Streality

INDEX
STREAMING THE REALITY............................................................................................................................................1
Our mission/Our objectives/Our future/The origin of STREALITY/Our legal status
THE ENVIRONMENT .......................................................................................................................................................3
Partners/Geographical dynamics/Sectorial dynamics/Political and Economic dynamics/PEST and SWOT
OUR AUDIENCE ..............................................................................................................................................................5
Target segmentation/Psychographic characteristics/Market Size Analysis/Positioning
PRODUCTION..................................................................................................................................................................6
The content/Venues/Equipment and technology plan/Our website/ Production timetable
HUMAN RESOURCES...................................................................................................................................................10
Structure/Teams/Job description
COMMUNICATION AND MARKETING .........................................................................................................................14
Audience development/Marketing Mix/Tactical marketing/Graphic design/Communication plan
FINANCIAL PLAN..........................................................................................................................................................17
Funding and sponsoring/Festivals/Financial data
EVALUATION.................................................................................................................................................................20
Short term/Long term

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STREAMING THE REALITY
A new, unique and advanced platform for the future.
OUR MISSION
STREALITY serves as an international network to promote independent creativity and cultural richness by means of
gastronomy experiences along with streaming and audience-engaged performances transcending languages.
OUR OBJECTIVES
General Objectives
Foster cultural diversity, creativity and mobility by audience-engaged means. Under the overpowering
globalization, many cultures are being transmitted through different media communicators. Thus, cultures can
be sometimes transformed and misunderstood due to lack of authenticity. STREALITY aims to make this
communication between performers and audience more direct and human by combining traditional theatre,
live streaming theatre and gastronomy.
Develop a unique experience for audiences by combining traditional theatre, live streaming theatre
and gastronomy. With advanced technologies, the project explores the cultural-exchange possibilities
through live streaming theatre to overcome barriers of mobility. While some theatre companies have worked
with streaming, we go further by joining streaming with traditional theatre and gastronomy to form a more
striking and impressive experience for the audience.
Strategic Objectives
Improve audience experience by introducing them to live streaming performance and food from other
countries. With these two elements, we want to make theatre more appealing and charming to pursue good
performance on audience attendance and box office sales.
Connect Spain, Kazakhstan and Taiwan through a network that will have the potential to expand.
Initially starting with founders’ own origins due to understanding of our local environment and the markets
from these three countries.
Barcelona, the place we three met which has strong theatrical traditions.
Taipei, the place of creative thinking and the place in Asia where our team have most access to resources, as
the starting points to increase international visibility.
Using the streaming technology to increase artists’ mobility we will considerably reduce the cost of
travelling while still achieving the goal of cultural exchange. This methodology meets the current trends for
greener solutions worldwide.
Specific Objectives
Establish a formula for STREALITY theatre by first co-producing performances between Barcelona
and Taipei. The audience in one location sees two performing groups, one local on stage and one from
another country through streaming. The two groups will perform together. The performance includes samples
of food from the country being streamed. For the first production, the audience will be in Barcelona watching
local performers on-site and streaming performers live from Taipei. Later on (within one month) vice versa, the

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audience in Taipei will be enjoying the performance featuring live streaming performers of Barcelona together
with performers from Taipei on the spot.
Create a network for international theatre artists interested in streaming theatre to meet and share idea.
Create a website serving as the platform for the archive of streaming theatre, and the tool for promoting
streaming theatre in the world.
OUR FUTURE
STREALITY is aiming to actively present productions within and between Europe and Asia in 2 years to promote
artistic mobility and intercultural exchange.
Build a worldwide network that will provide an opportunity to expand the project. The network starts among three
countries of our origins. Potential partners are welcome to join the network; however professional backgrounds and
project proposal should be submitted. The new member will be accepted on the premise of all members' consent. The
production done by all members should contribute 10% of the net income for the network operations. In the near
future, members will be precedential to benefit from STREALITY funding.
THE ORIGIN OF STREALITY
Three founding members from three very different cultural backgrounds:
Basque Country, Taiwan, and Kazakhstan. We are passionate about cultural
exchange and would like to contribute to its advancement. However, we
have realized there is actually a lack of true intercultural performance
exchange and co-creation due to physical distance and limited budget.
Therefore, we aim to use advanced technology to fill the gap.
OUR LEGAL STATUS
STREALITY in Europe will be a non-profit association based in Barcelona. We have made this decision because the
aim of our project is social and because it is the most affordable way to start an organization. In Taiwan, it will be a
non-profit cultural organisation. In Kazakhstan it is private non-profit organization.
Taiwanese religious ceremony Basque traditional danceKazakh National Dance

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THE ENVIRONMENT
PARTNERS1
Since our project is going take spread among different countries the point of having international partners and
international governmental support is crucial. Below can be seen the list of the partners we would like to collaborate
with (for more information check annex 1). They will give us from artistic collaboration (like Reteatro or Move Dance
Theatre) to more networking possibilities (like OISTAT or IETM).
Reteatro IETM
HORSE dance theatre MoVE theatre A.N.A.
GEOGRAPHICAL DYNAMICS IN BARCELONA AND TAIPEI2
The STREALITY project is to be launched in the city of Barcelona, due to its modernity, creativity, and
cosmopolitanism. Barcelona hosts many activities promoting cultural exchange and respect for minorities; therefore it
is a good place to start this project. Barcelona is in a strategic place, open to the Mediterranean and to Europe. It also
has a strong theatrical tradition.
Taiwan is situated in the geographic position easily linked to northeast Asia such as Japan and Korea as well as to
Southeast Asia such as Thailand, Malaysia, and Indonesia. Taiwan is a strategic point of access to China as Taiwan
shares the same language, cultural origins, and for nowadays there are many cultural exchange activities between
Taiwan and China; however due to the political situation Taiwan has developed a more open cultural scene with better
professional knowledge. Therefore Taiwan would be the ideal place to start the exchange experiences with Catalonia.
Taipei, as the capital of Taiwan, has established cultural infrastructures including arts festival, fringe festival, and
venues in various sizes with accessibility, increasing audience and stable public funding for performing groups and
activities.
It has to be taken into account that Europe and Asia are interested in promotion of cultural exchanges through diversity
and mobility. Barcelona is an ideal city as it is listed as the sixth intercultural city among 29 others in the report of
European Commission 2011.
1
Annex 1
2
Annex 2

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SECTORIAL DYNAMICS3
STREALITY offers a new and diverse performance to both Taipei and Barcelona, both of
which Taipei, have a developed performing art market. In Taipei for example, the Taipei
Arts Festival and Fringe Festival demonstrates active interest in the performing arts with
more than 400 performances with paid audience up to 30,000 people in just one month4
.
The estimated value output of Taiwan performing arts per year is 800 million€5
. In both
cities the project will create strong links with local contemporary arts partners/institutions,
such as the Centre for Contemporary Culture of Barcelona (CCCB). Another
collaborating institution will be the Global network of Performing Arts designers and
Technicians (Oistat) who has signed 10-years collaboration with the Taiwanese
Government.
POLITICAL AND ECONOMIC DYNAMICS IN SPAIN AND TAIWAN
Since the economic situation in Spain is not very advantageous in terms of public cultural funding6
, the financial
objective of the project is initially set to be balanced by ticket sales, food and beverage sales (F&B) and other possible
merchandising. Crowd-funding in Spain and in Taipei will be used to raise funds to cover start-up costs but will also be
helpful to make the project visible and feasible and help us grow an audience of supporters.
The Taipei City Government is always keen on increasing international visibility. International co-productions usually
are eligible for more public funding. There are programmes for international cultural exchanges in the National Arts
and Cultural Foundation and Taipei City Government. Also, with international cast, the audience in Taipei tends to
have more incentives participating in the performances, which would positively increase the box-office income.
PEST AND SWOT ANALYSIS CONCLUSIONS7
STREALITY in the macro scope clicks all the boxes: it promotes artists
mobility via the use of advanced technology; it contributes cultural
exchange especially connecting Asia where there is a growing economy;
last but not least, it appeals to gastronomy that all human beings enjoy
and level it up with theatre performance to a new horizon.
The multi-nationality of the team and some experiences in performing arts
are our strengths however strong partners and networks are crucial to
carry out the project in the long term.
3
Annex 3
4
Annual report of Taipei Cultural Foundation
5
Research on Taiwanese Performing arts conducted by performing arts alliance Taiwan, 2010
6
Annex 4
7
Annexes 5 and 6
Taipei Arts Festival

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OUR AUDIENCE
TARGET SEGMENTATION
Barcelona8
: Local residents aged 20 – 50, who usually go to see alternative theatre performances are interested in
foreign gastronomy, including foreign students and foreign residents.
Taipei: Local residents aged 18 – 40, who usually go to see alternative theatre performances and interested in foreign
gastronomy.
PSYCHOGRAPHIC CHARACTERISTICS IN BARCELONA9
AND TAIPEI
The main audience for STREALITY consists of young art lovers, students and professionals including: foreign students
and people working in gastronomy or interested in foreign gastronomy.
MARKET SIZE ANALYSIS10
Having studied the statistics from ADETCA11
we concluded that our potential target audience in Barcelona is audience
of theatres with less than 200 seats and “special” theatres bringing about 1,2 thousands of visitors.
POSITIONING12
We position STREALITY as innovative
network facilitating collaborations between
artists based in different locations, making
performances accessible for audiences
geographically separated from performing
group by using technology of live video
streaming.
8
Annex 7
9
Annex 8
10
Annex 9
11
Asociación de Empresas de Teatro de Cataluña
12
Annex 10
Technology is the future, theatre is the intimate present.
STREALITY is the click bringing the present into the future.

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PRODUCTION
THE CONTENT/FORMAT OF STREALITY13
The invigorating content of STREALITY performances is essentially a duet with two solo actors. The exciting part of
this duet is one actor performing on site while the other is performing live through streaming from the other end of the
world. In our first case it will be one in Barcelona and the other in Taipei. While there is adventurous craziness in the
production, the practical sides have been rationally considered: the reason for two solo performances is to ease artistic
development and improve one-on-one communication, which should be more direct and simple during the production
than among a group of several artists. It is also financially and logistically easier, especially as we will be working
across time zones. Scripts need to be more well developed and structured with performing techniques by professional
directors and script writers later on to carry out the best result of performances.
The content of our performance format is the same story being acted
coinstantaneous. In our first productions of Barcelona and Taipei, the story
is going to be the main character and his dead mother and both are
famous cooks. The two actors in Barcelona and in Taipei will be playing
both parts of the mother and the son hence there will be four roles while
there are actually only two performers. The two story lines which cross
each other are designed for the actor on-site actually being as the medium
of interpreter to pass the language barrier. The actor in the streaming (with foreign language) will be talking but also
singing parts of traditional or popular songs from his country representing each scene. This is again, for lower the
language barrier because singing is more comprehendible for the audience to get the scent of the story in streaming
screen. The two actors will be telling the story with the same plots and feelings while intertwining with four different
characters. And here is for the audience to see that, even we are from different countries, we have the same issues,
emotions and experiences because we are all human beings.
The vital element of real experience of exotic food is as well included in the performance. The process of cooking will
be integrated into the performance and the exciting food-for-real will be served after performance. While the streaming
actor is cooking during the performance, the actor on-site would also fry some spices or other simple ingredients such
as garlic and onion since the set is in the kitchen. The audience, then, would experience the process of cooking food
not just for the eyes but also for the nose and ears. This process would psychologically trigger the audience getting
enthusiastic about the feast afterwards to emphasize the feature of STREALITY: food for mouth and food for thought.
PRODUCTION PROCESS14
The final product of our project is the live streaming performance. For developing it a theatre and a studio are needed
in each location. The audience would attend the theatre and eat foreign food before, during or after the performance.
Then, the performance would start in the stage. Meanwhile in the other location the other performance would be
recorded (camera 1) and launched in streaming in the theatre. Here an example; it has to be taken into account that it
would work later the other way around, with a theatre in Taipei and a studio in Barcelona to make possible a complete
cultural exchange.
13
Annex 11
14
Annex 12

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The first production, the product of STREALITY, will be taking place in Barcelona for 16 performances in 3 weeks in
the same venue while in Taiwan with the same amount of performances but touring in three cities for market capacity
concerns. The number of audience in total will be 1,300 in Barcelona and 2,100 in Taiwan. The managers from
STREALITY will be responsible for working as production manager at local with the companies.
VENUE IN BARCELONA: MUTUO CENTRO DE ARTE15
As a venue for our first production we have chosen Mutuo Centro de Arte because it is dedicated to give to the artists
a platform to develop their projects; opened for partnership and exchanges; a multiuse space where screen, stage and
audience can be set easily and it has a bar for F&B. More importantly it has a high speed internet connection and
space for max. 250 people. Mutuo Centro de Arte doesn’t charge renting and only take a 50% cut from box office
sales.
VENUES IN TAIWAN: TAIPEI, TAINAN, AND KAOSHIUNG16
We have decided to prepare a tour through Taiwan to be balanced with the 16 performances that are going to take
place in Barcelona .
Wellspring Theatre, Taipei
Wellspring Theatre will be the venue for Taipei. It's located in the heart of Taipei city, easy to access and just next to
two big universities. The rental for one week is around 2,900~3,000€ while all technical, audience and cleaning
facilities and service are all included. The space is adaptable for 300~500 audience with movable seats. One
highlighted feature of Wellspring Theatre that fits STREALITY is that it's build above a famous traditional food
market which perfectly corresponds to our project.
Space of Theatre Mechanics, Kaoshiung
Space of Theatre Mechanics is a black-box theatre space with capacity for 120 audiences. Seats are adaptable into
various ways. The rental for one week is 750€ including all technical equipment, cleaning service, and front of house.
Eating and drinking are allowed inside of the theatre if necessary.
Wei Wu Ying Arts Centre 281 Space, Tainan
Wei Wu Ying Arts Centre 281, as a public theatre space promoting performing arts in southern Taiwan, once the
applicant is accepted, a production fee will be provided and the space is rental-free at present. The audience
capacity is 150 people. The technical equipment, cleaning service and front of house (by volunteers) are also
provided.
EQUIPMENT AND TECHNOLOGY PLAN17
The technological equipment is essential in this project. In all of the performances that STREALITY is going to manage
there should always be certain equipment and technology features to reach a good level of performance.
15
Annex 13
16
Annex 14
17
Annex 15

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We have divided the technology plan into three main parts: the theatre, the studio and the streaming. In the case of
the theatre we need a venue with high speed internet connection and permission for selling F&B. The studio can be a
usual one; it does not need special features. For the streaming account we would hire UstreamPro.
OUR WEBSITE
During the first production has taken place, we will launch a website. This will
be the main platform for the network of STREALITY. It will contain daily
updated information about the activities of the network, its partners and
members. Through the website professionals (STREALITY network members
and partners) will be able to get in contact with each other and fans will be able
to see information about upcoming events. Also the website will be open for
feedback and any contact. Meanwhile we will use our Facebook page to
communicate our activities.
PRODUCTION TIMETABLE18
The first production of STREALITY will take place from July 2013 until August 2014. The whole production is divided
into 3 phases:
Pre-production (July 2013 – Dec. 2013):
In this pre-production phase we will be looking for companies from Barcelona and from Taipei, which are suitable for
working together. At the same time, we need to book the venue in advance, applying for funding and aggressively
reaching sponsors.
Production (Jan 2014 – Aug. 2014):
Script should be fully developed by February 2014. Rehearsal and discussion will continue from January to June, this
period of time lasts for 6 months for international cooperation complexity. However the rehearsal fee is calculated on
the basis of each attendance instead of time-span. Artistic team such as music, set, props, costume, lighting, graphic
design, and very important, the filming professional should be all recruited by Feb. to start the meetings between
Barcelona and Taipei.
Marketing plan will be launched three months before the premieres.
(For tactical marketing plan in BCN and Taiwan, please refer to Annex 19 and 20)
Post-Production (July 2014 - Sep 2014):
Both productions should close the case within one month if possible.
In the post-production we will do the evaluations (14 indicators, more details are provided in the chapter of Evaluation)
and finalizing financial balance and reviews.
A detailed production timetable from July 2013 to August 2014, as well as the theatre week timetable scheduled by
hour with logistic plans, is in the Annex 16.
18
Annex 16

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June 30th (Mon.)
July 7th
July 14th
Company(actor) Tech Production Manager Taipei Studio
10:00 -14:00 rehearsal at studio
on June 30th load in -
set/props/lighting/sound projection set
audience seat and tables
arrangement
(04:00-10:00 TPE time)
16:00 - 21:00 spacing
lighting - focus
sound check
internet set-up
set/porps check shooting equipment in
camera set shooting testing
July 1st (Tue.)
July 8th
July 15th
10:00 -14:00 rehearsal lighting - set cues internet check (04:00-10:00 TPE time)
rehearsal final check final check rehearsal internet&cameras check
July 2nd (Wed)
July 9th
July 16th
10:00 -14:00 rehearsal lighting - set cues
venue cleaning check Internet
check
(04:00-10:00 TPE time)
dress-up tech final check final check
rehearsal
internet&cameras check dress-up/tech final check
July 16th (Wed) Company(actor) Tech Production Manager Taipei Studio
16:00 - 20:30
final rehearsal
dress-up
tech final check
18:00 F&B arrive
19:30 front of house standby
final rehearsal
dress-up
20:30-21:30
21:30 - 23:30 post-show talk standby
food catering
translations
post-show talk
July 3rd (Thu)
July 10th
July 11th
10:00 -14:00 rehearsal tech final check final check (04:00-10:00 TPE time)
16:00 - 20:30
final rehearsal
dress-up
tech final check
18:00 F&B arrive
final rehearsal
dress-up
20:30-21:30
21:30 - 23:30 post-show talk standby food catering translations post-show talk
July 4th (Fri)
July 11th
July 18th
10:00 -14:00 venue cleaning check (04:00-10:00 TPE time)
16:00 - 20:30
final rehearsal
dress-up
tech final check
18:00 F&B arrive
final rehearsal
dress-up
20:30-21:30
July 5th (Sat)
July 12th
10:00 -14:00
final rehearsal
dress-up
tech final check
12:00 F&B arrive
final rehearsal
dress-up
14:00-15:00
15:00-16:00 post-show talk standby food catering translations post-show talk
16:00 - 20:30
break
dress-up
break
tech final check
18:00 F&B arrive
break
dress-up
20:30-21:30
July 6th (Sun)
July 13th
July 20th
15:00-19:00
final rehearsal
dress-up
tech final check
17:00 F&B arrive
final rehearsal
dress-up
19:00 -20:00
20:00-21:00 post-show talk standby food catering translations post-show talk
21:00 - 22:00 on July 20th - STRIKE / Load out
Performance 1 / 6 / 12
F&B should be delivered along cutlery within Styrofoam boxes to keep it warm
kept for problems shooting
Performance 2 /7 / 13
Performance 11
Venue: Mutuo Centro de Arte - providing projector, screen, seats and tables.
technical rehearsal with Taipei, tech problem shooting, notes
16:00 - 22:00
20:30 general rehearsal
16:00 - 21:00
Time: Barcelona Time GMT+02:00 (TPE add 6 hours)
Operational plan theatre Barcelona (continues in annex 16)

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HUMAN RESOURCES
ORGANIZATIONAL STRUCTURE19
As a type of organizational structure we have chosen the matrix structure because it is project-driven and flexible. All
the employees and management in STREALITY will work closely together and will communicate with each other
frequently to solve issues. Decision-making will be made among all members to reach the best result for every party.
But at the same time, all the team members have certain roles and responsibilities in the general management
structure. Our team of founders will take on various tasks and therefore the project costs could be minimized.
All projects should be organised and planned by individual STREALITY member, therefore STREALITY members are
paid by their own-run projects with STREALITY serving as consultancy and international network. 10% of the project
net income is expected to contribute to the operation of STREALITY network. In the near future, STREALITY shall
receive funding from EU or Asia, members would benefit as well from travelling and meeting for various STREALITY
projects.
19
Annex 17

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ORGANIZATION OF THE TEAMS
The permanent team
All three founding members of the group come from very different cultures – Basque country, Taiwan and Kazakhstan.
However we have in common that we are really interested in performing arts such as dance, theatre and music.
Wen, from Taiwan, has 7-years working experiences in performing arts mostly related to dance productions including
featured programme in Biennale de la Danse de Lyon, flagship production with Taiwan National Theatre, and site-
specific dance performance collaborating with French sounds artists. Majored in International relationship for the BA
and now getting her master degree in arts and cultural management, in the future Wen would like to devote herself to
promoting Taiwanese cultures and to making cultural exchanges in all possible ways.
Aigerim has a degree in international journalism and communications. She also was working as intern at 2 TV-
channels in Almaty city. She has strong interest in audio visuals and wants to help artists from Kazakhstan to establish
better connections with their colleagues from other countries.
Beatriz Solís has studied Scenography at the RESAD and she is very interested in new forms of theatre. she has
collaborated with medium sized theatre companies such as La Cantera and Reteatro. She has been living in three
different places of Spain and in consequence she wants to promote the different types of cuisine that can be enjoyed
all over Spain. Nowadays she is finishing her master’s degree in Cultural Management.
Other partners
We would work with associations/companies and free-lances. We have made that decision because it is easier to
contract them for short periods of work. They will invoice for their work ensuring that in most part their bills can be paid
post ticket sales.
STREALITY is open for partners around the world to join in. STREALITY will always be free to apply as a partner;
however, the applicant should provide projects and backgrounds that related to the mission of STREALITY. The
decision of taking the applicant as a member would be made among existed members.
JOB DESCRIPTION
STREALITY manager (production and marketing)
Profiles: STREALITY Manager should have experience in 2-3 theatre performances and cultural events at residency
country or international projects. A candidate also should be committed to the idea and interests of STREALITY, be
passionate about live performances, food and technology. Basic computer skills and familiarity with Marketing and
ICT tools are welcomed. For communication with international partners fluency in at least one foreign language is
essential. Also, a manager should be ready to work with different time zones again due to projects internationality
Responsibilities: STREALITY manager forms the initial concept of the performance and its production. Coordinates
the whole production and such aspects like budgeting, scheduling work and departments’ collaboration. Also in order
to reduce costs from additional personnel salary, will perform duties of Marketing Manager, which includes public
relations and audience development.
Salary in Barcelona: 600 € per production; Salary in Taiwan: 600 € per production

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Director of the theatre company/Artistic director
Responsibilities: Develops, implements the artistic vision of the production. Hires, supervises artistic personnel and
key technical personnel. Artistic Director acts as a spokesperson for public, social appearances, fundraising events
and networking.
Script Writer
Responsibilities: Screenwriters are responsible for researching the story, developing the narrative, writing the play,
and delivering it, in the required format. The script needs to be written just once for each production in each location.
For the first production, translation from Spanish to Chinese and the other way around will be done by us –
STREALITY Managers.
Set/Props Designer
Responsibilities: Designs physical surroundings in which the action will take place.
Salary in Barcelona: 250 € per production. Also fulfils responsibilities of costumer designer; Salary in Taiwan: 250 €
per production
Costume Designer
Responsibilities: Creates the look of each character by designing clothes and accessories the actors will wear in
performance.
Salary in Barcelona: Costume designer in Barcelona is the same person as set/props designer due to less expenses
necessity on personnel; Salary in Taiwan: 250 € per production
Lighting Designer
Responsibilities: Makes the best use of the subtle and powerful medium of light, creating effects that can be changed
at will to match the mood of the action.
Music Designer
Responsibilities: Plans and provides the sound effects in the play.
Stage Manager
Responsibilities: Provides practical and organizational support to the director, actors, designers, stage crew and
technicians throughout the production process
Salary in Barcelona: 70 € per performance/ 1120 € per production of 16 performances ;Salary in Taiwan: 70 € per
performance/ 1120 € per production of 16 performances
Cameraman
Responsibilities: Sets up the shots with the Director. Shoots the performances. For the first productions in order to
decrease personnel costs, we will hire last year students of camera operation or videography

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Salary in Barcelona: 100 € per performance; Salary in Taiwan: 100 € per performance
Technician
Responsibilities: Operates, maintains and safeguards the technical assets of the production. Supervises the use of
lightning, sound, communications equipment, video streaming, the use and maintenance of stage facilities. Some
technicians will be recruited at local when touring
Set up/strike total 9 shifts; run-show total 5 shifts
Salary in Barcelona: 30€ per shift per person; Salary in Taiwan: 20€ per shift per person (standard shift payment)
Graphic Designer
Responsibilities: Creates design solutions in promotional materials
Website Designer
Responsibilities: Creates STREALITY website and associate applications. Our website will be our “face” and main
platform for communication with professionals and engagement of the audience. It must have function and flow that
makes it easy for a visitor to use, and it must be appealing to visit, for this reason highly-qualified specialist should be
hired.
Salary: 900 €
Website Administrator
Responsibilities: Maintains the content of the website updated. It includes adding photos, videos, news, social media
posts. Also the administrator coordinates the work of the STREALITY network, thus adding new partners and
members of the network; receives correspondence from professionals, fans, and website visitors and if necessary
forwards it to other departments. The moderation of forums and other open, visible platforms of the website is also a
responsibility of the administrator.
Salary: 100 € per month of running the website
Interns, volunteers
Responsibilities: General office work like phone
calls, paper work, flash mobs, distributing promotion
materials. Interns and Volunteers are not paid that
is why they are motivated by getting experience,
improving their CV, getting contacts in theatre
sphere and attending performances for free.
Salary: Not included. Expenses for training and
supervision included in payment of manager and
office rental.

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14
COMMUNICATION AND MARKETING
AUDIENCE DEVELOPMENT
Audience development is a key part of our marketing, first of all, because of innovative character of our theatre, which
causes the necessity to find its audience, to establish loyalty and attract new ones. Secondly, due to crisis (at least in
Europe) people are likely to spend less and less money on entertainment and leisure, which forces us to search for
creative solutions to keep audience’s interest in and appreciation of our productions. As an example here are some
solutions we are going to use for our first production taking place in Barcelona and Taipei:
Consolidating existed market - additional values and incentives for first target group, the
theatregoers: STREALITY will look for product sponsors related to the theme of productions. The products
from sponsors, which could be ranging from food coupons, cosmetics samplers or off-season stocks (food for
skin), or technology products (flash disks, etc.), will be presented as a gift for the ticket. The limited amount of
gifts will give the audience more incentives not just to buy the tickets, but to buy it as early as possible.
Reaching new audience, collaboration with restaurants, catering service companies, and gastronomy
related website (trip advisor) for the second target group: The combination of two different products that
STREALITY offers (theatre+food) will help us to reach broader audience. For instance, people who have no
big interest in theatre, but being keen on trying new or exotic food, still can be attracted to STREALITY. That
is why we will look for collaboration and cross promotion with food service companies. Also STREALITY will
be listed as a restaurant on the trip advisor and yellow page websites, which are very popular references
about leisure activities both among locals and tourists in many cities.
Costumer Communications: Artists talk sessions, EDMs, Facebook and twitter updates: During the
production, through talk sessions and ICT tools, we continually share the process of several phases with the
audience. This is to make the audience little by little understand the concept more as well as making the
audience feeling involved with the progress of the project. This is essential for the more the audience feel
engaged the more possible they would purchase tickets.
Talk sessions will be taking place in schools and communities for the audience to understand the concept in a
short period of time and to arouse their curiosity to see the performances in theatre. This is for actively
outreaching various groups to promote possible group sales as well as establishing partnership with active
local community, for instance Gràcia community in Barcelona and Shi-da in Taipei, would help with knowing
the audience and their preferences better and would improve the promotion.
Audience Database : The audience database should be built step by step by valid questionnaires.
Customer Relationship Management – Post-show talk and questionnaires: After the performance, a
post-show talk will take place for the audience to share their feelings and questions as well as questionnaires
distributed on site. The feedbacks and opinions from the audience are used as indicator for project evaluation.
E-cards with STREALITY updates for special events such as Christmas should be sent to audience in the
database to maintain the relationships with our customers.

STREALITY June 2013
15
MARKETING MIX20
Product
A unique live streaming theatre event for our audience to enjoy performance, dining and learning about other cultures.
Price
The price will vary depending on a place where audience is located. This is due to inequality in costs, competitors’
prices and general economic situation in different cities and countries.
In case of our first production which will take place in Barcelona and Taipei pricing will be different as well.
In Barcelona, since in crisis situation we do not count upon public funding we will have to be more profit-oriented to
carry on production. For this reason we will be focusing more on providing restaurant service and charging for food.
(Ticket price: 20€)
In Taipei with the help of public funding we will not be concerned so much about self-sufficiency and will set the price
by the combination of the cost-based and competition-based method.(Standard: 15€ / Concession 12€ / Groups: 10€)
Place
We will not have a fixed venue for our productions. Thus, we will have to negotiate it with our partners in each country.
In case of the first production the venue for Barcelona is going to be Mutuo Art Centre and for Taipei it is Wellspring
Theatre.
Promotion
The Promotion channels of STREALITY will be focused on the website of the company, newsletters, press releases,
social media, (YouTube channel, Facebook, Twitter etc.), page ranking, creating a Wikipedia article about
STREALITY, word of mouth etc.
On the Website of STREALITY there will be a membership function that will help us to keep a client-based database.
The theatre companies could get this membership for free after passing an evaluation. This way we will be able to
send updates about coming events, conduct surveys, get complaints and recommendations in order to improve
customer satisfaction.
Also advertisements will be put in city attractions catalogue. For instance, in Barcelona case it will be
www.barcelonayellow.com and www.tripadvicor.com websites.
STREALITY will offer discounts to guests bringing more friends and will organize lotteries where the prize is few free
tickets for the next performance.
Audience and professionals will be invited to STREALITY rehearsals.
In addition to that, STREALITY will participate in showcases and professional fairs to get more known among
professionals, to network and find partners for future performances.
TACTICAL MARKETING BARCELONA21
Tactical Marketing in Barcelona is aiming to reach its target groups, stimulate their interest in STREALITY and
maintain it in the future. First of all, there will be printed promotion materials distributed where the main selling feature
20
Annex 18
21
Annex 19

STREALITY June 2013
16
of first Catalan-Taiwanese coproduction of live streaming theatre and exotic Taiwanese tapas is highlighted. The
leaflets will be distributed in the locations where the target audience usually is (Theatres, Casa Asia, CCCB, Gracia
neighbourhood, Chinese language schools, Chinese or other oriental studies university campuses, Bubble Tea shop,
Asian related places). Further we will contact media related to art and culture and will arrange interviews. Also we will
get listed on Barcelona Trip Advisor website (as a restaurant) since this source is very popular to refer to about leisure
activities in the city both among locals and tourists. Additional advertising will be placed in popular media sources
about leisure activities in Barcelona - Le Cool, TimeOut Barcelona magazines issued in June. To get more visibility
there will be artist talks organized in Theatre schools and communities in May. And in June performance short sample
will take place in the locations of our target audience concentration, which will be shot on video and uploaded on
YouTube as our trailer. Throughout the whole period events will be actively promoted in Social media, information will
be updated at least every two days. Posting about technology use in our production we will try to attract attention of
new potential target audience of "technology freaks".
TACTICAL MARKETING TAIPEI22
The plan is to reach three target groups and to stimulate successful purchases. in the first phase, prints such as
posters and leaflets highlighted with first live international streaming coproduction featuring gastronomy, are distributed
in places where the targeted audience are for them to notice the coming performances. Second phase, the media for
interviews we choose are all accessing to our targets both in performing arts and Lifestyle: such as PAR performing
arts magazine and La Vie magazine, Roodo Online for Arts and Ipeen.tw for gastronomy; different perspectives would
be implemented with different Medias. More, a very important motivation for audience buying the tickets is words of
mouth, therefore, celebrities as famous critics, professionals and bloggers (arts and food) will be invited to rehearsals
before premiere, their positive comments and recommendations will be used to boost sales. As for group sale, talk
session by the director or actor in performing arts school and community will be organised as well to increase group
sales. Advertisements are focused on artstickets.com.tw for the banner and EDMs to reach over 100,000 database of
performing arts audience.
GRAPHIC DESIGN
We have designed two logos for STREALITY. One of them it’s the general one, with the full name of the project. The
other one is the smaller version, to use it as a profile photo in the social media and in the documents of STREALITY.
SPONSORS/PARTNERS COMMUNICATION PLAN23
Properly organized communication is an essential part of STREALITY Network activities. In order to convey the right
message to our funders, sponsors and partners we will use different channels, including direct mailing, phone calls
and face to face meetings if needed. By means of these channels we will communicate our proposals, benefits from
collaboration with us and our applications. All the communication should be implemented in right periods of time; it
should be updated periodically as stakeholders’ needs change.
22
Annex 20
23
Annex 21

STREALITY June 2013
17
FINANCIAL PLAN
FUNDING AND SPONSORING24
For reaching our objectives we are contacting possible public funders, festivals as well as private entities to create the
umbrella of our financial plan.
Private sponsors not only for funds but also for product sponsors. Cross marketing will be referred to obtain product
sponsors such as food coupon or cosmetics (women who attend arts events as the same target). The products will be
used for tickets sale and survey.
Bubble tea BCN
FESTIVALS25
We have found that the following festivals could fit with our project:
GREC festival T.N.T Temporada Alta
24
Annex 22
25
Annex 23

STREALITY June 2013
18
FINANCIAL DATA26
GENERAL
INCOME: Amount in € in NTDPercentage Notes
Generalitat de Catalunya 2.000 € NT$79.000 5,4% Subvencions per al sector de les arts escèniques
Ajuntament de barcelona 3.000 € NT$118.500 8,2%
Public funding - Taiwan National Cultural and
Arts Fundation
4.000 € NT$158.000 5,2% For Taipei premiere
Public funding - Taipei cultural affiars 1.500 € NT$59.250 1,9% For Taipei premiere
Public funding - National Cultural and Arts
Fundation
1.300 € NT$51.350 1,7% Taiwan Tour in Tainan
Public funding - Tainan cultural affairs 1.500 € NT$59.250 1,9% Taiwan Tour in Tainan
Public funding - Wei wu ying Arts centre 2.500 € NT$98.750 3,2% Taiwan Tour in Kaoshiung
ASEF Creative Networks (2013-2014) 1.000 € NT$39.500 1,3% Apllied by STREALITY spanish association
Taiwan Cultural ministry creative industrial
funding
1.000 € NT$39.500 1,3% Apllied by STREALITY Taiwan organisation
Total public funding 17.800 € NT$703.100 23,1%
Crowdfunding campain in Projeggt 3.000 € NT$118.500 3,9%
Sponsorship in Barcelona 2.000 € NT$79.000 2,6%
Sponsorship in Taiwan 2.000 € NT$79.000 Taishin Cultural and Arts Fundation
Online donation for STREALITY network 2.500 € NT$98.750
Total Private funding 9.500 € NT$375.250 12,3%
80 seats, 16 performances total up 1280 seat
Paid attantence estimated at 80% : 1024 seat
Barcelona Merchandise: 5€ per hand
programme
1.125 € NT$44.438 1,5% Sale for 225 copies
Box Office_Taipei total 11.172 € NT$441.294 14,5%
Standard: 15€ x 50% of paid attandence 6.300 € NT$248.850 8,2%
Concession: 12€ x 40% of paid attandence
(students, the elderly, members)
4.032 € NT$159.264 5,2%
Group sale: 10€ x 10% of paid attandence
(20 people per perchuse)
840 € NT$33.180 1,1%
Box Office_Tainan_total 3.537 € NT$139.712 4,6%
1.215 € NT$47.993 1,6%
306 € NT$12.087 0,4%
Box Office_Kaoshiung_total 4.770 € NT$188.415 6,2%
1.512 € NT$59.724 2,0%
378 € NT$14.931 0,5%
Taiwan
Merchandise: 5€ per hand programme
2.250 € NT$88.875 2,9% Sale for 450 copies
productions income for STREALITY network 400 € NT$15.800 0,5%
10% of production Net Income productions in Spain and
Taiwan
both has net income around 2000€
advertisements on STREALITY website 800 € NT$31.600 1,0% 5€ per banner estimated 16 ads in the first year
Total self funding 49.654 € NT$1.961.333 64,5%
Total income 76.954 € NT$3.039.683 100,0%
120 seats, 4 performances
total up 480 seat
paid attantence estimated at
70% : 336 seat
total up 600 seat
70% : 420 seat
Public funding
Self funding
total up 1,200 seat
70% : 840 seat
Private
funding
Barcelona Box office:
25€ x paid attandence
25.600 € NT$1.011.200 33,3%
26
Annex 24

STREALITY June 2013
19
EXPENSES: Amount Percentage Notes
Performance fee:
100€ in BCN and 200€ in TW per
performance
4.800 € NT$189.600 6,4% 16 performances on site in BCN and TW
Performance fee: 100€ per performance both 3.200 € NT$126.400 4,3% 16 performance streaming
Rehearsal fee:
BCN: 40€ per rehearsal(6 hours), 15 times
TW: 10€ per rehearsal(3 hours), 30 times
900 € NT$35.550 1,2% 30 times of rehearsal
director (BCN 300€, TW 400€) 700 € NT$27.650 0,9%
Script writer(BCN 250€, TW 350€) 600 € NT$23.700 0,8%
Set/props/Costume designer (BCN&TW 250€) 500 € NT$19.750 0,7%
Music designer (BCN 250€ &TW 350€) 600 € NT$23.700 0,8%
Llighting designer (BCN 100€, TW 250€) 350 € NT$13.825 0,5%
Producer/production manager(BCN&TW 300€) 600 € NT$23.700 0,8% One production
Marketing (BCN&TW 300€) 600 € NT$23.700 0,8% 100€/per month for 3 months
Stage manager 2.240 € NT$88.480 3,0% 70€/per performance
BCN Technicians: 30€ per shift per person 1.050 € NT$41.475 1,4%
Taiwan Technicians: 20€ per shift per person 3.600 € NT$142.200 4,8%
Graphic designer (BCN&TW 500€) 1.000 € NT$39.500 1,3% (Poster), leaflet, EDM, hand programme
Cameraman BCN&TW 100€ per streaming
performance
3.200 € NT$126.400 4,3% For streaming, asistant included
STREALITYwebsite designer 900 € NT$35.550 44,0%
STREALITY website administrator 1.200 € NT$47.400 58,7%
Accounting and Lawyer consultnacy 600 € NT$23.700 0,8% STREALITY yearly operation
Total personnel expenses 26.640 € NT$1.052.280 35,6%
BCN Venue Hire -
Mutuo Centro de Arte (20% of the income)
5.120 € NT$202.240 6,8%
technical equipment, cleaning service, front of house, load-
in/out facilities, toilets, green rooms all included
Taiwan Venue Hire - wellspring theatre set-up
and rehearsal shifts: 10x150€ performance
shifts: 4 x 350€
technical equipment, cleaning service, front
2.900 € NT$114.550 3,9%
Rental for one week
set-up and rehearsal rental price: 150€/4 hours
performance rental price:
350€/4 hours
Taiwan, Tainan - Space of theatre Mechanics 750 € NT$29.625 1,0%
Internet hire (Ustream) 140 € NT$5.530 0,2%
Camera/ digital av mixer hire (BCN&TW 600€) 1.200 € NT$47.400 1,6% 600€ for three weeks rent
Transportation
(BCN 200€, 1200€ for Taiwan tour)
1.400 € NT$55.300 1,9% For sets and props, touring personnel
Accommedation / 15 nights (Taiwan tour) 1.125 € NT$44.438 1,5% 25€ one twin room per night*3 rooms
Studio/office rental 1.740 € NT$68.730 2,3%
BCN 100€ x 6 months
Taiwan 190€ x 6 months
STREALITY web-hosting - yearly 150 €
STREALITY Subscriber database software 250 € anuually
Total rentals and hire 14.775 € NT$583.613 19,7%
Printed materials (BCN 600€, TW 860€) 1.460 € NT$57.670 1,9% Poster, leaflets, handprogrammes
Telephone/fax/internet
(BCN 180€, TW 600€, STREALITY 240€)
1.020 € NT$40.290 1,4% Ave. 100€ per month x 6 months
Papers, stationaries and sudries
(BCN 100€, TW 400€, STREALITY 100€)
600 € NT$23.700 0,8%
Advertisment (BCN 600€, TW 500€) 1.100 € NT$43.450 1,5%
Promotion events (BCN&TW 200€) 400 € NT$15.800 0,5% School and community activies
Promotion wordings (TW) 100 € NT$3.950 0,1%
Taxes_Barcelona 2.560 € NT$101.120 7,4% 10% of the total box office (based on food taxes)
Crowdfunding percentage_Barcelona 150 € NT$5.925 0,2%
Barcelona_Commision - ticketing system 5.340 € NT$210.930 7,1%
Taiwan_Commision - ticketing system 1.948 € NT$76.942 2,6% 10% of the total box office
STREALITY online donation commision 125 € NT$4.938 6,1%
Insurance (BCN 200€, Taiwan 870€) 1.070 € NT$42.265 1,4% insurance for staff, venue and audience
TW_Meal box during theatre week/ 2€ per box 672 € NT$26.544 0,9% Ave. 8 persons*2 meals per day*21 days
Total Admin/Commu./marketing 16.545 € NT$653.524 22,1%
7.800 € NT$308.100 10,4%
Diced meat rice and bubble tea: 6€ per person
for 1300 personnels
3.600 € NT$142.200 4,8%
Spanish Tapas: 2€ per person
for 1,800 personnels
Total expenses 69.360 € NT$2.739.716 82,2%
Continuecy (8%) 5.549 € NT$219.177 7,4%
FINAL EXPENSE 74.909 € NT$2.958.893 100,0%
BALANCE 2.045 € NT$80.790
Administration,
Communication
and MKT
Taiwan_Food and Beverage reduced price in exchange with food
supplier advertisment on hand programme
Rentals and
Hire
Barcelona_Food and Beverage
Personnel
expenses
(10% tax
included)

STREALITY June 2013
20
EVALUATION
SHORT TERM
Quantitative:
The total number of performances: to successfully present 24~32 performances.
The total number of paid audience: to obtain at least 2,500 paid audience.
To achieve 5,000 likes in Facebook, 3,000 followers on twitter, and 5,000 viewers on YouTube trailer.
To obtain at least 500 valid questionnaires in audience survey.
To reach 60% in self-funding in our first production.
To reach 5 funders and sponsors.
To have 20 media exposures.
Qualitative:
Audience Survey Analysis27
: A designed questionnaire will be given after the performance. Audience evaluations of
the performance are set as the extents from 1 to 5. A formulated analysis of audience survey will provide us the
essential ground to examine the relationship between STREALITY and the audience. For every valid questionnaire we
will provide a gift or discount related to our products. The basic background of the audience is required in the
questionnaire for us to build up our audience database. Please refer to Annex 25 for the designed questionnaire.
Interviews with the performing groups: we want to know the performing groups are feeling in relation to
STREALITY. Asking them about their experience with us is a good way to update the webpage and offer them a better
service.
Comparison between the estimated budget and the real budget: after the first performance we will have a certain
economic result that for sure would not fit completely with the estimated one. Then we will analyse that results and we
will take into account our conclusions for the next performance.
Comparison between the estimated and real box office: evaluating our forecasted income and the real one. We
will calculate the percentage, analyse the weaknesses and make improvements for future productions.
Media report: measuring how often our production was mentioned by media and whether most of the covers were
positive. Critiques and negative comments will be taken into account to correct mistakes in the next production.
Peer evaluation: It will be very useful to get feedback from our colleagues with their professional point of view. Also
they may suggest improvements.
Views in webpage, Facebook page and Twitter: first material that we can use for starting to make our statics.
LONG TERM
Statics: after several performances we will have material enough to make complete statics of the network and the
performances.
Financial statement: every year we wold prepare a financial statement to prove our transparency and to justify our
expenses.
Review over the network: auditing process every year to pinpoint our weaknesses and mistakes and try to solve
them.
27
Annex 24

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