Preparing for an International Presentation: A Summary by Olga Diatel

In September-October 2024, three works created within the Antonin Artaud Fellowship were presented abroad: in Berlin, Vienna, and Madrid. This became possible thanks to the international partnership project supported by the House of Europe program.

During the preparation and implementation of the presentations, a number of questions arose. Olga Diatel, co-founder of the fellowship and producer at Opera aperta laboratory, reflects on these questions through the lens of her own experience.

Expectations vs. Reality

Presenting work abroad plays a crucial role in shaping a more complete and diverse picture of what Ukrainian culture is for the international community. This requires creating exhibitions, performances, and other forms of art that can engage foreign audiences and critics alike.

However, in my opinion, international presentations are often viewed with a degree of romanticism. Travelling to Vienna, Berlin, or another city, and feeling acknowledged, these things help create an image of a potentially positive experience. But in reality, it is hard work, especially since both the culture and the arts sector abroad face financial limitations. In the performing arts, these limitations are particularly acute: travel, accommodation, artist fees, and transportation of sets all demand significant resources. How can one prepare for an international presentation and avoid disappointment? Drawing from my own experience, I will share some insights into the organizational aspects of presenting work abroad.

Preparation – Before the Trip

Clear agreements are essential, but so are flexibility and readiness for the unexpected. Every project is unique, and compromises are often necessary to make the presentation happen. This might mean choosing more affordable accommodation, simplifying technical requirements, or finding additional funding. The key is to maintain open dialogue with organizers, clearly communicate your expectations, and ask all the necessary questions in advance.

At this point, a logical question might arise: “How do you actually reach these agreements? And how do you even find contacts for an international presentation?” I’ll be speaking about this in more detail in my upcoming interview for House of Europe.

Plan your time thoroughly. Everything that can be prepared in advance should be. Don’t count on figuring things out on the spot—there will be plenty to deal with once you’re there. Make a detailed schedule that includes time for installation, lighting setup, rehearsals, and any other necessary preparations. Request a floor plan of the venue and thoroughly work out the placement of people and equipment.

Be prepared for different scenarios. Time at the venue is often limited due to overlapping events, and technical support may not meet expectations. That’s why it’s crucial to have a flexible plan with backup options that will allow you to adapt to unforeseen circumstances.

On Site

Get a realistic view of the situation. Is everything on schedule? Are the people involved able to respond to key questions? A realistic assessment of the process helps determine what can or cannot be done within the limited time you have. Aside from unmet agreements, expectations can be challenged by how different the reality turns out to be. For example, at OFF programs (unofficial) of the Avignon Festival, artists often organize everything themselves: renting spaces, finding accommodation, promoting their own events on the streets, setting up the space and decorations (sometimes even hiring locals to cut costs). When French partners support the arrival of Ukrainians for an unofficial program, frustration can arise on both sides: we may think, “Why is everything so poorly organized?”, while the French might reply, “What are you complaining about – this is how we do it, and artists usually handle everything on their own.” Situations like this show how important it is to research the context of the event you’re taking part in, along with the broader cultural environment.

Get to know the event’s audience. Audience engagement largely depends on the organizers, but you can – and should – take part in the process. For example, invite people for whom the performance might be personally meaningful. Keep in mind that different countries use different communication channels. Social media might work well in one place and be almost useless in another. It’s important to ask organizers ahead of time about how they’re promoting the event and whether there’s room to support audience outreach. Unfortunately, the real turnout often becomes clear only in the final days.

Talk to people after the performance to gather feedback and secure important contacts.

Document the event. If you need photo or video documentation of the performance, take care of it in advance. In many cases, international organizers do not provide photographers. A common practice is to use previously submitted press photos. I once had a situation where, after a showing of the Chornobyldorf opera, the festival director literally shouted at me, saying, “You ruined the opening!”, just because a photographer was present. Documentation is sometimes perceived as something that “distracts the audience from the performance.”

And just a gentle reminder: despite all the logistical matters, the heart of it all is your work on stage. 🙂

Olga Diatel (in the middle), together with team members, Yuliia Parysh (left) and Volodymyr Burkovets (right)

After

Wrap up organizational matters. Make sure you’ve provided all the necessary information to the organizers, completed all documentation and financial issues, and thanked everyone involved in the process. Even if the experience wasn’t entirely smooth, it’s important to end on a professional note.

Follow up with new contacts. In recent years, I’ve been keeping a list of people I talk to and would like to stay in touch with. Experience shows how easy it is to forget. Write to those you promised to send or share something with. 

Document your experience and to-dos. Every trip helps you better understand how to prepare for the next one. I highly recommend recording your thoughts and impressions so you can return to them later (our minds don’t retain everything, so write things down 🙂 Especially valuable insights may come weeks or even months later. Note your to-dos and next steps: update your portfolio, finish your work, build a website, follow up with contacts, print business cards (yes, they’re still often needed abroad). This kind of structured work after the event is a key step toward further development.

Three points instead of a conclusion

 

The translation of this material was made possible through the Per Forma grant program, implemented by the Kyiv Contemporary Music Days platform with the support of the Performing Arts Fund NL and the Ministry of Education, Culture and Science of the Netherlands, aimed at developing the performing arts sector in Ukraine.

Translation by Yurii Popovych

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