialized experts and excellent technical support. The Centre develops students' innovation and entrepreneurial skills, offers innovative product development services, and is actively involved in local and international innovation ecosystems (e.g., Design Factory Global Network, European Institute of Innovation and Technology).

The beginning of Lithuanian National Drama Theatre is considered to be 6th October 1940, when the drama "Hope" by the Dutch playwright Herman Heijermans was performed. The play about the life of fishermen - a boat - became the emblem of the Lithuanian National Drama Theatre.

The theatre has been operating in its present premises since 1951. In 1981, a major reconstruction of the theatre was completed (by architects Algimantas and Vytautas Nasvyčiai), and forty years later, in 2021, the theatre was once again renovated from the ground up, with the construction of a new 350-seat New Stage and in 2022, a new Small Stage. The reconstruction is still ongoing, hoping to open a renovated Great Stage  in 2023.

The sculpture "The Feast of the Muses" by sculptor Stanislovas Kuzma, which crowns the main entrance to the theatre, has become a symbol of the Lithuanian National Drama Theatre too. The Muses of Comedy, Drama and Tragedy patronize the theatre's wide and genre-diverse repertoire.

The Lithuanian National Drama Theatre presents a wide range of genres, introducing the audience to classical, contemporary and national drama. The repertoire is created taking into account the tastes of different audiences, as well as the theatre's regulations and goals. The repertoire is shaped by the theatre's Artistic Council, elected every second year. The theatre tries to give the opportunity to different theatre makers to create:  both experienced, well-known in the world of theatre, and young and promising directors, artists, composers. Often, directors from other countries are invited to create productions in LNDT. Oskaras Koršunovas, Krystian Lupa, Arpad Schilling, Grzegorz Jarzyna, Jo Stromgren, Kirsten Dehlholm, Yana Ross, Lukasz Twarkowski have all presented their works at LNDT.

The Lithuanian National Drama Theatre cooperates with theatres in other cities, performs for audiences not only in the capital but also in other Lithuanian cities, and participates in theatre festivals in Lithuania and abroad. Recently, performances have been staged in Avignon, Lyon, Paris, Warsaw, Madrid, Shanghai, Beijing, Oslo, St. Petersburg, Turin, Malaga, Lviv and other cities around the world.

The Teatro Nacional D. Maria II (D. Maria II National Theatre) is one of the main Portuguese theatres. Founded by the great Portuguese playwright and intellectual Almeida Garrett, it first opened its doors in April 1846, on the celebration of the 27th anniversary of Queen Maria II.

In 2007, D. Maria II became a state-owned enterprise. Its organizational structure includes an Administration Board and an Artistic Director, a position that the playwright and actor Pedro Penim has held since 2021. Located in Rossio, in the center of Lisbon, the Theatre was classified as a National Monument in 2012.

As a National Theatre, its mission is to promote and encourage Portuguese dramaturgy; to ensure its public access to artistic work from other countries; and to open the Theatre to the community, attracting and forming new audiences.

As a public institution, D. Maria II pursues objectives of social and environmental responsibility, the promotion of equality and non-discrimination, protection of the environment and respect for principles of legality and business ethics.

In 2021, D. Maria II carried out interventions in the building, to ensure the preservation and safety of the infrastructure and its equipment. These interventions sought to choose more efficient options from an environmental point of view.

Slovene National Theatre Maribor is the largest cultural institution in Slovenia with a century-long tradition. It develops and preserves Slovene national identity, as well as common European cultural heritage within the domain of performing arts.

The theatre comprises three respective artistic units – Drama, Opera and Ballet. In addition, the Maribor Theatre Festival (Festival Borštnikovo srečanje) was established in 1965 and has soon become one of the most prominent Slovene theatre event and internationally acclaimed theatre festival.

Since its establishment, the Slovene National Theatre Maribor has staged over 1.700 various productions, ranging from classical, modern and contemporary genres and styles, including Slovene novelties.

Slovene National Theatre Maribor, especially Maribor Opera, today hosts and fosters many creative and talented artists of various provenance. As a result, artistic ensembles of the Slovene National Theatre Maribor have toured in Europe, Middle East, Asia, North and Latin America with great success, often accompanied by standing ovations and critical acclaim.

The Royal Dramatic Theatre, in Sweden known as Dramaten, is Sweden’s national theatre. It operates on an assignment from the government that, amongst other things, states that the theatre should both treasure the history of the arts as well as work for its development. The theatre is fully owned by the Swedish state.

The theatre was founded in 1788 by King Gustaf III. Since 1908 the theatre is located at Nybroplan in Stockholm. Dramaten currently has six stages. The main stage holds 770 people.

Dramaten has recently, during a normal year, been giving around 1000 performances a year.

A place open to all and dedicated to contemporary creation, the Théâtre Vidy-Lausanne, directed by Vincent Baudriller, defines itself as a meeting place between today's art and everybody. The Théâtre Vidy-Lausanne invites artists from different backgrounds and origins to develop artistic projects in different formats, often in co-production with international partners, which it then tours, both locally and internationally. It regularly collaborates with the Competence Centre in Sustainability of University of Lausanne. Together, between 2019 and 2022, they developed three editions of a cycle called “Imaginaries of possible futures”: a series of meetings between artists, researchers and audience to think about the future, from the current situation of crisis. In 2020, the Theatre Vidy-joined with artists Katie Mitchell and Jérôme Bel to conceive the project “Sustainable theatre ?”: a full-scale experiment which puts the sustainability questions at the heart of an artistic project, both on stage and in the production and touring processes.

The National Theater & Concert Hall (NTCH) of Taiwan is one of Asia's premier venues for the performing arts. Located in the nation's capital of Taipei, the NTCH hosts world-class performances, and designs year-round programming to suit each season. Reflecting Taiwan's strongly-held values of freedom and openness, the NTCH always seeks to engage with the international community, nurture a diversity of views and voices, and serve as a beacon of artistic excellence in Asia's cultural landscape. The NTCH is actively involved in nurturing a vibrant performing arts ecosystem through partnerships with venues around the world and programs such as Asia Connection: Producers Camp and Taiwan Week.

Serving as a fully sustainable theatre is one of the NTCH's ongoing priorities. To this end, the NTCH has set its policy focus on ensuring a safe and healthy workplace; nurturing diversity and equality in its programming and workplace; implementing green transformation and low carbon sustainability practices; reducing its carbon footprint from energy use; maintaining sustainable partnerships in all respects from; and employing digital technology for the genuine benefit of the public.