Draama festival balances change with tradition

The Draama theatre festival has kept a steady course despite a change in leadership, according to a review by Riina Oruaas published by ERR and originally published in Sirp. This year’s festival ran from September 7 to 13 in Tartu.

Mari Nurk had recently taken over as executive director, alongside a new artistic council. The festival nevertheless ran smoothly. Because Draama brings together different institutions, its organisers have limited scope for radical changes, the review says.

The event has retained familiar features, including its red colour scheme, popular ticket sales, discussions, presentations, international guests, special projects, meetings and podcast recordings. The review describes the festival as having found a balance between renewal and continuity: changing leadership and a flexible structure allow it to evolve, while established practices and partners’ expectations provide stability.

The festival’s core is a main programme of productions selected by the artistic council. Partner organisations also hold events, including a conference marking the 35th anniversary of the Estonian Association of Performing Arts Institutions, the presentation of the Estonian Theatre Union’s annual yearbook, and “Uus põhi,” a programme on new playwriting organised with the Estonian Theatre Agency and the Estonian Directors and Dramaturgs Association. The Estonian Theatre Agency also coordinates a showcase for international guests.

This year’s additional programme included a screening of a video recording of “Macbeth,” a production by ERSO, Eesti Kontsert and the Estonian Drama Theatre, as well as “Segased signaalid,” an installation by Renzo van Steenbergen and Kristjan Pütsepp. The installation created a light and sound environment at the Samelin factory. Together with Robin Täpp’s walking performance “Drive-in,” from Kanuti Gildi SAAL, it encouraged audiences to explore and reconsider urban space.

Audiences remain central to the festival. Discussions described Tartu audiences as informed and appreciative, a view that the review says was borne out at performances. Mart Kangro’s “Meedium” by Von Krahl Theatre used wordplay and irony to examine manipulation through algorithms in social and shared media, which resonated particularly clearly with its academic audience.

The review also highlights the festival’s role in fostering discussion between audiences and theatre-makers, including beyond the stage. While some conversations can become opportunities to praise theatre, the strongest offer insight into the thinking of writers and directors.

Several discussions at this year’s festival focused on problems facing theatre, including a shortage of critics, performers and skills. A phrase used by Maarja Mänd, “there is no oxygen,” captured the pressure described in the conversations: theatres are operating at their limits, with little room to breathe or undertake in-depth work because of the funding model.