The Teatro Valle Occupation Ends — and a New Theater Commons Begins

The proposed privatization of the grand public theater in Rome, Teatro Valle, has been defeated – but perhaps more importantly, the historic three-year occupation of the building has succeeded in achieving many of its primary goals, including the recognition of its demands to establish a new theater commons, after weeks of contentious negotiations.

The struggle was noteworthy because it pitted municipal authorities in Rome, whose austerity policies had resulted in severe cutbacks at the theater, against self-identified commoners who want to run the historic theater in far more open, participatory and innovative ways.  At stake was not just the continuance of performances at Teatro Valle, but the governance, management practices, purpose and character of the theater.  Shall it be a “public good” managed by the city government, often to the detriment of the public interest, or a commons in which ordinary people can instigate their own ideas and propose their own rules? 

Beset by budgetary problems, the mayor of Rome had proposed privatizing the management of Teatro Valle.  But protesters who had occupied the building in 2011 adamantly resisted such plans.  Their protests inspired an outcry not just among many Romans and Italians, but among an international network of commoners, human rights advocates, political figures, scholars and cultural leaders. 

In July, the city government threatened to evict occupiers and issued an ultimatum with a July 31 deadline.  Thus began a series of negotiations.  Commoners were represented by Fondazione Teatro valle Bene Comune, which entered into talks with the city government and Teatro di Roma, the public entity that runs the systems of the theaters in Rome.

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Save the Teatro Valle Commons in Rome!

The three-year occupation of Teatro Valle in Rome is now legendary:  a spontaneous response to the failures of conventional government in supporting a venerated public theater, and the conversion of the theater into a commons by countless ordinary citizens.  Now the mayor of Rome is threatening to end the occupation, evict the commoners and privatize the management of the facility.

It’s time for the international community of commoners to take a public stand against this very real threat. The mayor has summoned Italian law scholar Ugo Mattei to meet with him on Monday to negotiate a resolution. In advance of that meeting, Mattei and Salvatore Settis, President of the Advisory Board of the Louvre Museum in Paris, have prepared an international petition calling on the mayor to back away from his proposal and to allow this historic experiment in commoning to continue.

Below is a copy of the petition.  You can express your support by sending you name and affiliation to Ugo Mattei at matteiu /at/ uchastings.edu.

A number of human rights scholars around the world are keenly interested in Teatro Valle.  Noted human rights scholar Anna Grear alerted the Global Network for the Study of Human Rights and Environment that "the attempted denial of popular 'ownership' of 'place' is fundamental to the cultural and material enclosures enacted by privatising and controlling agendas.”  She added that “closing down an important, even iconic, example of a fundamentally vernacular, community-based engagement with place (a vibrant, evocative commons) is entirely consistent with the deeper logic visible in moves such as the attempt to control the world seed supplies and breeds, to extend the corporatisation of the social spheres, to privatise urban space in ways that shut ordinary human beings out of them in central and important respects.”

For more on the backstory of Teatro Valle, here is a previous blog post on the occupation from February 2013.  Below is the petition now circulating.  Sign it!

The commons “Italian Style” must continue their experimentation! An International call to protect the Teatro Valle Foundation from Eviction.

Since June 14 2011, a community of artists and militants has transformed the Teatro Valle, the oldest and most prestigious in Rome, then at high risk of privatization, into the “Teatro Valle Occupato,” one of the most advanced experiments of merger between political struggle and performing arts in the current world. A trust-like legal entity, the “Fondazione Teatro Valle Bene Comune,” was created in the interest of future generations, with a membership of almost 6,000 people by a genuinely new process of cooperation between some well-known jurists and the Assembly of the occupants. While a notary has recognized the Foundation, the Prefect of Rome has denied its moral personality on the assumption that possession was not a sufficient title on the Valle premises.

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HowlRound Brings Commoning to the Theater

American culture has been dominated for so long by Hollywood, Broadway and the nonprofit industrial complex that it is hard to imagine theatrical performance without the stars, the spectacle, the corporate investments and marketing hype.  What would it be like if theater were taken off its big-money pedestal and allowed to speak to serious social concerns, politics, ethnicity and the human condition as it is actually experienced? 

Welcome to HowlRound, a growing hub of the nonprofit theater world hat boldly bills itself as a “Center for the Theater Commons.”  HowlRound, hosted at Emerson College in Boston, is dedicated to the idea of “recouping the idea of nonprofit theater as an instrument of civilization."   

For those who participate in HowlRound, the commons is not just a fashionable buzzword; it is a fundamental organizing principle and ethic.  As its website explains, “HowlRound is modeling a commons….. A theater commons, if it is to be manifested, will need to be cocreated by others committed to its existence.”

In a world of shrinking foundation grants, government austerity and hyper-competition for entertainment dollars, can nonprofit theater reinvent itself as a commons?  I spoke with Polly Carl, director and editor of HowlRound, to learn more.  On the project's website, Carl describes herself as “a scholar and dreamer. A bicycle enthusiast, and tattoo 

aficionado, her most recent ink job features her pup Joey riding a blue Schwinn, tennis ball in mouth. She makes her ravioli from scratch.”

That's more or less what HowlRound is trying to do for nonprofit theater:  to make it from scratch. Carl is convinced that commoning is the most effective way to revive the creativity and relevance of theater for ordinary people.  “Sometimes you just have to let go of things that you think are really valuable [like conventional structures for nonprofit theater], and experiment,” she said. 

HowlRound was born two years ago when Carl, David Dower, Vijay Mathew and Jamie Gahlon decided that all artists should have more say in how the American theater is run. Carl explained that “market-driven institutions have left the artist behind financially, and artists can no longer control their destiny.”  

So why not try to amass a community of people dedicated to “the core principle that theater is for everyone”?  

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