• Nic Léonhardt, Veo Veo* – in “5D”: Iconographies of Theatrical Audiences as Archival Bequests of Perception – A Case Study
• Erin Lee, The Triangle of Communication: Practitioner, Archivist and Academic
• Anna Valls, Tu te souviens? Un ambitieux projet de crowdsourcing pour la documentation des arts du spectacle catalans

• Karin Suni, The Library in/as Performance: The “We the Detectives” Project
• Jeffrey Katz, Teens Take the Stage: The Public Library and the Community Collaborate to Promote Young Performing Artists
• Pirjo Suvilehto, “We will have a puppet show at a museum.” Puppetry and collaborative encounterings in education, university, theatre and library. Cases in early childhood education studies in Finland
• Nancy Friedland, Performing the Library: a program of student engagement

Session 3 – Alternative ways to present our collections

• Rébecca Duffeix and Brigitte Sanvoisin, La conception et la réalisation de la refonte du parcours permanent du musée des Arts de la marionnette (musées Gadagne) : une réflexion collective autour d’une scénographie du spectacle vivant
• Stefan Graebener, Museum to touch – concepts for exhibiting Theater
• Galina Ivanova, Le projet «Casse-Noisette: histoire du ballet»

Session 4 – Artists and archive producers

• Pauline Girard, Le catalogue des mises en scène dramatiques de la Bibliothèque historique de la ville de Paris
• Hélisenne Lestringant, Libérer, provoquer, et se permettre d’échouer… même au musée ! L’héritage de Christoph Schlingensief
• Dominique Dewind, Quand les usagers sont aussi les producteurs d’archives

• Stephan Dorschel and Thomas Thorausch, To speak with one voice – the Verbund deutscher Tanzarchive – (Association of German Dance Archives) as an example of permanent and interinstitutional cooperation
• Clare Button, Body Language: working together to open up the Margaret Morris Movement archive
• Elisabeth Gavalda and Alix de Morant, Valorisation du fonds d’excellence CollEx « Arts du Cirque » de la Bibliothèque Inter Universitaire Raimon Lull de l’Université Paul-Valéry Montpellier3
• Véronique Meunier and Marika Maymard, Les « Arts du cirque ». Un projet de coédition multimédia au service de publics diversifiés

• Sylvie Perault, Le théâtre du Soleil, le costume de scène et le patrimoine immatériel
• Jane Pritchard, Collaborations with costumes

Session 7 – Digital of course!

• Thunnis Van Oort, European Performing Arts Databases: Towards Transnational and Cross-Disciplinary Cooperation
• Clarisse Bardiot, Du close reading au distant reading et vice versa : l’analyse des traces numériques du spectacle vivant avec Rekall et MemoRekall
• Nena Couch and Helena Hantakova, Databases and Digital Collections: Virtual Spaces for Collection Sharing
• Anna Lawaetz, Performing Arts and Web Archives

Session 8 – “Necessary” partnerships

• Sheiko Shimura, The future of creativity and accessibility of Bunraku —Challenges of cultural policy and management on intangible cultural heritage in Japan
• Agathe Sanjuan and Juliette Caron, The future Cité du Théâtre (Paris) and its resource centre
• Julian Meyrick, Money and/or Love? The long-term sustainability of the AusStage Database and University and Industry Collaboration
• Hans van Keulen and Simon van den Berg, The frontpage of history. How a web magazine and a heritage collection can collaborate

Session 9 – The Galway case, panorama of a local partnership
‘Press Play’ – Performance, Memory and Nation: New embedded teaching practices for the digital performance arts archive at NUI Galway

• Barry Houlihan, Endless Art – Navigating the Digital Archive of Theatre and Performance
• Catherine Morris, Theatre, Democracy, Memory: the live performance of digital archives
• Patrick Lonergan, The performing arts archive as National Theatre

• Elvyra Markevičiūtė, Transformations of collaboration: from print to oral history, from Kaunas to Nice
• Elizabeth Azevedo, Cooperation and collaboration in the formation of the CDT of the University of São Paulo
• Catalina González Melero, La base de données Elektra

Session 10 – Curatorial partnerships, are they a solution?

• Marthe Lo Monaco, The Art of Collaboration: Great Partnerships Make Great Exhibitions
• Alan Jones and Alexandra Orlova , Theatre collections breaking down borders: Library collections as a catalyst for international knowledge exchange
• Katarzyna Wodarska-Ogidel, The theatre Museum in Warsaw Teatr Wielki-Opera Narodowa

Session 11 – International perspective

• Robin Ruyzendaal, Living Traditions: The Museum as a Platform for the Promotion and Conservation of Asian Puppet Theatre Traditions
• Henrik Lillin, Archive management without borders – Conclusions of a research into the archival practices of five opera houses
• Kathleen Saylor, The Open Music Library as a Model for Open Partnerships

Session 12 – Small institutions, strong determination

• Eline De Lepeleire and Tom Ruette, Inventorying and digitising audiovisual and digital archives of the performing arts
• André Derrider and Isabelle Meurrens, Petit projet deviendra grand : mutualiser, avant tout, les ressources humaines
• Tiffany Nixon, Inviting Collaboration: How Small Archives Can Effectively Partner with Large Universities/Libraries/Museums

Session 13 – From within; institutional perspectives

• Helice Koffler, “Only Connect”: The Early Employees Project
• Sabrina Offord and Pamela Young, Managing the intangible: Internal Collaboration at the V&A Museum
• Morgen Stevens-Garmon, “Look to your own house”: Collection outreach within an institution

Session 14 – Surprise workshop on stage costumes

Session 15 – Roundtable: Starting from scratch – Do’s and don’ts of stage costume photography (EN/FR)

• Let’s share our different views in illustrating stage costumes. With introductions of Eline De Lepeleire, Véronique Meunier, Zoé Renaud and Sylvie Richoux