because of the tragedy with the grief it brings us closer together and. it's too soon to draw a line under the cap in case work is still underway to find more places where polish prisoners of war a barrett as some died while in transit to the prison camps there also continued efforts to gather information about the victims of stalin's reign of terror to a buried in mass graves together with the poles if the bells were to on every single person buried at midnight and count in they would have to toll continuously for many days.

the top stories from all see this hour a new arena for new ideas president medvedev tells the global policy forum and that beyond shouldn't be jealous about russia's proposed new security treaty for europe as it could help everyone and he also ripped off criticism of democratic democratic

standards in russia saying that adoption of a parliamentary democracy for the country would be a catastrophe just as it has been ok this time. the settlements have been lighting candles across the russian republic to mourn seventeen victims of a suicide car bomb attack on thursday the first funerals have already taken place while some of the one hundred sixty injured on being treated in the. sea investigates the rapid growth of islam in america with a number of the nine eleven terror attacks increasing despite claims the media fuels tay-sachs sentiment. now they cut to the moscow polish officers and others in one thousand nine hundred forty has been a source of division for decades between russia and poland but it's also been a cause of recent hading between the two countries since the death of the former polish president lech kaczynski and other high ranking officials in a plane crash on route to

a commemoration in april so find out the truth behind the cutting massacre in our special report up next here on alt. some. place. around the time. this is street still keeps its secrets but now it's time to reveal the truth to the soviet files the cans in case of ethanol and ati.

hello again welcome to spotlight to enter the show on our take i'm alvin donovan today my guest in the studio is john kilbey. the festival of traveling theatres told me of a cut i've done two thousand and ten was born in moscow more than twenty years ago at that time the festival where the new era in relations between east and west on the eve of the fall of the outskirts but what are the challenges today to answer this question our guest in the studio is the manager of the festival john kelly. depressed of all strolling theaters near caravan two thousand and ten is the comeback of the band that be formed across europe after the fall of the berlin wall of that its aim was to help build bridges between the recent cold war rivals and

the time has shown they've been successful john kilbey has been with a company jury in death us performances in nine hundred eighty nine now he's become the tour manager and takes them to countries from germany to russia crossed. many borders borders that's what he is fighting. her john welcome to the cheryl thank you thank you very much for being with us it's a pleasure having you here after the after all these years most matter of fact they first of all was born in eighty nine and why did you decide to repeat the event this year after all these all these years all these events you like just this town jerk well if it was me i would say because i'm nostalgic times of perestroika is the same with you. over there's obviously you're a throwback to twenty years ago but really had to regroup independent

artists twenty years later to maybe look at the changes that have happened in the last twenty years to be in the present did they make did they manage to do to maintain their independence in their ideas to stay independent they were. just to describe a little bit what marilyn one thousand nine hundred nine was it was the start of in one thousand nine hundred seven of the talks between the pollution who was the director of litter day in leningrad who invited who wanted to put together a mere caravan the caravan of peace in russia and he sent out invitations to. many groups in western europe to be part of the caravan mir in russia i was with a group called fruits man traveling theatre at the time and i wasn't so interested in just coming to russia to perform so when i met with so i suggested that maybe we should bring me

a caravan starting in moscow finishing and in western europe when we finished in paris. and it developed from there so what happened was we had four groups from the east really today. which was a music group whose chief was. not. going to ne other theater of the day from poland who were exiled. for out in italy and divide what was an opera last call from prague along with a company from france so very lost from spain and. nuclear from for a in italy and we put together this tour starting in the park of the red army in moscow and traveling from moscow to leningrad leningrad to gloss over to prague west berlin. copenhagen. and we

finished in paris is going to five minutes late you mentioned those cities which most of them are capitals this year so we must know more capitals you prefer smaller towns this time not this one this time in fact the torch started improving nor in. germany are not a not a capital frankfurt which is not going to happen after only a. capital of theatre but not the kind of the country so now your moscow. times have changed times of change when we were putting together the story the idea was that we would start in paris go to berlin and come to moscow but the political situation is such and not least it's the economic situation because when we started this tour. with i have to say thank you to the european union because we got money from the european union from an institutional

building partnership program here in moscow. it was exactly the time of the credit crunch so when we were talking with potential partners in paris and berlin everyone is hold on there's no money you know this is the wrong time so we really caught up in an economic boom for ticks many people are caught up in still today but and so we were looking for alternatives and the alternatives actually came from the groups and cells bruno's were developed was an upper lascaux come from frankfurt. undergone theater and so on ok now there's certainly problems twenty years ago and there surely are problems now because you are sort of a person who likes to create problems if he doesn't find the right plan from the anyway so can you tell me what were the problems at the time of perestroika despite

their history and what are the main problems now are there similar problems the. kind of similar problems but that's a whole reflection which i. would prefer to talk about after we finish. this one never knows twenty years ago it was under the soviet system and somewhere it was a lot easier because you know what the system is today it's very much. less clear what the system is we find that in one thousand nine hundred nine the bureaucracy was of one system state now we find that the bureaucracy is just as. present in fact only present but within a system which is. kept out of this. ok now listen

well you would share with this festival tell toward was always very political and one of your best friends was mr russell have and i have a quote from mr howell who said when you're a kind of man stopped in prague at the beginning of july nineteen eighty nine it was like a rehearsal for the velvet revolution would you agree that your caravan somehow precipitate a dramatic change in the automobile you know absolutely i would say that as an independent independent fear to rot is to and we were one hundred eighty six people living together for five months twenty six nationalities with all the different languages and barriers that the language barrier throws up to have a modernized whole. moving first of

all was quite extraordinary and i went to east berlin before the before we started the tour i went to his poland to talk with the the people responsible for culture and he spoke them because i had an idea that maybe we could because we made a. collective creation called the odyssey from home all the groups one hundred fifty artists and technicians involved in one performance. and i wanted this odyssey to begin in east berlin and to finish in west berlin which was a dream and of course i got to get through east berlin and i mean it was still there were still there we'll get to east berlin and talking with the people responsible for culture and i think. it's a very good idea but we don't have any theaters available in july and i say well we don't need theaters we have theater tents and we play outside. we don't have any

hotel rooms. but we don't need hotel rooms we have kind of and so and then i realized that there's no way the east berlin was going to cross the wall but when we did the tour and we ended with we took the stress of the seventeenth of june in berlin west which is up against the brandenburg gate. and we did the odyssey there finishing symbolically before the brandenburger tor do you do you still do you still communicate with the willingness to handle. all you meet mr gorbachev here and here in moscow. like do you really need the support of politicians to keep going is it just inspirational maybe some so some of the kind of support the some sort of satisfaction when you when you do get the support of someone like ex-president novel who we've seen recently his

his group or one of one of his. plays is being performed by a divider who's on our program who were with us twenty years ago so how do we still want the titles. he's the one of the patrons of the tour we also have support from. his minutes to foreign affairs in france and recently we had a letter a very positive letter from mr lover of the russian foreign minister of russia what we're going to show the the godfather of perestroika didn't i tell him no no i have no i never met him i did meet him in one thousand nine hundred nine. at the time or it was a problem and i had contacts. with the eduard shevardnadze. foreign minister the former foreign foreign minister who promised for. twenty rocket carriers to take on the tour like his mobile stages as mobile stages for.

in fact it was for. space bridges this is an extraordinary man russian man called joseph golden i don't know if you heard of him but he was the first man to do a space bridge from san francisco to the center of moscow i had nine hundred ninety five dissipated. for him. it was a very as a producer. and i was one of the german this is a right. well anyway we're talking to john carroll be one of the founders and director of new kind of ran a festival of traveling fierce spotlight will be back shortly right to break we'll continue this interview in less than a minute so stay with us don't go. the

dramatic. scene. they managed not only to stay alive. but to keep their faces and souls in inhuman circumstances. nine hundred danes in besieged leningrad truly heinies a disservice. to live in a country that don't understand that there's more violence in the streets of this country than there are in the streets of baghdad. one disparate. as

a. crowd gathers streaming video. streaming live the. top. spot. welcome back to spotlight just a reminder that today we're talking to john kill me he is the he's the one of the founders and director of media kind of on the festival of traveling theatre is that after twenty years is back in moscow mr keelty you mentioned at that event actually. a festival you caravan. receded the fall

down fall of the berlin wall a couple weeks after you you moved out from berlin. the walk a wall collapsed but another day another serious thing maybe even more serious is that your journey across europe back and back in one nine hundred eighty nine was followed by series of velvet revolutions and clued in the one headed by. well is there any kind of revolution you would like to bring about today this time that you know that you that you're making a remake of this thing this event anything anything that you are really driving at we're we're didn't set out to create a revolution twenty years ago we happened to be in time with history where they were in time with history this time. two thousand and time will. put you on the right certain borders but i see. which country

borders the economic philosophical. to graph with cool line still the same i mean east and west or or how are they changing are moving somehow these borders how do you see it as an artist. i just i just drove from york to moscow. and the borders the border has moved whereas twenty years ago but border with the east. it was east germany and then you're going to poland you know we had the iron curtain that we had that was the border yeah. you know on the border and yeah to russia really well we can through the border. i think partly because of you two. hundred drugs. so you followed me you

know they were coming here we're going out as we were coming in. but the border the bureaucracy that we found of the border. i really don't understand why common else which i think russia actually needs. is blocked by so much bureaucracy when i realize that some people smuggle you know this flag or whatever smuggler conics which is which is very see this is by the one of the reasons when the russians when even the russian president says let's let's get away with the visas to chile to europe they say well we would be glad to do that but they but the drug traffic from afghanistan through russia to europe and this is this is a very big problem than you're talking borders north south as well because the drugs are coming from from africa they come across from south america to africa. i

mean the drugs and drug situation is horrific worldwide as you mentioned you mentioned here too as you probably know bone met president medvedev and there would be well i don't even i don't know if he came here going to him at the prince who was always a rock family the president is a rock fan he met bono they talked politics extend bono is very active socially politically he's not even like a so you becoming a political figure do you think that artists should be so much socially engaged doesn't that there's the distract them. from from what they're supposed to do do you believe that it's only when you're questioned about it because when you're travelling theatre you're actually and that's one of the reasons why i'm involved in this movement hundreds of movement of physical movement is because with the traveling theatre you meet your public every night it's not a question of being bono on stage for

a hundred thousand people who he will never get to talk to he'll get to talk to the president but i never got to talk to somebody and we stopped and village called story is brisk north of ostroff fantastic direct contact with the with the public interest base and russian gave her a little bit yeah i speak some. but which are very useful in small places like little villages about burton i say are. more on the power of art now in a report by spotlights to me that. the power of god is definitely stronger than the power of nature despite weather being quite cold muscovites left their warm homes and came here to coleman square park to see performances by trouble from across europe. muttering in the wind actors dressed like butterflies are all part of

a project to one thousand young actors from different russian cities it's been masterminded by japanese choreographer shusaku to q he believes people from different nations can understand each other better through art but now all of them are people have. seen about how humble future. and. while she's so concentrated on future either group came up with a flashback into their past the main character of their political satire was a write in former president. well he's also a strong and in the power of art when travel and feel used to make you easy go he called their performances every post for the delicate resolution today festival director nothing. says your favorite kind of theater is one which trace to transform reality but on a. new kind of man is not on an artistic event the project is also of social and

political importance here we have people of the planet who gathered to show that they can leave and create together it's not only the actors who get to feel you have unity open you lose the boundaries between consumers and the audience along the first. opportunity to become part of the show. if i if i understand right what you just said is that an artist should do his work should do his are american but but he should be aware of the political and the so show reaction out camera well whatever that can be caused by what he does is that true i think it's inherent in the profession. but like talking politics starting to get to become a political figure a social figure is not exactly right or is it. sometimes or whatever you're

posed a question you have to answer and you have to answer. it in a responsible way and that's what i hope i'm doing right now but i'm not going to stand now i want to stand for what i mean we can we can look at and we could live we can have real life like extreme examples like ronald reagan was a bad actor and become a pretty good president and politician but but he just continued being an actor he was he was naturally more so is that a way i guess it depends on the individual you know. the individual the some people i mean to. an actor not an actor good to be an actor you have to have an ego you know you must want to be seen and to be applauded by a public you don't want to be a bad actor you want to be a good actor you are quoted by russian press and here's one of the quotes. like him junkie would be as he says continues could to question the boundaries and

ideologies and also to emphasize the need for dialogue and intercultural corporation in europe in the twenty first century and what. so what do you see as the major obstacles to unity let's say on the european continent is there is there anybody who won't today the bureaucracy there are procedures bureau where not only in this country in any control in europe in the european bureaucracy like i have to . render target target number one brussels. no moscow are there's certainly room for change because. the artists need to create and to create you need money and you need time and you need support now to get the to arrive internal bureaucracy to get your money we don't need so see you could never never get the money that we don't need so much

bureaucracy because the money which is used for creation is eaten by by bureaucracy and sorry but yes the number of people who are checking all the time on what you do with the money costs a fortune it costs a fortune in time and effort and there are so many people involved in making sure that you're not corrupt. but there's nothing left but the artist. conundrum so so so you would you would call the. modern bureaucracy the new the new berlin wall. that divides people there has to be a certain amount of your of course the of course but the least there is the one basically. going to come from i'm not sure i don't know what you mean. in some in some developments in some in some neighborhoods they they make it

a law that the fence around your place shouldn't be hired like like like a meter you know when it's this way it keeps the dogs out but it but it's two meters it's two are the same with bureaucracy i mean when there is you need some bureaucracy but when it's too much of a bureaucracy it becomes a berlin wall is that what you're kind of whether it's a not exactly i think it's a pretty. simple. what i would defend is the artist's right to create without without. too many restrictions i was about to say that i come from an anarchist background. and anneke is for me in the purest sense is the responsibility of the individual and i consider that we lose track of the individual and we don't.