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remembers the victims of the nine eleven. after effects continue to claim lives. workers have since died of illnesses related to their rescue efforts at ground zero . and in russia the republic of north pays its last respects to the seventy killed by thursday's terrorist blast at a busy market more than one hundred sixty were also injured in the attack or by a suicide bomber. dissecting democracy striving for a better world security two days of talks by power brokers of the global policy forum and give way to the city's celebrations. and thousands of people take to the streets of cross europe protesting against excessive camera surveillance governments and businesses intrude on their privacy rather than protect them. ok well next hour we will return to.

thousand year anniversary. but for the mean time on the eve of the fall of the iron curtain a festival of traveling theatres born in moscow helped open a new era in relations between the east and west the man in charge of it today john kilbey is the guest in our interview show spotlight that's right now. hello again walked into the spotlight to enter the show on our take i'm al green oven today my guest in the studio is john kilbey. the festival of traveling

theaters told me of a kind of two thousand and ten was born in moscow more than twenty years ago at that time the festival like 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 killed in. the past of all strolling theaters mira caravan two thousand and ten is the comeback of the band that be formed across europe after the fall of the berlin wall 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 the company during their first performances in nine hundred eighty nine now he's become the tour manager and takes them to countries from germany to russia crossing many borders borders that's what inspired me.

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 i'm as a 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 nostalgic well if it was me i would say because i'm nostalgic times of perestroika the same of you. over those obviously are a throwback to twenty years ago but really it's a recruiting of independent artists. thirty years later to maybe look at the changes that have happened in the last twenty years to be in the present did they did they manage to do to maintain their independence in their ideas to stay independent they were. just to describe a little bit what may occur in one thousand nine hundred nine was it was started in one thousand nine hundred seven in fact to the talks between slava ballooning who

was the director of lead today 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 foods man travelling theatre at the time and i wasn't so interested in just coming to russia to perform so when i met with i suggested that maybe we should bring me a caravan starting in moscow of finishing and in western europe we finished in paris at the end of two larry and it developed from there so what happened was we had four groups from the east really today. which is a music group whose chief was. not. osmo going to ne other

theater of the day from poland who were exiled. for out in italy and devival who is an opera lascaux from prague along with a company from france. spain and. a 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 bar. 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 capital you prefer smaller towns this time not this one this time in fact the tours started in britain or 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 long arm the country so numb your moscow. times have changed times of change when we were putting together this 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're 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 is where divide was an upper class go come from frankfurt. undergone theatre and so on ok now there's certainly were 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 pride on 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've finished. 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. up to this. but now listen well you were share within this festival delta word was always very political and one of the best friends was mr muslim and i have a quote from mr howell who said when me a caravan 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 kind of and somehow

precipitate a dramatic change in the autumn of media 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 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 to all were 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 their deterrents and we play out so i don't. 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 that 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 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 with mr. will you meet mr gorbachev here here in moscow. like do you really need the support of politicians to keep giving you suggest inspiration or maybe some some other kind of support of 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 progress go 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. the minister for foreign affairs in france and recently we had

a letter a very positive letter from mr lavrov the russian foreign minister of russia what we're going to leave the the godfather of perestroika i did not tell him no no i have no i never met him i did meet him in one thousand nine hundred ninety. at the time we were already in and i had contacts. with eduard shevardnadze. foreign minister the former foreign foreign minister who promised for. twenty rocket carriers to take on that or as like as 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 did nine hundred ninety five dissipated in that part. of it was

a very early producer. and i was one of the june 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 after the break we'll continue this interview in less than a minute so stay with us don't go. i'm

discovering. communicate with the want to. test yourself and become. give you. the. welcome back to spotlight just a reminder that today we're talking to john kilbey he is the he's the one of the founders and director of media kind of on the festival of traveling theater is that after twenty years is back in moscow it's a kill me you mentioned that that actually you're on

a festival you caravan proceeded the fall down fall of the berlin wall and there are now a couple weeks off to you you moved out in. the walk a wall collapsed but another another serious thing maybe even more serious is that your journey across europe back and back in nineteen eighty nine was followed by a series of salvage revolutions and polluting the one headed by fossil hollow well is there any kind of revolution you would like to bring about today this time that you know that you're in the. making a remake of this thing said it anything anything that you are really driving at we're didn't set out to create a revolution twenty years ago we happened to be in time with history whether we're in time with history this time. in two thousand and time will actually put you on the right certain borders but i see. which can be

border the economic philosophical. geographical run still the same i mean east and west and things like that or or how are they changing or moving somehow these borders how do you see it as an artist. i just i just drove from your 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. yeah to russia really well we can through the border. i think partly because of you two hundred trucks. so you followed you

know they were coming or going out as we were coming in. but the border the bureaucracy that we've found a good 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. whatever smuggle new products which are which is very soon 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 europe they say well we'll be glad to do that but they but the drug traffic from afghanistan through russia to europe and this is this is very big then 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 you mentioned you mentioned here too as you probably know but only met president medvedev and there would be but i don't even i don't know he came here again and he made the person who was always a rock that i mean the president is a rock fan he met bono they talked politics and bono is very active socially politically he's not even like a star 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 question about it because when you're out 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 theater you make to your public every night is not

a question of being bono on stage for a hundred thousand people who he will never get to talk to he will 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 in russia and 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. watching in the wind actors dressed like butterflies are all part of

a project to one thousand young actors from different russian c.d.'s 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 jungle future. and. while shusaku concentrated on future i can't feed a group came up with a flashback into the past the main character of the political satire was a write in former president. well he's also strong in the power of art when travel and feel used to make it easy go he called their performances every post with alex resolution today festival director that i buy she says your favorite kind of cedar is one which traced to trees from reality that. you can is not on an artistic you

plant project is also of social and political and here we have people of the planet who gathered to show that we can leave and create together it's not only the actors who get a feeling of unity the openness lose the boundaries between the two most in the audience along the festival was an 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 whenever you are

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 you know 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 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 but to be an actor you have to have an ego you know and you 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 john killed being 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 say there's a horrendous target target number one brussels. no moscow on whether suppose 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 and we

don't there's always the you you could never never get the money where you don't need so much bureaucracy because the money which is used for creation is eaten by by bureaucracy on sorry but yes the number of people who are checking all the time on what will work 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 police there is the one basically on one but i come from i don't you and 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 higher than 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 iraq receive 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 with it's not exactly i think it's a bit of the simple. what i would defend is the the artists right to create without without. too many restrictions i was about to say that i come from an anarchist background and anneke is the 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 allow for the individual to be responsible. coming through russia this time traveling through villages i see a problem an ecological problem and it's an ecological disaster i stopped in a camping car outside a good garren. i drive at night i stop in a place which wasn't possible twenty what it was but it was less likely twenty years ago when i stopped in a place and it looks beautiful little nice little village and those little late wake up in the morning the place is covered in plastic bottles and crap it's just awful which means that the individuals that are throwing this are not responsible they don't consider but people like me might come by and go. now so there's an education.