Imagine the road a young, gifted theatre maker has ahead of her/himself. It’s bumpy and capricious, with all kinds of cultural biases, political and financial boundaries and personal distractions. Let’s say this theatre maker is an artistic traveller, then what travel modes are preferable? Should she/he travel as a pilgrim – straightforward, focused and contemplative? Or should she/he backpack around – hopping, shopping and flip flopping through codes, disciplines and genres?
Whichever way she/he prefers, every artistic traveller needs to rely on a system of education methods, spaces and coaches. Now, how to develop such a system  – a sustainable chain of talent development platforms? Of what links and beads can such a chain comprise? Europe is dotted with theatre schools for teenagers, performing arts academies, postgraduate programmes and production houses for young professionals: how to sustain and connect them? And what if this chain-making succeeds, what would be the artistic and political implications and effects of it?