Canadian Actors Equity Agreements

kenty9x | December 5, 2020 | 0

You will find that the working conditions, advertising and program/website communication are exactly the same for festival policy and artists` collective policy. These two agreements function as profit shares and are the simplest and simplest. And of course, if none of the artists in your company are a member of CAEA or ACTRA, you don`t need to use these agreements. Co-productions with committed individuals who hire other artists under one of Equity`s agreements/guidelines are not permitted. That is, any theatre that normally commissions artists under the CTA or ITA should not co-produce with your company and thus encourage your artists to work for them for profit-sharing instead of the minimum weekly requirement. Points i-iii are self-explanatory, but to clarify the reference to the minimum conditions of the ITA or CTA, this relates to weekly minimum wages in major agreements. To give you a sense of comparison, remember that each artist earns between $300 and $600 a week under INDIE 2.2; See above for minimum requirements for artists working in a G house (the smallest capacity theater – less than 200 people) in the ITA agreement. The Canadian Actors` Equity Association (CAEA) is an association of performers in English Canada who perform live before paying the public in theatre, opera and dance. [2] It negotiates agreements and working conditions for its membership and represents approximately 6,000 professional artists, including actors, dancers and opera singers, as well as theatre directors, choreographers, combat directors and stage directors.

The DOT Directive was first introduced in January 2016 and replaced the old Guest Artist Agreement. This directive allows Equity members in the three dance, opera and theatre disciplines to be hired for any production that is not covered by the CTA or ITA agreements. Normally, this agreement is used when a producing organization does not usually work with equity members – universities, colleges and drama schools often use this agreement. Although INDIE 2.2 is much more detailed than any of the previous two guidelines (it is 16 pages long), it is relatively easy to learn and gives you a good idea of what is expected of you as a producer and how other CAEA agreements work if you are ever able to learn them. The OPEN agreement is used for short- and long-term performances and activities, such as dance or choreography. It can be used by a single artist who commits himself, or artist, producer, organizer or company that hires an artist or artist. It is intended for members of Equity or members of other unions who have entered into agreements with Equity, and is made to include a variety of non-traditional dancers, including street dancing, dance battles and competitions. The OPEN Dance Policy was created to work with a variety of practices for short-term performances and activities.

The emphasis is on a new approach to duration, number of artists, number of performances (including incentive to hire). The focus is also on non-traditional dance artists (competition, freestyle, multidisciplinary, social, commercial, cultural, etc.), non-for-profit or commercial, individual or group, members of ACTRA/UBCP and UDA. The idea is to make it easy to hire equity dancers for this short duration and one-off performances, while maintaining capital standards in terms of pay rates, working conditions, etc. Canadian Actors` Equity Association is a party to several agreements with associations of producers and/or individual producing companies. These agreements (such as the ITA, opera and dance agreements) contain clauses that recognize the importance of photographs in the activity of producing companies. These articles generally refer to the recording and use of photographs by the theatre and to various conditions under which the permits of performing artists are required and in which performing artists may be compensated for the use of photographs.