Actra Equity Reciprocal Agreement

Choreographers are paid according to the length of the dance piece. The chord schedule starts between 1 and 3 minutes and extends up to 60 minutes. Choreographies longer than 35 minutes can be covered by the DOT agreement. The DOT Directive was first introduced in January 2016 and replaced the former Guest Artist Agreement. This directive allows equity members in the three disciplines of dance, opera and theatre to be recruited for each given production that does not fall under the CTA or ITA agreements. Normally, this agreement is used when a producing organization usually does not help with equity members – universities, universities and drama schools often use this agreement. No `producer` is provided for within the framework of the ACP States, because the principle of this Convention is that it is a collective undertaking. In a formalized collective, all members, regardless of their artistic discipline, are partners of the company and should have a say in decision-making. In reality, of course, many artists who work on a show for a share of the cash gain may not be interested in the effects of a “full and equal business partner.” Maybe they just want to do their job and leave the work of production and administration to the right person. PAYMENTS The Festival Directive does not define the distribution of profits, so it is preferable to conclude a written agreement between the members of the collective and it is often easiest to model them according to the Artists Collective Policy (ACP). In the spirit of an agreement that theatres are concluded with few resources, these provisions are in place to ensure that a company does not have access to the revenue that a larger company could generate. Caea and PACT renegotiate the terms of CTA every three years.

CAEA has also entered into another agreement, the Independent Theatre Agreement (ITA), which is practically a clone of CTA – this agreement applies to non-PACT theatres. In this case, “Independently” applies specifically to professional theatres that work independently of PACT. “The role of equity in managing INDIE 2.2 is to ensure that these important substantive discussions take place and that decisions are made by fully informed participants. Instead of managing every element of the production terms, Equity will only intervene in a production if there is a problem, dispute or violation of INDIE 2.2 or the agreement between an independent producer or theatre group and the artists. “ItA`s financial conditions are not very different from CTA`s. As a new producer, it is important that you distinguish the ITA from other equity guidelines for small independent productions. Do not start using the ITA before determining whether the company is able to assume the financial and administrative responsibilities described in this agreement. Although much more detailed than any of the previous two guidelines (this one is 16 pages long), INDIE 2.2 is relatively easy to learn and gives you a good idea of how it is expected of you as a producer and how other CAEA agreements work, you should never be able to learn it. The OPEN Agreement is used for short- and long-term performances and activities, including dance or choreography. It can be used by a single artist who engages himself, or by an artist, producer, organizer or company that hires this or that artist. It is intended for equity members or members of other unions who have entered into agreements with Equity and is made in such a way that it includes a variety of non-traditional dancers, including street dance, dance fights and competitions…