And of course, if none of the artists in your company are members of CAEA or ACTRA, you don`t need to use these agreements. 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. Points i & iii are self-explainable, but, to illustrate point ii, the reference to the itA or CTA minimum requirements refers to minimum weekly wages in larger agreements. To give you a sense of comparison, remember that every artist below the INDIE earns $2.2 between $300 and $600/week; see above for minimum requirements for artists working in a G house (the theatre with the lowest capacity – less than 200 people) in the ITA agreement. 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. ItA`s financial conditions are not much 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.
PAYMENTS The Festivals 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 collective artistic policy (ACP). . . .