Monday 12th December 2011, 7.00pm
Camden People's Theatre
Hosted by Improbable and Camden People's Theatre
A celebratory evening, a chance to collectively take stock, and a chance to discuss burning issues at the end of the year.
Read the full invitation here
Below are a list of issues that were raised during the evening.
If a report was written, clicking on the title of the session will take you to the report.
Applying theatre- off the stage, in organisations, communities, etc
"Human beings in a rehearsal room"- How can we take better/best care of each other in our process/time together as theatremakers?
I am new in England. I am a director and have a ready show. I don't know anyone. Help!!!
I've just agreed to produce my first show independently. HELP?
Doctor Theatre- can we heal the world?
Another year gone. Can I go on?
Who needs privacy? (or, Thanks, Internet, for enabling everyone we've ever known to find out how well/badly we've aged; how we actually earn money; and how much/little we have worked in the arts this year.)
What counts as a performance? Does it matter if nobody, including the performer, knows there is a performance going on?
Last week someone advised me not to "box above my weight". What is the least useful advice you've had this year? And how can we give better advice to each other?
What's the best (most useful/transformative) thing you've learned this year?
Marketing oneself- the joys and pitfalls. Any tips?
Acting and Actions. In the park? Play? Dance? Gallery?
Monday 19 December 2011
I’ve just agreed to produce my first show independently. HELP?
Convenor:
Bridget Floyer
Who attended?
Only got one name so here are the whys!
- runs a Marketing and PR film and helps small companies
- works for ACE and interesting in independently produced work and what questions people are asking
- doing a Producing MA so interested in potentially producing own work
- runs a fringe festival on the Isle of Wight
- interested in how to be adaptable to different situations
- has done some producing but still not entirely sure what the role means
- doing an MA in community arts, has an idea for a musical
- producing her own work, can share experience
(some whys are from the same people)
Summary of discussion
I convened the session because I’m about to produce my first play (with a film and theatre company) and although I’ve worked in the industry for nearly ten years, I’ve never done this independently before – maybe I’ve done things backwards! It seems as though a lot of the help and support available is aimed at those aged 25 or even 30 and under and I’m 32. Was interested in getting advice but also in discussions generally about starting out later on. Notes are not in chronological order but grouped loosely into categories.
GENERAL
- Go through a company, you can claim VAT
- Separating film and theatre (into separate companies) is a good idea, people don’t get confused as to what you do (and different scales of budget can be a problem)
- drilling down the product and finding out what it is is important – have an R&D period
- don’t necessarily make long term decisions until you know what the product is
- but do also go for it – staying in development for too long can bog you down
VENUE
- Match your product to your venue
- Choosing the right venue is really important
- venues don’t have to be existing theatre spaces, can create your own
- find your venue first
FUNDING
- Can be useful NOT being subsidised – if independent for the first time subsidy could make you not scrutinise your costs so carefully
- The Space – partnership between BBC and Ace, digital arts fund, just closed
- Grants for the Arts fund development (one member of the group had received development funding from G4A)
- sponsorship – break it down into bitesize chunks, find what your investor’s reason is, what’s their benefit?
- crowdfunding: you need to have a really strong existing online audience
- one member of the group [knows someone who?] crowdfunds everything they produce but then makes it all freely available online. Sustains his work that way.
- £1 a month direct debit – doesn’t seem that much, you forget you’re paying it and never cancel, if you have 100 people doing it that’s £1200 a year
- if people have turned up to a live event they want to purchase/donate online
- people want to donate to someone they know, to have a face to it
- online donating you seem to need to offer something back
-
AUDIENCES
- Do audiences cross from film to theatre?
- Generally hard to cross over audiences
- Often depends on the right setting
- IoW Festival do have some cross-over audiences
- work with what you’ve got –eg if your work is new and experimental find an audience who are interested in that
- A lot is about audiences trusting a venue (though some audiences don’t even cross over within a venue – is that partly about the audience not the venue? eg some “types” are more likely to cross over than others)
- can be interesting to go out to get a different audience
- explore different expectations, different venues, not so much competition? More open?
- What is your audience’s expectation and how do you create different expectations
PRODUCING ROLE
- does anyone who produces ever go “yes I know what this is, I know how to do this”?
- can be a very undefined role – varies loads, job description is often misleading
Bridget Floyer
Who attended?
Only got one name so here are the whys!
- runs a Marketing and PR film and helps small companies
- works for ACE and interesting in independently produced work and what questions people are asking
- doing a Producing MA so interested in potentially producing own work
- runs a fringe festival on the Isle of Wight
- interested in how to be adaptable to different situations
- has done some producing but still not entirely sure what the role means
- doing an MA in community arts, has an idea for a musical
- producing her own work, can share experience
(some whys are from the same people)
Summary of discussion
I convened the session because I’m about to produce my first play (with a film and theatre company) and although I’ve worked in the industry for nearly ten years, I’ve never done this independently before – maybe I’ve done things backwards! It seems as though a lot of the help and support available is aimed at those aged 25 or even 30 and under and I’m 32. Was interested in getting advice but also in discussions generally about starting out later on. Notes are not in chronological order but grouped loosely into categories.
GENERAL
- Go through a company, you can claim VAT
- Separating film and theatre (into separate companies) is a good idea, people don’t get confused as to what you do (and different scales of budget can be a problem)
- drilling down the product and finding out what it is is important – have an R&D period
- don’t necessarily make long term decisions until you know what the product is
- but do also go for it – staying in development for too long can bog you down
VENUE
- Match your product to your venue
- Choosing the right venue is really important
- venues don’t have to be existing theatre spaces, can create your own
- find your venue first
FUNDING
- Can be useful NOT being subsidised – if independent for the first time subsidy could make you not scrutinise your costs so carefully
- The Space – partnership between BBC and Ace, digital arts fund, just closed
- Grants for the Arts fund development (one member of the group had received development funding from G4A)
- sponsorship – break it down into bitesize chunks, find what your investor’s reason is, what’s their benefit?
- crowdfunding: you need to have a really strong existing online audience
- one member of the group [knows someone who?] crowdfunds everything they produce but then makes it all freely available online. Sustains his work that way.
- £1 a month direct debit – doesn’t seem that much, you forget you’re paying it and never cancel, if you have 100 people doing it that’s £1200 a year
- if people have turned up to a live event they want to purchase/donate online
- people want to donate to someone they know, to have a face to it
- online donating you seem to need to offer something back
-
AUDIENCES
- Do audiences cross from film to theatre?
- Generally hard to cross over audiences
- Often depends on the right setting
- IoW Festival do have some cross-over audiences
- work with what you’ve got –eg if your work is new and experimental find an audience who are interested in that
- A lot is about audiences trusting a venue (though some audiences don’t even cross over within a venue – is that partly about the audience not the venue? eg some “types” are more likely to cross over than others)
- can be interesting to go out to get a different audience
- explore different expectations, different venues, not so much competition? More open?
- What is your audience’s expectation and how do you create different expectations
PRODUCING ROLE
- does anyone who produces ever go “yes I know what this is, I know how to do this”?
- can be a very undefined role – varies loads, job description is often misleading
Tuesday 13 December 2011
I am new in England. I am a director and have a ready show. I don't know anyone. Help!!!
Some notes by Kelly:
I attended the help the director new to England in session 1. He is from Ubekistan and is looking for help in trying to get a show on as the system of doing so in his own country differs from the British System, he has a show that he is trying to take to Venues. We were joined by another young director called Sophie Besse who is putting her first production on next year at The Etcetera Theatre next April. I am interested in connecting with such people as I am doing an MA in Creative Producing at Birkbeck, so it is interesting to hear about other people's experiences. We all agreed that in persuading venues to take your production it is helpful to have some weight behind you, such as a previous body of work, reviews, comments, footage. It is difficult for first timers. Saying that though if you provide a detailed yet succinct "pitch pack" your chances should improve. We also spoke about researching the right venues for the audience you want your story to reach and how to get funding/resources from a variety of interesting sources, including Embassies.
I attended the help the director new to England in session 1. He is from Ubekistan and is looking for help in trying to get a show on as the system of doing so in his own country differs from the British System, he has a show that he is trying to take to Venues. We were joined by another young director called Sophie Besse who is putting her first production on next year at The Etcetera Theatre next April. I am interested in connecting with such people as I am doing an MA in Creative Producing at Birkbeck, so it is interesting to hear about other people's experiences. We all agreed that in persuading venues to take your production it is helpful to have some weight behind you, such as a previous body of work, reviews, comments, footage. It is difficult for first timers. Saying that though if you provide a detailed yet succinct "pitch pack" your chances should improve. We also spoke about researching the right venues for the audience you want your story to reach and how to get funding/resources from a variety of interesting sources, including Embassies.
Applying theatre – off the stage
Session called by: Paul Jackson
Attended by: Paul, Tim, Lee, Kirsty and others
We can make theatre on a stage or off. Theatre is not a sealed world. Many of us are involved in permeating the boundaries – for example taking theatre into organisations or taking ideas from organisations into theatre.
Taking theatre off the stage focuses more attention on the experience of ‘the audience’. The nature of the interaction between performers and audience changes. In a comedy improvisation show, the audience are more participative when they are offering suggestions. In ‘immersive theatre’, the audience moves from location to location. In a murder mystery, they get to play scenes with the suspects. In a workshop of theatre skills, they become participants and there may be minimal stage-style performing by anyone present – even the facilitator.
Whether the cross-over is skills-building, community development or therapy, the practitioner is an ambassador for theatrical means of expression.
What remains of ‘theatre’ through these transitions? The intangible meeting the tangible, perhaps? And the need to keep the work alive, spontaneous, in the moment – the actor/facilitator staying fully awake.
Paul Z Jackson, President of the Applied Improvisation Network - http://appliedimprov.ning.com/
Attended by: Paul, Tim, Lee, Kirsty and others
We can make theatre on a stage or off. Theatre is not a sealed world. Many of us are involved in permeating the boundaries – for example taking theatre into organisations or taking ideas from organisations into theatre.
Taking theatre off the stage focuses more attention on the experience of ‘the audience’. The nature of the interaction between performers and audience changes. In a comedy improvisation show, the audience are more participative when they are offering suggestions. In ‘immersive theatre’, the audience moves from location to location. In a murder mystery, they get to play scenes with the suspects. In a workshop of theatre skills, they become participants and there may be minimal stage-style performing by anyone present – even the facilitator.
Whether the cross-over is skills-building, community development or therapy, the practitioner is an ambassador for theatrical means of expression.
What remains of ‘theatre’ through these transitions? The intangible meeting the tangible, perhaps? And the need to keep the work alive, spontaneous, in the moment – the actor/facilitator staying fully awake.
Paul Z Jackson, President of the Applied Improvisation Network - http://appliedimprov.ning.com/
Human beings in a rehearsal room: How can we take better care of each other in the process of working together as theatremakers?
Session called by: Ben
Checking in and checking out at either end of the day as both an active process in itself and for what it signals.
· Avoid check in/outs becoming orthodoxical. It doesn’t always have to be the same. There is no right answer. It’s ok to be ok. It’s ok to be not ok. Uphold and encourage the right to feel out of step with the group.
· Make the offer that people can check things in at the door if they want but also don’t have to if they don’t want to.
· Think through what it means to have a ‘duty of care’.
· Your process has to be real, genuine and not just pay lip service.
· Think through how you see individuals in a group. And how they see each other.
· Transparency and honesty feel important. Share as much information as possible, but also know when it’s not necessary to share everything.
· Think about who you are as a director in the process of checking in and through the day. Think about how you want to frame your process and roles within it.
· Remember: you may never make another show after this one. Make the most of it.
· Collaboration is the matching of strengths. Working together can make us work better.
· Decisions about timing of when things happen, when things become apparent, when things are shared is a useful tool.
· Roles.
· ‘Sticking with’ vs. ‘the law of mobility. Or perhaps a balance between the two.
· Balance feels important.
· Disciplines of time-keeping etc coupled with an openness towards people leaving their phones on or sleeping in rehearsal or going out for a bag of crisps. If we’re in this room we’re working.
· Make deliberate, considered choices about how you are going to work. This in itself is a way of taking care of everyone. Set the tone.
· Care and trust and love. A sense of being held. Really hear people and hold open an accepting space
· How do consensual group processes operate? Can I share my role/responsibilities with others?
· Human = complex, fluid.
· A sense of lightness feels vital.
· Working ‘serially’ means things are going to change day to day and moment to moment, including how we feel.
· What do you want to feel like at the end of the day?
· Baking as preparation and a gift to the room.
A question to consider: When I’m taking care of everyone else, am I not being taken care of?
Merry Christmas,
Ben x
Checking in and checking out at either end of the day as both an active process in itself and for what it signals.
· Avoid check in/outs becoming orthodoxical. It doesn’t always have to be the same. There is no right answer. It’s ok to be ok. It’s ok to be not ok. Uphold and encourage the right to feel out of step with the group.
· Make the offer that people can check things in at the door if they want but also don’t have to if they don’t want to.
· Think through what it means to have a ‘duty of care’.
· Your process has to be real, genuine and not just pay lip service.
· Think through how you see individuals in a group. And how they see each other.
· Transparency and honesty feel important. Share as much information as possible, but also know when it’s not necessary to share everything.
· Think about who you are as a director in the process of checking in and through the day. Think about how you want to frame your process and roles within it.
· Remember: you may never make another show after this one. Make the most of it.
· Collaboration is the matching of strengths. Working together can make us work better.
· Decisions about timing of when things happen, when things become apparent, when things are shared is a useful tool.
· Roles.
· ‘Sticking with’ vs. ‘the law of mobility. Or perhaps a balance between the two.
· Balance feels important.
· Disciplines of time-keeping etc coupled with an openness towards people leaving their phones on or sleeping in rehearsal or going out for a bag of crisps. If we’re in this room we’re working.
· Make deliberate, considered choices about how you are going to work. This in itself is a way of taking care of everyone. Set the tone.
· Care and trust and love. A sense of being held. Really hear people and hold open an accepting space
· How do consensual group processes operate? Can I share my role/responsibilities with others?
· Human = complex, fluid.
· A sense of lightness feels vital.
· Working ‘serially’ means things are going to change day to day and moment to moment, including how we feel.
· What do you want to feel like at the end of the day?
· Baking as preparation and a gift to the room.
A question to consider: When I’m taking care of everyone else, am I not being taken care of?
Merry Christmas,
Ben x
Monday 5 December 2011
Improbable's Monthly D&D Satellite: writers and devisers
November 21st at Ovalhouse
Hosted by Stella Duffy and Chris Campbell
Facilitated by Phelim McDermott
Do writers and devisers have anything to say to each other,
or should we proceed directly to violence?
A D&D for us all to ask how we can talk more, work together, come out of our corners and engage...
Read the full invitation here
Below are a list of issues that were raised during the evening.
If a report was written, clicking on the title of the session will take you to the report.
Does longevity matter?
Does devised theatre always have to look devised? Does written theatre always have to look written?
Can devisers work with dramaturgs?
Are we a bit too reverent about the written word?
Where do we begin?
What is the lifespan of a devised piece?
Authorship. Who owns what?
Don't pigeonhole me man! A session for people who do more than one thing.
Collaboration: how can a writer and devisors work together (better)?
Below are a list of issues that were raised during the evening.
Can a scripted play be devised?
Where are the writers writing performance texts, rather than plays?
ME, ME, ME How can devisers work with writers on the autobiographical?
Butcher amongst vegans? What does that mean?
Are writers programmes talking about devising as a "dirty" word?
Let's get Physical (on paper)
I'm a designer... Get me out of here!
What's the difference anyway? Is it just a question of how many people are in the room doing it?
Dream devising/writing: experiences and strategies?
Hosted by Stella Duffy and Chris Campbell
Facilitated by Phelim McDermott
Do writers and devisers have anything to say to each other,
or should we proceed directly to violence?
A D&D for us all to ask how we can talk more, work together, come out of our corners and engage...
Read the full invitation here
Below are a list of issues that were raised during the evening.
If a report was written, clicking on the title of the session will take you to the report.
Does longevity matter?
Does devised theatre always have to look devised? Does written theatre always have to look written?
Can devisers work with dramaturgs?
Are we a bit too reverent about the written word?
Where do we begin?
What is the lifespan of a devised piece?
Authorship. Who owns what?
Don't pigeonhole me man! A session for people who do more than one thing.
Collaboration: how can a writer and devisors work together (better)?
Below are a list of issues that were raised during the evening.
Can a scripted play be devised?
Where are the writers writing performance texts, rather than plays?
ME, ME, ME How can devisers work with writers on the autobiographical?
Butcher amongst vegans? What does that mean?
Are writers programmes talking about devising as a "dirty" word?
Let's get Physical (on paper)
I'm a designer... Get me out of here!
What's the difference anyway? Is it just a question of how many people are in the room doing it?
Dream devising/writing: experiences and strategies?
Does Longevity Matter?
Session called by: Rebecca Manson Jones of Just Jones &
Attended by: various including Kate McGrath, Phelim McDermott, Alwyn, Sarah G, and several others whose names I didn’t catch, sorry.
I called this session in response to some other sessions which I heard being called. I called it out of curiosity and with a leaning towards wanting to understand why the devised theatre-making (or the D&D) community might be considered to be “vegans”.
It seems to me that the question follows on from the “ownership” theme which came up early in the session calling, but is also linked to legitimacy of the work as it is viewed in the theatre community (linked at least in my mind to Chris Campbell’s opening remarks). Is devising work’s “poor cousin status” connected to its lack of visibility beyond the time in which it is performed? For me, some of the most exciting, important and enduring performances I have been part of and have attended since 1990, are those for which there is no conventional performance script. After the event itself, there is not much record except in the memories of the people who witnessed or made the work.
Whereas, with the ubiquity of the published text by Oberon, Methuen, Nick Herne etc I house a few undistinguished playscripts as part of the production programme. Some plays which I missed I can easily pick up on Amazon. Those plays remain on sale, they can be accessed continually. (It was pointed out to me that many more devising and multi-media performances are recorded via DVD than previously and can be found via Youtube these days - but I’d still argue you don’t see people buying them in the National or Royal Court bookshops, onsale at Waterstones etc).
It is still easier for writers than devisors to evidence their work to those who haven’t witnessed it in performance and for some of those scripts to be revived. Hybrid works like Pool No Water are credited to Mark Ravenhill and are revived by companies other than Frantic Assembly who originally made it. (I know a performer who was part of the original devising process who was asked to audition – with mixed feelings - for a revival of this show she’d already helped create and then didn’t get the gig – weird viewed from several angles.)
My experience is that devised work is often regarded as a poor relation to written texts partly because of its even more transient nature than the written script. I wondered if that contributes to the issues of legitimacy of devised work. As a director who has made devised and text based work, I had forgotten that the divide between the two worlds is still so clearly defined. I use both strands to make work – it’s what suits me.
[A bit later in the week, I met another senior figure in literary management, and was amazed to discover he had never heard of D&D. When explained - especially with the “butcher amongst vegans” anecdote - , he thought the principle very interesting.]
A few years ago, when getting new plays on was becoming increasingly hard in the light of budget cuts, I was in a discussion about longevity with “new writers”. Did anyone think about the future or posterity of the work, or were they writing for the moment? I wanted to ask the same of devisors now. I wanted to ask makers of this kind of work if a life beyond the production matters to them? And how would they feel about other people who weren’t involved in the original production reviving their work in other manifestations later on.
In the end I think we covered these three themes
• Does having a record of the performance in something like a text-based published script add legitimacy to the work?
• Do devisors think differently about the future of their work from text-based playwrights?
• How would devisors react to other people/companies wanting to revive their work or to reviving works themselves?
The following is the best I can do from scrappy note-taking. Apologies if your comments are bowdlerised or omitted.
Q - Do written texts command more respect because they are written down?
Q - Do they justify revival?
Caryl Churchill it could be argued writes up a devising process in some of her plays but brings to it a genius for unifying the work.
I asked KM about Will Adamsdale’s work. Would he ever accord the rights to someone else to perform it, as I believe there have been revivals of by other performers of Tim Crouch’s “My Arm”? KM thought it unlikely at this point. She mentioned that agents have contacted her about onward productions of work that has been made in collaboration between a playwright and a company and each time it has to be referred back to all of the collaborators. Phelim mentioned that Improbable had been approached by a band in Hamburg to remake Shockheaded Peter without the Tiger Lilies and Improbable collaborated on that and kept their artistic link with it. I mentioned that Oily Cart have licensed one piece of their work to be made in the US but this in response to a request. Not something they have considered doing for themselves.
I asked him whether hypothetically he’d consider granting the rights to other performers to revive 70 Hill Lane. Phelim said it was his story and that would feel weird. There is such a strong emotional attachment to the process, could it be given over to other people and what would be the point?
There seemed to be a theme that much devised work was very close to the originator’s personal experience so detaching the lived experience, and the original making process from the performance might just render any revival a cardboard facsimile re-enactment thing.
Phelim (?) considered that he might go back to a subject to revisit it if there was unfinished business. Looking at that work 10 years on - might bring something new – watching other people in those roles might be interesting.
We agreed that most of the time, the people making the work were interested in its theme at this particular time of making, it was a personal or public response to the world as it is now and posterity never entered their heads. The audience is here and now. Playwrights who joined the discussion including Sarah G commented that sometimes playwrights have to think of the future because they have no guarantee the play will be put on now, even if under commission. Devisors tend to know when the show is planned for, where, when and why it will take place. Someone mentioned that Shakespeare had no sense of the future or revival. He wrote and performed and the future was another story.
The idea of documenting and notating the work like Laban notation was mentioned. There seemed to be a concensus that preserving the work like Becket’s work would not be favoured. Phelim felt that it would be important to him if revival were ever to take place that people understood the energy that inspired the show, the process that went into its making and that a revival might look, sound and feel quite different, rather than being a re-enactment of the original.
I asked whether a sense of legacy was important for future theatre-makers and academics? I think it would be great if more people could be aware of this work in the future so that when Performance is studied and this past 20 years is looked at, it isn’t just the published texts which are focused on. War Horse will be remembered and celebrated but will all the work of all those companies which lead us up to War Horse be known about? I used the example of suffragette plays mostly unpublished, frequently not very good, but important in their time and for us to remember that they happened. Someone mentioned that some companies do make source books for their shows and sell them (was it the Wooster Group) so these works are taught on university courses and in drama schools.
Q - does the British Library contact devising companies for a copy of their scripts?
We talked about archiving live performance and how we can do that better than with a fixed camera video. Capturing the specificity and rigour of the process seems to be important. Re -creation could kill the magic – is it possible to repaint a Picasso? Is devised work another genre from a written-down play, that is even more transient than a text-based play. Is part of its essence?
If the originators went back to a work later, they’d probably do it differently - playwrights often rewrite for a revival if they’re still alive (directors/dramaturgs edit texts).
Can these devised works evolve or is the continuum like the folk tradition in that each generation refinds the discoveries and deals with them in a new way, with the new production tools and other conditions available to them?
Perhaps a devised work might be revised 30 years on from its creation because the time seems apposite. A revisit might throw new light.
Phelim mentioned that Opera’s are commissioned to be created so that they can be done again (perhaps musical too). Nature of the genre.
Playwrights now hope their plays will last because it may not be picked up at the time of writing. And it can take so long for the play to be written, then workshopped,....
WHOEVER PUTS IT ON IS THE ONLY PERSON WHO COULD HAVE.
Often with productions what we are left with is script, photos, reviews, publicity materials. The devised productions which may be celebrated may be the ones where a case book is created. In the digital age, perhaps we have the possibility of better, cheaper documenting of process and production which may put these productions into a debate about work 5, 10, 20 years on.
Wooster Group, Philip Glass were mentioned, Pina Bausch who kept revisiting her work and whose work continues after her death.
Phelim mentioned that Spirit produced by the Royal Court never got a published play text as anticipated for sale as the programme because the script wasn’t finalised. By the time it was finalised on tour, the publishers weren’t interested because without the door sales it wouldn’t have sold in sufficient numbers. There was some consideration of how it would be watching the originators perform that “play” now or whether a younger team could do it. Phelim imagined it would have to be a different way into it...however hard it is documented... the nuances in the realisation would elude verbal capture... video helps a bit, but turning it over to new people.... hard to know if it could be revived.
A playwright mentioned that revivals are less troublesome in that way because by the time the script is handed over for a first performance, there is already some emotional detachment, the play has been given over.
Who would make such a revival? -
• would it be other devisors or a director auditioning for a company?
• It could be ghastly – could be the worst sort of flattery ending up in a grotesque of the original, like bad Ayckbourn.
• It could be reproduced brilliantly if it was more in the spirit of the folk tradition because it was passed on, reinterpreted, enjoyed, passed on....
And then Kronos got in the way and it was over, but perhaps it’s not over.
Attended by: various including Kate McGrath, Phelim McDermott, Alwyn, Sarah G, and several others whose names I didn’t catch, sorry.
I called this session in response to some other sessions which I heard being called. I called it out of curiosity and with a leaning towards wanting to understand why the devised theatre-making (or the D&D) community might be considered to be “vegans”.
It seems to me that the question follows on from the “ownership” theme which came up early in the session calling, but is also linked to legitimacy of the work as it is viewed in the theatre community (linked at least in my mind to Chris Campbell’s opening remarks). Is devising work’s “poor cousin status” connected to its lack of visibility beyond the time in which it is performed? For me, some of the most exciting, important and enduring performances I have been part of and have attended since 1990, are those for which there is no conventional performance script. After the event itself, there is not much record except in the memories of the people who witnessed or made the work.
Whereas, with the ubiquity of the published text by Oberon, Methuen, Nick Herne etc I house a few undistinguished playscripts as part of the production programme. Some plays which I missed I can easily pick up on Amazon. Those plays remain on sale, they can be accessed continually. (It was pointed out to me that many more devising and multi-media performances are recorded via DVD than previously and can be found via Youtube these days - but I’d still argue you don’t see people buying them in the National or Royal Court bookshops, onsale at Waterstones etc).
It is still easier for writers than devisors to evidence their work to those who haven’t witnessed it in performance and for some of those scripts to be revived. Hybrid works like Pool No Water are credited to Mark Ravenhill and are revived by companies other than Frantic Assembly who originally made it. (I know a performer who was part of the original devising process who was asked to audition – with mixed feelings - for a revival of this show she’d already helped create and then didn’t get the gig – weird viewed from several angles.)
My experience is that devised work is often regarded as a poor relation to written texts partly because of its even more transient nature than the written script. I wondered if that contributes to the issues of legitimacy of devised work. As a director who has made devised and text based work, I had forgotten that the divide between the two worlds is still so clearly defined. I use both strands to make work – it’s what suits me.
[A bit later in the week, I met another senior figure in literary management, and was amazed to discover he had never heard of D&D. When explained - especially with the “butcher amongst vegans” anecdote - , he thought the principle very interesting.]
A few years ago, when getting new plays on was becoming increasingly hard in the light of budget cuts, I was in a discussion about longevity with “new writers”. Did anyone think about the future or posterity of the work, or were they writing for the moment? I wanted to ask the same of devisors now. I wanted to ask makers of this kind of work if a life beyond the production matters to them? And how would they feel about other people who weren’t involved in the original production reviving their work in other manifestations later on.
In the end I think we covered these three themes
• Does having a record of the performance in something like a text-based published script add legitimacy to the work?
• Do devisors think differently about the future of their work from text-based playwrights?
• How would devisors react to other people/companies wanting to revive their work or to reviving works themselves?
The following is the best I can do from scrappy note-taking. Apologies if your comments are bowdlerised or omitted.
Q - Do written texts command more respect because they are written down?
Q - Do they justify revival?
Caryl Churchill it could be argued writes up a devising process in some of her plays but brings to it a genius for unifying the work.
I asked KM about Will Adamsdale’s work. Would he ever accord the rights to someone else to perform it, as I believe there have been revivals of by other performers of Tim Crouch’s “My Arm”? KM thought it unlikely at this point. She mentioned that agents have contacted her about onward productions of work that has been made in collaboration between a playwright and a company and each time it has to be referred back to all of the collaborators. Phelim mentioned that Improbable had been approached by a band in Hamburg to remake Shockheaded Peter without the Tiger Lilies and Improbable collaborated on that and kept their artistic link with it. I mentioned that Oily Cart have licensed one piece of their work to be made in the US but this in response to a request. Not something they have considered doing for themselves.
I asked him whether hypothetically he’d consider granting the rights to other performers to revive 70 Hill Lane. Phelim said it was his story and that would feel weird. There is such a strong emotional attachment to the process, could it be given over to other people and what would be the point?
There seemed to be a theme that much devised work was very close to the originator’s personal experience so detaching the lived experience, and the original making process from the performance might just render any revival a cardboard facsimile re-enactment thing.
Phelim (?) considered that he might go back to a subject to revisit it if there was unfinished business. Looking at that work 10 years on - might bring something new – watching other people in those roles might be interesting.
We agreed that most of the time, the people making the work were interested in its theme at this particular time of making, it was a personal or public response to the world as it is now and posterity never entered their heads. The audience is here and now. Playwrights who joined the discussion including Sarah G commented that sometimes playwrights have to think of the future because they have no guarantee the play will be put on now, even if under commission. Devisors tend to know when the show is planned for, where, when and why it will take place. Someone mentioned that Shakespeare had no sense of the future or revival. He wrote and performed and the future was another story.
The idea of documenting and notating the work like Laban notation was mentioned. There seemed to be a concensus that preserving the work like Becket’s work would not be favoured. Phelim felt that it would be important to him if revival were ever to take place that people understood the energy that inspired the show, the process that went into its making and that a revival might look, sound and feel quite different, rather than being a re-enactment of the original.
I asked whether a sense of legacy was important for future theatre-makers and academics? I think it would be great if more people could be aware of this work in the future so that when Performance is studied and this past 20 years is looked at, it isn’t just the published texts which are focused on. War Horse will be remembered and celebrated but will all the work of all those companies which lead us up to War Horse be known about? I used the example of suffragette plays mostly unpublished, frequently not very good, but important in their time and for us to remember that they happened. Someone mentioned that some companies do make source books for their shows and sell them (was it the Wooster Group) so these works are taught on university courses and in drama schools.
Q - does the British Library contact devising companies for a copy of their scripts?
We talked about archiving live performance and how we can do that better than with a fixed camera video. Capturing the specificity and rigour of the process seems to be important. Re -creation could kill the magic – is it possible to repaint a Picasso? Is devised work another genre from a written-down play, that is even more transient than a text-based play. Is part of its essence?
If the originators went back to a work later, they’d probably do it differently - playwrights often rewrite for a revival if they’re still alive (directors/dramaturgs edit texts).
Can these devised works evolve or is the continuum like the folk tradition in that each generation refinds the discoveries and deals with them in a new way, with the new production tools and other conditions available to them?
Perhaps a devised work might be revised 30 years on from its creation because the time seems apposite. A revisit might throw new light.
Phelim mentioned that Opera’s are commissioned to be created so that they can be done again (perhaps musical too). Nature of the genre.
Playwrights now hope their plays will last because it may not be picked up at the time of writing. And it can take so long for the play to be written, then workshopped,....
WHOEVER PUTS IT ON IS THE ONLY PERSON WHO COULD HAVE.
Often with productions what we are left with is script, photos, reviews, publicity materials. The devised productions which may be celebrated may be the ones where a case book is created. In the digital age, perhaps we have the possibility of better, cheaper documenting of process and production which may put these productions into a debate about work 5, 10, 20 years on.
Wooster Group, Philip Glass were mentioned, Pina Bausch who kept revisiting her work and whose work continues after her death.
Phelim mentioned that Spirit produced by the Royal Court never got a published play text as anticipated for sale as the programme because the script wasn’t finalised. By the time it was finalised on tour, the publishers weren’t interested because without the door sales it wouldn’t have sold in sufficient numbers. There was some consideration of how it would be watching the originators perform that “play” now or whether a younger team could do it. Phelim imagined it would have to be a different way into it...however hard it is documented... the nuances in the realisation would elude verbal capture... video helps a bit, but turning it over to new people.... hard to know if it could be revived.
A playwright mentioned that revivals are less troublesome in that way because by the time the script is handed over for a first performance, there is already some emotional detachment, the play has been given over.
Who would make such a revival? -
• would it be other devisors or a director auditioning for a company?
• It could be ghastly – could be the worst sort of flattery ending up in a grotesque of the original, like bad Ayckbourn.
• It could be reproduced brilliantly if it was more in the spirit of the folk tradition because it was passed on, reinterpreted, enjoyed, passed on....
And then Kronos got in the way and it was over, but perhaps it’s not over.
Wednesday 9 November 2011
Improbable's Monthly D&D Satellite: How can we tour better?
October 26th at Toynbee Studios
Hosted by Kate McGrath and Louise Blackwell, Fuel
Facilitated by Nick Sweeting
Below are a list of issues that were raised during the evening.
If a report was written up for the issue, click on the listing to read the report.
Can a tour be run in an open space?
Cutting a deal- different ways- discuss
How can we be more environmentally responsible in our touring?
What are the best, most effective ways of communicating with bookers/venues?
Is there a better way to fund touring? What should we be telling ACE?
How can we market better for tours?
Its too expensive
How do we break the tyranny of the end-on space?
How best to start new relationships with venues?
Relationships- why slightly disappointing?
The FIRST tour
How can touring companies work better together?
To what extent are tours effective in developing new audiences?
How should we co-ordinate a press campaign?
Doing it alone
Quality, not quantity?
What do we do about Opera and Music Theatre?
Hosted by Kate McGrath and Louise Blackwell, Fuel
Facilitated by Nick Sweeting
Below are a list of issues that were raised during the evening.
If a report was written up for the issue, click on the listing to read the report.
Can a tour be run in an open space?
Cutting a deal- different ways- discuss
How can we be more environmentally responsible in our touring?
What are the best, most effective ways of communicating with bookers/venues?
Is there a better way to fund touring? What should we be telling ACE?
How can we market better for tours?
Its too expensive
How do we break the tyranny of the end-on space?
How best to start new relationships with venues?
Relationships- why slightly disappointing?
The FIRST tour
How can touring companies work better together?
To what extent are tours effective in developing new audiences?
How should we co-ordinate a press campaign?
Doing it alone
Quality, not quantity?
What do we do about Opera and Music Theatre?
Can a tour be run in an open structure?
Background to my issue to the event wednesday 26th Oct 2011. City, crowdy busy city, competitive, being on time, reaching to the top floor, Artsadmin, being early or being late. Whenever starts it's the right time. Improbable, Fuel
Hello!?
Waiting time, waiting room, singing a song in my head to clam me down.
How to tour better?
1 23456789101234567891012345678910123456789101234567891012
12345678941012345678910
1
2
12345678910123456789101234567891012345678910
1
2
12
1234567891012345678910123456789101 2 3 4 5 6
1234567891012345678910123456789101234567891012345678910
1
1
1
1
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
12345678910
12345678910
1
12345678910
1
12345678910
12345678910
12345678910
1
1
1
2
My question to the group: Can a tour be run in an open structure?
Touring is very boring sometimes, it seems to me it is just showing your show or building your audience. Dry! Things are already complete, works/productions are very well-prepared/made/constructed/set out, too perfect, lack of real and life. Not good enough, audience's demand are high, especially the audience who are in the arts industries. Possibility: How to tour better is to run a tour in an open structure.
What I mean by an open structure, it's where the work is incomplete. Work is continuously changing, yes, durational, and we don't know what to expect, what it is going to happen. Both artists and the audience do not know what the event is going to be. Touring theatre doesn't make sense to me at all, touring theatre doesn't apply to what I want to tour. My question will be better if I put it as: how can you tour a show/work in which nobody know what it's going to become?
If I do a tour or organise a tour, I would like audience not to know what it is going to happen.
Always being an outsider of everything, by chance meeting an outsider (Cathy) from Canada, we had a great conversation about many things that are happening and not happening in the arts, UK and Canada, - dance, theatre, performance arts, performing arts/live art, or the unknown territory, durational arts, "no plan" for a tour, tour with friends/ the local communities - whoever comes are the right people, an open structure.
I am very interested in hearing more about Improbable's tour of open space in 2012.
Li E Chen
Hello!?
Waiting time, waiting room, singing a song in my head to clam me down.
How to tour better?
1 23456789101234567891012345678910123456789101234567891012
12345678941012345678910
1
2
12345678910123456789101234567891012345678910
1
2
12
1234567891012345678910123456789101 2 3 4 5 6
1234567891012345678910123456789101234567891012345678910
1
1
1
1
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
12345678910
12345678910
1
12345678910
1
12345678910
12345678910
12345678910
1
1
1
2
My question to the group: Can a tour be run in an open structure?
Touring is very boring sometimes, it seems to me it is just showing your show or building your audience. Dry! Things are already complete, works/productions are very well-prepared/made/constructed/set out, too perfect, lack of real and life. Not good enough, audience's demand are high, especially the audience who are in the arts industries. Possibility: How to tour better is to run a tour in an open structure.
What I mean by an open structure, it's where the work is incomplete. Work is continuously changing, yes, durational, and we don't know what to expect, what it is going to happen. Both artists and the audience do not know what the event is going to be. Touring theatre doesn't make sense to me at all, touring theatre doesn't apply to what I want to tour. My question will be better if I put it as: how can you tour a show/work in which nobody know what it's going to become?
If I do a tour or organise a tour, I would like audience not to know what it is going to happen.
Always being an outsider of everything, by chance meeting an outsider (Cathy) from Canada, we had a great conversation about many things that are happening and not happening in the arts, UK and Canada, - dance, theatre, performance arts, performing arts/live art, or the unknown territory, durational arts, "no plan" for a tour, tour with friends/ the local communities - whoever comes are the right people, an open structure.
I am very interested in hearing more about Improbable's tour of open space in 2012.
Li E Chen
Monday 26 September 2011
Improbable's Monthly D&D Satellite: What are we going to do about Impro?
September 15th at Battersea Arts Centre
Hosted by Improbable
Facilitated by Lee Simpson
Below are a list of issues that were raised during the evening.
If a report was written up for the issue, click on the listing to read the report.
There are lots of women in the room- why are there still so few on the stage?
The action of 'nothing' & not knowing. Preparation has reached _____________ _____________.
This is the most spontaneous thing I've done this year- is it improvisation?
Improv ⇔ Funny. From the audience's point of view
Should short-form comedy/gag-based improv be treated separately ti longer-form, story-telling based improv.
How can we make impro better theatre?
Lets play your favorite impro game
My story Your story
My group seems to have left our audience in Edinburgh. Where/how do we find them? (in London)
Making theatre through improvising- am I just being too lazy to write?
Is Impro not mainstream because of the audience or the impro
What is threatening about abandoning structure
It's not often this many people who care about improvisation are together.
What's the one thing we would like to make sure happens and commit to is?
Improv + finance - how do we make money from improv?
Non-theatrical applications of improv
Who wants to start and impro school in London
Who wants to play the Life Game with Phelim Mcdermott?
How can I make you look good?
For many impro = comedy. Why? How do we feel about this? Do we do anything about this? If so what?
Handcuffs or Blindfolds?
Is our acting good enough? If not, why?
Impro/v: The North/South divide (AKA come and take part in the Manchester Improv tournament this October)
Hosted by Improbable
Facilitated by Lee Simpson
Below are a list of issues that were raised during the evening.
If a report was written up for the issue, click on the listing to read the report.
There are lots of women in the room- why are there still so few on the stage?
The action of 'nothing' & not knowing. Preparation has reached _____________ _____________.
This is the most spontaneous thing I've done this year- is it improvisation?
Improv ⇔ Funny. From the audience's point of view
Should short-form comedy/gag-based improv be treated separately ti longer-form, story-telling based improv.
How can we make impro better theatre?
Lets play your favorite impro game
My story Your story
My group seems to have left our audience in Edinburgh. Where/how do we find them? (in London)
Making theatre through improvising- am I just being too lazy to write?
Is Impro not mainstream because of the audience or the impro
What is threatening about abandoning structure
It's not often this many people who care about improvisation are together.
What's the one thing we would like to make sure happens and commit to is?
Improv + finance - how do we make money from improv?
Non-theatrical applications of improv
Who wants to start and impro school in London
Who wants to play the Life Game with Phelim Mcdermott?
How can I make you look good?
For many impro = comedy. Why? How do we feel about this? Do we do anything about this? If so what?
Handcuffs or Blindfolds?
Is our acting good enough? If not, why?
Impro/v: The North/South divide (AKA come and take part in the Manchester Improv tournament this October)
The action of ‘nothing’ (not knowing) Preparation has reached: _____, __________.
Spoken form of the session:
The action of ‘nothing’ and not knowing.
(Hands covering ears, head looking down) Preparation has reached: 41, I am your anti-matter.
Written form of the session:
The action of ‘nothing’ (not knowing)
Preparation has reached: _____, __________.
Convenor:
Li E Chen (Full report with images: http://wp.me/pWz4M-xS)
People who attend the session:
Paul
Un-edited Notes:
No action, there is no action.
But it is an act with structure. A structure: a structure of not knowing.
“A structure of 3 on nothing”
Are you waiting for an idea to come along? Don’t wait, it will be too late.
Just keep doing, keep doing, not stopping, don’t worry, don’t even have time to worry, don’t even have time to think. Nothing makes senses. Doesn’t make senses at all.
John Cage’s 4”33 – “Nothing” is structured in the action of (Nothing). Silent performance/music. Player – Not Knowing -?
Just did it.
Just do it.
(no time to worry about it, no time to feel scared, no time to think.)
Actions to take:
1. Seeing a white crumble ball of paper on top of another piece of white paper on the floor.
2. Drawing the shadow of the crumble ball on the paper.
3. Taking the piece of paper and crumble ball home.
Actions after the session:
4. Recorded the crumble ball of paper on top of another piece of white paper on the bus. (Link: http://vimeo.com/29526332)
5. Revisited John Cage’s exhibition “Everyday is a good day”, 18 September 2011, at the Hayward Gallery (Link: http://wp.me/pWz4M-xS)
Discussion/un-edited notes of someone else’s session “What is threatening about abandoning structure?”
- Abandoning: Give up completely (a course of action, a practice, or a way of thinking)
- Formal structure
- Emerging structure
- Short forms (Bored with the same structure, doing the same structure again and again.)
- (Complication dynamic)
- Structure – good dangerous – dangerous
- Structure=formal (less interesting)
- Structure comes without knowing
- Expectation – Going to be so shit (can also be so brilliant)
- No structure at all?
- Drama schools/educations system & learning
- Impro: How do you solve the problem? But it is more than that?
- Fuctional result, education system.
- Bored/Bored with your own structure.
- Some creative people do not like structure or learning improvisation through structure.
- Your ego is always need to completely ‘let go’ and ‘free’ (completely not worry about it.)
- We are creature of structure with no structure at all and allow structure to emerge.
- Just keep doing it and doing good work, not to worry whether audience like it or not, etc.
- Ref: Keith (Being afraid of the structure; Killing the structure.)
- Other way: you know everything happening, but actually nothing really happen.
- A structure becomes a story that you tell.
- How do you ask your whole self? = (Body)
- Not being worried about things going wrong, not being worried about audience not like it.
- John Cage “Structure without life is dead. But Life without structure is un-seen”
- Noticing yourself your ego. Just noticing your ego is there.
- “Structure without life is dead. But life without structure is un-seen.” John Cage
The action of ‘nothing’ and not knowing.
(Hands covering ears, head looking down) Preparation has reached: 41, I am your anti-matter.
Written form of the session:
The action of ‘nothing’ (not knowing)
Preparation has reached: _____, __________.
Convenor:
Li E Chen (Full report with images: http://wp.me/pWz4M-xS)
People who attend the session:
Paul
Un-edited Notes:
No action, there is no action.
But it is an act with structure. A structure: a structure of not knowing.
“A structure of 3 on nothing”
Are you waiting for an idea to come along? Don’t wait, it will be too late.
Just keep doing, keep doing, not stopping, don’t worry, don’t even have time to worry, don’t even have time to think. Nothing makes senses. Doesn’t make senses at all.
John Cage’s 4”33 – “Nothing” is structured in the action of (Nothing). Silent performance/music. Player – Not Knowing -?
Just did it.
Just do it.
(no time to worry about it, no time to feel scared, no time to think.)
Actions to take:
1. Seeing a white crumble ball of paper on top of another piece of white paper on the floor.
2. Drawing the shadow of the crumble ball on the paper.
3. Taking the piece of paper and crumble ball home.
Actions after the session:
4. Recorded the crumble ball of paper on top of another piece of white paper on the bus. (Link: http://vimeo.com/29526332)
5. Revisited John Cage’s exhibition “Everyday is a good day”, 18 September 2011, at the Hayward Gallery (Link: http://wp.me/pWz4M-xS)
Discussion/un-edited notes of someone else’s session “What is threatening about abandoning structure?”
- Abandoning: Give up completely (a course of action, a practice, or a way of thinking)
- Formal structure
- Emerging structure
- Short forms (Bored with the same structure, doing the same structure again and again.)
- (Complication dynamic)
- Structure – good dangerous – dangerous
- Structure=formal (less interesting)
- Structure comes without knowing
- Expectation – Going to be so shit (can also be so brilliant)
- No structure at all?
- Drama schools/educations system & learning
- Impro: How do you solve the problem? But it is more than that?
- Fuctional result, education system.
- Bored/Bored with your own structure.
- Some creative people do not like structure or learning improvisation through structure.
- Your ego is always need to completely ‘let go’ and ‘free’ (completely not worry about it.)
- We are creature of structure with no structure at all and allow structure to emerge.
- Just keep doing it and doing good work, not to worry whether audience like it or not, etc.
- Ref: Keith (Being afraid of the structure; Killing the structure.)
- Other way: you know everything happening, but actually nothing really happen.
- A structure becomes a story that you tell.
- How do you ask your whole self? = (Body)
- Not being worried about things going wrong, not being worried about audience not like it.
- John Cage “Structure without life is dead. But Life without structure is un-seen”
- Noticing yourself your ego. Just noticing your ego is there.
- “Structure without life is dead. But life without structure is un-seen.” John Cage
There’s lots of women in the room, why are there still so few on the stage?
D&D : Improvisation, September 2011
Title of session : There’s lots of women in the room, why are there still so few on the stage?
Called by : Stella
Attended by :
Phil W, Matilda, Sarah Jane, Kirsty, Mary, Alex, Neil H, Chris, Lucinka, Mufrida, Avena, Teresa, James, Dylan (and about 6 others I didn’t get names for) and Jim in not-presence (he said if he could have, he’d have been at the sessions and stayed to listen, just listen.)
Summary of discussions :
- is it a comedy thing? A feeling there might be more push in standup for new women performers, and not yet in impro/v?
- having more women helps a show, a feeling there’s more ‘heart’ in the show with more women (this was said by one of the men)
- Unscripted (US – LA) has load of women in cast and it’s/they’re brilliant.
- Not only, or not so much, about men needing to make space for women on stage, but also about women needing to step up, be brave, make those leaps themselves.
- Older men are useful? Useful because/when they’re less ‘punchy’?
- Women don’t always give themselves time/space to be brilliant.
- Basic male/female biology/attitudes/society still not giving women as much space as men (cf front benches, media, CEOs etc)
- Is it worse than 25 years ago? Is there less of a gander balances? (possibly, if 25 years ago there were several companies with 3 men and 2 women, and now there are several companies with 7 men and 2 women, then yes.)
- Women are sexualized, in the world anyway, so it makes it hard to step on stage – women, especially if only 1 or 2 in a company, are sexualized by the audience before they do anything.
- Women need experience of knowing being on stage just as themselves is enough.
- Because we have aligned ‘risk’ with a male model of risk (eg big, brave, open to fail, open to look stupid), it can be difficult for women to take ‘risks’ of those risks are defined by a male model. What would women’s risk-taking be like? Is there a possibility it might be different to men’s? what is a risk for a woman???
- “I’ve got better at deciding I’m not rubbish YET”
- it’s hard to send yourself up when you’re young (and women’s drop out rate being higher, so women get less practice?)
- women’s fear is different to men’s
- the difficulty for young women (and older!!) of not looking good on stage, in a society that places such very high value on women’s looks.
- We need to teach audiences and teach men as well as women that we’re better TOGETHER.
- The culture of scarcity that means women can enjoy being the one or two women in a group (partly because it can feel ‘special’, also partly, in a culture that casts women as wives and girlfriends rather than heroes, once the wife and girlfriend and mother roles are gone, there’s nothing left for the women to play)
- We have a culture (dame role) of finding men dressed as women funny, but not vice versa. The Dame gets a laugh, before doing anything, just because of the dress up, the status ‘drop’, the Principal Boy does not. (To do with perceived status – the man, usually high status, drops status to play women, so is funny,. The women, usually low status, raises status to play man. Not so funny.)
- Also the archetypes women are so often presented as are so traditional (the wife/mother ting) – so what Do we do when on stage if not those roles?
- Impro doesn’t reward niceness or chivalry (no? an uncertainty about this, some types of impro perhaps)
- In 20 years it doesn’t feel like it’s changed much (22 year old woman saying the same stuff a 48 year old women said 20 years ago) – it reflects the world we live in.
- It’s possible that we might do an amazing thing, with an all women impro company, a thing that’s never been done before, without trying we can’t know what it is.
- Matilda talked a little about world-work, ghost roles : that is a woman is not on stage, there IS sill a woman there, as a ghost role, and therefore it’s an invitation to be on stage. (this was said at the point where there were no men in the session, so perhaps there were men there, as ghost roles??!!)
- The history of women making fools of themselves in public is less than that of men. Getting women to play with status is a different leap than getting men to do the same.
- Something about what do we do with the content once we’re ON stage – that is, it’s not only about standing up; it’s also about using the space, using the time, being present.
ACTION – Stella is going to support Matilda in calling that women’s impro/v workshop that’s been talked about for a while now.
So ... Matilda??? xx
Title of session : There’s lots of women in the room, why are there still so few on the stage?
Called by : Stella
Attended by :
Phil W, Matilda, Sarah Jane, Kirsty, Mary, Alex, Neil H, Chris, Lucinka, Mufrida, Avena, Teresa, James, Dylan (and about 6 others I didn’t get names for) and Jim in not-presence (he said if he could have, he’d have been at the sessions and stayed to listen, just listen.)
Summary of discussions :
- is it a comedy thing? A feeling there might be more push in standup for new women performers, and not yet in impro/v?
- having more women helps a show, a feeling there’s more ‘heart’ in the show with more women (this was said by one of the men)
- Unscripted (US – LA) has load of women in cast and it’s/they’re brilliant.
- Not only, or not so much, about men needing to make space for women on stage, but also about women needing to step up, be brave, make those leaps themselves.
- Older men are useful? Useful because/when they’re less ‘punchy’?
- Women don’t always give themselves time/space to be brilliant.
- Basic male/female biology/attitudes/society still not giving women as much space as men (cf front benches, media, CEOs etc)
- Is it worse than 25 years ago? Is there less of a gander balances? (possibly, if 25 years ago there were several companies with 3 men and 2 women, and now there are several companies with 7 men and 2 women, then yes.)
- Women are sexualized, in the world anyway, so it makes it hard to step on stage – women, especially if only 1 or 2 in a company, are sexualized by the audience before they do anything.
- Women need experience of knowing being on stage just as themselves is enough.
- Because we have aligned ‘risk’ with a male model of risk (eg big, brave, open to fail, open to look stupid), it can be difficult for women to take ‘risks’ of those risks are defined by a male model. What would women’s risk-taking be like? Is there a possibility it might be different to men’s? what is a risk for a woman???
- “I’ve got better at deciding I’m not rubbish YET”
- it’s hard to send yourself up when you’re young (and women’s drop out rate being higher, so women get less practice?)
- women’s fear is different to men’s
- the difficulty for young women (and older!!) of not looking good on stage, in a society that places such very high value on women’s looks.
- We need to teach audiences and teach men as well as women that we’re better TOGETHER.
- The culture of scarcity that means women can enjoy being the one or two women in a group (partly because it can feel ‘special’, also partly, in a culture that casts women as wives and girlfriends rather than heroes, once the wife and girlfriend and mother roles are gone, there’s nothing left for the women to play)
- We have a culture (dame role) of finding men dressed as women funny, but not vice versa. The Dame gets a laugh, before doing anything, just because of the dress up, the status ‘drop’, the Principal Boy does not. (To do with perceived status – the man, usually high status, drops status to play women, so is funny,. The women, usually low status, raises status to play man. Not so funny.)
- Also the archetypes women are so often presented as are so traditional (the wife/mother ting) – so what Do we do when on stage if not those roles?
- Impro doesn’t reward niceness or chivalry (no? an uncertainty about this, some types of impro perhaps)
- In 20 years it doesn’t feel like it’s changed much (22 year old woman saying the same stuff a 48 year old women said 20 years ago) – it reflects the world we live in.
- It’s possible that we might do an amazing thing, with an all women impro company, a thing that’s never been done before, without trying we can’t know what it is.
- Matilda talked a little about world-work, ghost roles : that is a woman is not on stage, there IS sill a woman there, as a ghost role, and therefore it’s an invitation to be on stage. (this was said at the point where there were no men in the session, so perhaps there were men there, as ghost roles??!!)
- The history of women making fools of themselves in public is less than that of men. Getting women to play with status is a different leap than getting men to do the same.
- Something about what do we do with the content once we’re ON stage – that is, it’s not only about standing up; it’s also about using the space, using the time, being present.
ACTION – Stella is going to support Matilda in calling that women’s impro/v workshop that’s been talked about for a while now.
So ... Matilda??? xx
Monday 1 August 2011
Improbable's Monthly D&D Satellite - What are we doing about Interactive, Immersive and Gaming Theatre
July 21st at Battersea Arts Centre
Hosted by Tassos Stevens
Facilitated by Lucy Foster
Below are a list of issues that were raised during the evening, where they are highlighted means that a report has been typed up against it.
1. Is there scope to create a new kind of summer festival, with pervasive entertainment at the centre, not as an add on?
2. Theatre Maker V's Audience/Participants - How much to give and how much to expect?
3. Headphones and Instructions?
4. Can we develop/is there an established scale within interactive/immersive theatre?
5. What about content and narrative?
6. How do you entice people to trust you and to want to participate when they came not expecting to?
7. Use it to explore the future of humanity.
8. How do we make it less niche?
9. Can we animate BAC's foyer? Commission info and ideas pitch.
10. What possibilities does technology offer for immersive theatre?
11. What responsibility do artists have to take care of playing audiences?
12. What can/should we learn from LARP (Live Action Role Play)
13. How the hell do we explain immersive/interactive theatre?
14. What is the role of the playwright in this work?
Hosted by Tassos Stevens
Facilitated by Lucy Foster
Below are a list of issues that were raised during the evening, where they are highlighted means that a report has been typed up against it.
1. Is there scope to create a new kind of summer festival, with pervasive entertainment at the centre, not as an add on?
2. Theatre Maker V's Audience/Participants - How much to give and how much to expect?
3. Headphones and Instructions?
4. Can we develop/is there an established scale within interactive/immersive theatre?
5. What about content and narrative?
6. How do you entice people to trust you and to want to participate when they came not expecting to?
7. Use it to explore the future of humanity.
8. How do we make it less niche?
9. Can we animate BAC's foyer? Commission info and ideas pitch.
10. What possibilities does technology offer for immersive theatre?
11. What responsibility do artists have to take care of playing audiences?
12. What can/should we learn from LARP (Live Action Role Play)
13. How the hell do we explain immersive/interactive theatre?
14. What is the role of the playwright in this work?
Is there scope to create a new kind of summer festival, with pervasive entertainment at the centre, not as an add on?
Discussion of Summary:
Thanks to everyone I spoke to for your thoughts, ideas and enthusiasm. Summary of some of things that were discussed is:
- Use well recognized tropes, themes and plotlines to allow
- Build up to a climactic / significant event
- Create a ‘spectrum of involvement’ (thanks for the term) for people with different levels of engagement
- Put festival-goers into teams or ‘camps’, each with their own backstory role to play
- Give everyone involved in the festival – from the bands, to the support staff to security (?!) backstories and nuggets of information to give out
- Bring the festival locations / tents into the story so that people feel they are involved just by watching
- Issue invitations from the characters in the story – appeals / cries for help / challenges etc
- Give people who buy a ticket a prop / item of costume at the same time
- Create content providing backstory and reasons to engage in the run up
Anyone who didn’t speak to me last night but has an interest in getting involved or just coming along please email me at ben@tseffect.com….
Thanks to everyone I spoke to for your thoughts, ideas and enthusiasm. Summary of some of things that were discussed is:
- Use well recognized tropes, themes and plotlines to allow
- Build up to a climactic / significant event
- Create a ‘spectrum of involvement’ (thanks for the term) for people with different levels of engagement
- Put festival-goers into teams or ‘camps’, each with their own backstory role to play
- Give everyone involved in the festival – from the bands, to the support staff to security (?!) backstories and nuggets of information to give out
- Bring the festival locations / tents into the story so that people feel they are involved just by watching
- Issue invitations from the characters in the story – appeals / cries for help / challenges etc
- Give people who buy a ticket a prop / item of costume at the same time
- Create content providing backstory and reasons to engage in the run up
Anyone who didn’t speak to me last night but has an interest in getting involved or just coming along please email me at ben@tseffect.com….
Thursday 30 June 2011
What are we going to do about Theatre Criticism?
Improbable's Monthly D&D Satellite: What are we going to do about Theatre Criticism?
June 21st 2011
Rich Mix
Here is a list of issues that were raised during the evenings session, where the title is highlighted means that a corresponding report was typed up.
1. London V Everywhere else
2. Do audiences really care what critics think and is it different for bloggers?
3. 4 stars or 5 stars - Does it matter?
4. Criticising the crips.
5. Who do we do it for?
6. INNER CRITICS - What we say about ourselves & how this makes us relate to outer critics.
7. The role of peer review in theatre criticism
8. Who or what is the next Kenneth Tynan?
9. Professional Theatre criticism is too academic
10. Filtering out the noise
11. Should bloggers aim for (or be held to) some kind of professional standards/ code of conduct?
12. Total Theatre Critic? Reinventing the process the show and the thoughts you have after wards
13. Might it be time for a Showgirls Moment?
14. Who are the important critics? Artists vs Funders Vs Audience
15. 300 words or 1000 words. Does it change how you watch the show?
16. Beyond the words? What can theatre critics do beyond just writing words?
17. A critic isn't a person?
18. What role can (and should) PR play in Theatre?
19. Does having the right to reply make it right to reply?
June 21st 2011
Rich Mix
Here is a list of issues that were raised during the evenings session, where the title is highlighted means that a corresponding report was typed up.
1. London V Everywhere else
2. Do audiences really care what critics think and is it different for bloggers?
3. 4 stars or 5 stars - Does it matter?
4. Criticising the crips.
5. Who do we do it for?
6. INNER CRITICS - What we say about ourselves & how this makes us relate to outer critics.
7. The role of peer review in theatre criticism
8. Who or what is the next Kenneth Tynan?
9. Professional Theatre criticism is too academic
10. Filtering out the noise
11. Should bloggers aim for (or be held to) some kind of professional standards/ code of conduct?
12. Total Theatre Critic? Reinventing the process the show and the thoughts you have after wards
13. Might it be time for a Showgirls Moment?
14. Who are the important critics? Artists vs Funders Vs Audience
15. 300 words or 1000 words. Does it change how you watch the show?
16. Beyond the words? What can theatre critics do beyond just writing words?
17. A critic isn't a person?
18. What role can (and should) PR play in Theatre?
19. Does having the right to reply make it right to reply?
Beyond the words. What can critics do beyond their words?
Posed by: Jake Orr
Present: A number of people, no names collected.
This question was born out of Jake’s questioning of how as a critic, he could be doing more with theatre than just writing about it. Is there a way to effectively write more than just words? Should a critic have to do more? Do they do enough already?
- Influence – does a critic already have a certain influence within their work. How can this be extended, or is this influence alone enough to support them and the work they see?
- A critic could become an advocate for the arts, helping to bring about discussion for cross-fertilisation, assisting the conversation.
- The group spoke about the critic as ‘the bridge’. How a critic can direct conversation between both the work and the audience. The critic acts as the bridge for the audience to see into the work, and likewise, the work to see the audience.
- This leads to the notion of the critic building ‘the community’, which works in a collaborative sense. If critics offer more in their reviews (such as more on the greater picture, the ‘landscape of the arts’) then the audience might be more inclined to read their reviews.
- Naturally the critic is subjective.
- How is it possible for someone (the critic) to talk about a piece of work within their words? Is it possible to convey the emotional journey as an audience your experience when watching theatre? Surely a critic has to convey more with his words, than what they see. The emotion of a piece.
- Is it possible for a critic to be doing more? Should they be doing more? Is there a need for more?
- There is a need for younger companies to be discussed, reviewed by critics. Can the critic go into a rehearsal room and offer themselves as a mentor for the work? The critic could become mentors for the arts and help to develop the work.
- How else can a critic respond to work beyond just writing? A suggestion to look at Hannah Nicklin’s collaborative approach to responding/engaging to the In-Between Festival in Bristol. Using video, audio, photos, words, discussion with artists. The critic becomes the catalyst and the reactor to the work.
- Bloggers have the ability to create more than just words, because they are not limited by the print media. Bloggers can create the ‘alternative content’. The ability to create an environment for the reader, which print media can not do.
- The online reviewers open up discussion, that print media struggles to do. The Guardian recently opened up their comments below the reviews for the first time online.
- What does an audience actually want to read within a review? Do they want to know more than just seeing a show? Do they just want to hear about what the critic liked and disliked? Is there space for more?
- The group felt that we started to over anaylise what a review/critic is/was/should be.
- Reiterating a key point from earlier: The online can create an environment for their audience. The online critics should try to build upon this more to create more than ‘just words’.
- The group spoke about several different publications and what they offered with reviews. Frustration over certain limited print.
- Does an audience have a loyalty with a certain critic, and therefore should that critic push the boundaries and challenge their audiences? Can this be done through their words?
-Critic as Teacher – Does this seem patronising?
Present: A number of people, no names collected.
This question was born out of Jake’s questioning of how as a critic, he could be doing more with theatre than just writing about it. Is there a way to effectively write more than just words? Should a critic have to do more? Do they do enough already?
- Influence – does a critic already have a certain influence within their work. How can this be extended, or is this influence alone enough to support them and the work they see?
- A critic could become an advocate for the arts, helping to bring about discussion for cross-fertilisation, assisting the conversation.
- The group spoke about the critic as ‘the bridge’. How a critic can direct conversation between both the work and the audience. The critic acts as the bridge for the audience to see into the work, and likewise, the work to see the audience.
- This leads to the notion of the critic building ‘the community’, which works in a collaborative sense. If critics offer more in their reviews (such as more on the greater picture, the ‘landscape of the arts’) then the audience might be more inclined to read their reviews.
- Naturally the critic is subjective.
- How is it possible for someone (the critic) to talk about a piece of work within their words? Is it possible to convey the emotional journey as an audience your experience when watching theatre? Surely a critic has to convey more with his words, than what they see. The emotion of a piece.
- Is it possible for a critic to be doing more? Should they be doing more? Is there a need for more?
- There is a need for younger companies to be discussed, reviewed by critics. Can the critic go into a rehearsal room and offer themselves as a mentor for the work? The critic could become mentors for the arts and help to develop the work.
- How else can a critic respond to work beyond just writing? A suggestion to look at Hannah Nicklin’s collaborative approach to responding/engaging to the In-Between Festival in Bristol. Using video, audio, photos, words, discussion with artists. The critic becomes the catalyst and the reactor to the work.
- Bloggers have the ability to create more than just words, because they are not limited by the print media. Bloggers can create the ‘alternative content’. The ability to create an environment for the reader, which print media can not do.
- The online reviewers open up discussion, that print media struggles to do. The Guardian recently opened up their comments below the reviews for the first time online.
- What does an audience actually want to read within a review? Do they want to know more than just seeing a show? Do they just want to hear about what the critic liked and disliked? Is there space for more?
- The group felt that we started to over anaylise what a review/critic is/was/should be.
- Reiterating a key point from earlier: The online can create an environment for their audience. The online critics should try to build upon this more to create more than ‘just words’.
- The group spoke about several different publications and what they offered with reviews. Frustration over certain limited print.
- Does an audience have a loyalty with a certain critic, and therefore should that critic push the boundaries and challenge their audiences? Can this be done through their words?
-Critic as Teacher – Does this seem patronising?
Do audiences care what critics think and is it different for bloggers?
Session proposed by Megan Vaughan (@meganfvaughan)
Do you trust bloggers more because they're not being paid?
Do you book tickets on the back of positive reviews?
The attitude towards bloggers has changed massively over the past year, the way we communicate has changed
Do people have a natural mistrust of things online because there is no barrier to entry or do they mistrust print media because of hidden agendas?
Is the instant reaction to a show on Twitter now important?
Critics have the strength of a newspaper's brand behind them. Bloggers have to be sought out.
Online critics are now like trip advisor. "15 people" have commented now has validated opinion, created concuss.
People are wary of comments, do they come from people involved in the show?
LG: We live in a world where we seek consensus of mass opinion, but if there's is no barrier to entry then why should we give any credence to them. We've become obsessed by the "noise" it is very easy to create the illusion of opinion.
Bloggers create the ability to influence by building their own brand.
Criticism can also be seen as a means of better understanding the show after the fact.
With a broadsheet opinion is fact. Bloggers are taken with more of a pinch of salt.
The programming policy of venues can add a lot to the trust to a production.
Different audience groups and demographics look for very different types of criticism.
Ought to be Clowns has traffic generated specifically by people searching "[show name] blogger review"
It is sometimes obvious when shows have really been struggling for pull quotes to use in their marketing material.
Moved on to talk about young people's theatre and immersive theatre.
Jake has people as young as 12 writing for AYT going up to a PHD student. 12-year old gets more hits as they at writing about the RSC.
Online we emulate the print media conventions. Should we not be looking for different forms of criticism?
What role can and should PR play? SESSION 2
Session proposed by Amber Massie Blomfield
[AG: I did not catch this session from the start.]
The relationship between a company and their PR should be long term.
The relationship between an artist and a PR should be similar to that between a company and a venue.
Let people into the artistic process - blogs, multiple points of access into process.
The role of the PR could be to help artists interact with the process.
The media is changing very rapidly.
Funding is impacting the way that organisations are interacting with their audiences and being forced in some ways.
PRs are still very much behind the time when it comes to connecting artists to their potential audiences. Much because of their lack of interest in social media past the more traditional options.
The current rehearsal room blogs are very stayed. They need to be personal and not just one person told that they blogging, not having much choice in it and not adding any value.
The role of the PR should be to bridge the gap between artists and their audience.
Is the artistic process not the creation of the work? Sometimes you don't have the time / inclination to go and blog etc
[AG: I then walked away and came back so missed a chunk.]
Should the massed PR community have congregated around the funding crisis to try and vocalise the issues on behalf of the industry?
Should theatre PRs be training their practitioners to tackle issues-based questions?
Should PRs be talking to PRs across other industries to learn best practice?
PRs are totally under valued and underpaid. They should be better valued in their industries as they have the opportunities to be the life blood of their companies.
They are just seen as an extension of the marketing department.
PRs are able to share better the ideas if they are deeply involved in if they are involved in the rehearsal process.
AMB: PR is a very similar role to that of a dramaturg, it is about exploring the work from the perspective of the audience.
Artists who manage their own Twitter and social media accounts are doing a passable job of managing their own PR.
Lots of theatre companies are doing lots of the nuts and blots of social media, but few to none of them have managed to implement overarching strategy.
Creative led organisations should be able to create better and more sophisticated PR campaigns by their very nature and the people who are involved.
The same is true of fundraising., which should be done most creatively in the creative industries, but is often better executed in the more traditional commercial sector.
LG: A good PR is informed and passionate and should know the tastes of someone to whom they are pitching to.
AMB: A PR's greatest strength is their integrity.
It is very easy to forget that PRs seek to work in theatre because they love it.
Do the leaders of organisations hold back the work of their PRs? The organisation can't move forwards in the public's eyes because the PR is very low down in the hierarchy of the organisation.
There is a regional theatre PRs network and a West End theatre PRs network. Should an Off-West End network be created?
Agencies can be very difficult to convince to do pro bono work, or to convince to collaborate and jump in on project at the bottom, perhaps before there is any funding attached.
Do you trust bloggers more because they're not being paid?
Do you book tickets on the back of positive reviews?
The attitude towards bloggers has changed massively over the past year, the way we communicate has changed
Do people have a natural mistrust of things online because there is no barrier to entry or do they mistrust print media because of hidden agendas?
Is the instant reaction to a show on Twitter now important?
Critics have the strength of a newspaper's brand behind them. Bloggers have to be sought out.
Online critics are now like trip advisor. "15 people" have commented now has validated opinion, created concuss.
People are wary of comments, do they come from people involved in the show?
LG: We live in a world where we seek consensus of mass opinion, but if there's is no barrier to entry then why should we give any credence to them. We've become obsessed by the "noise" it is very easy to create the illusion of opinion.
Bloggers create the ability to influence by building their own brand.
Criticism can also be seen as a means of better understanding the show after the fact.
With a broadsheet opinion is fact. Bloggers are taken with more of a pinch of salt.
The programming policy of venues can add a lot to the trust to a production.
Different audience groups and demographics look for very different types of criticism.
Ought to be Clowns has traffic generated specifically by people searching "[show name] blogger review"
It is sometimes obvious when shows have really been struggling for pull quotes to use in their marketing material.
Moved on to talk about young people's theatre and immersive theatre.
Jake has people as young as 12 writing for AYT going up to a PHD student. 12-year old gets more hits as they at writing about the RSC.
Online we emulate the print media conventions. Should we not be looking for different forms of criticism?
What role can and should PR play? SESSION 2
Session proposed by Amber Massie Blomfield
[AG: I did not catch this session from the start.]
The relationship between a company and their PR should be long term.
The relationship between an artist and a PR should be similar to that between a company and a venue.
Let people into the artistic process - blogs, multiple points of access into process.
The role of the PR could be to help artists interact with the process.
The media is changing very rapidly.
Funding is impacting the way that organisations are interacting with their audiences and being forced in some ways.
PRs are still very much behind the time when it comes to connecting artists to their potential audiences. Much because of their lack of interest in social media past the more traditional options.
The current rehearsal room blogs are very stayed. They need to be personal and not just one person told that they blogging, not having much choice in it and not adding any value.
The role of the PR should be to bridge the gap between artists and their audience.
Is the artistic process not the creation of the work? Sometimes you don't have the time / inclination to go and blog etc
[AG: I then walked away and came back so missed a chunk.]
Should the massed PR community have congregated around the funding crisis to try and vocalise the issues on behalf of the industry?
Should theatre PRs be training their practitioners to tackle issues-based questions?
Should PRs be talking to PRs across other industries to learn best practice?
PRs are totally under valued and underpaid. They should be better valued in their industries as they have the opportunities to be the life blood of their companies.
They are just seen as an extension of the marketing department.
PRs are able to share better the ideas if they are deeply involved in if they are involved in the rehearsal process.
AMB: PR is a very similar role to that of a dramaturg, it is about exploring the work from the perspective of the audience.
Artists who manage their own Twitter and social media accounts are doing a passable job of managing their own PR.
Lots of theatre companies are doing lots of the nuts and blots of social media, but few to none of them have managed to implement overarching strategy.
Creative led organisations should be able to create better and more sophisticated PR campaigns by their very nature and the people who are involved.
The same is true of fundraising., which should be done most creatively in the creative industries, but is often better executed in the more traditional commercial sector.
LG: A good PR is informed and passionate and should know the tastes of someone to whom they are pitching to.
AMB: A PR's greatest strength is their integrity.
It is very easy to forget that PRs seek to work in theatre because they love it.
Do the leaders of organisations hold back the work of their PRs? The organisation can't move forwards in the public's eyes because the PR is very low down in the hierarchy of the organisation.
There is a regional theatre PRs network and a West End theatre PRs network. Should an Off-West End network be created?
Agencies can be very difficult to convince to do pro bono work, or to convince to collaborate and jump in on project at the bottom, perhaps before there is any funding attached.
What role can (and should?) PR be playing in the arts?
These notes are an amalgam of two sets of notes that were taken during the discussion, by Andrew Girvan and me (Amber Massie-Blomfield). I have avoided restructuring too heavily for clarity’s sake, preferring to reflect the rather wide ranging and free flowing nature of the conversation.
• In times of crisis- particularly in light of the recent funding crisis- could PRs be playing a bigger role- being mindful of their responsibilities not only to champion their individual theatres but also to champion the importance of theatre as a whole- maybe having a shared set of principles as PRs about how we talk about theatre etc?
• The relationship between a company and their PR should be long term- allowing time to develop a trusting relationship, where the PR is qualified to genuinely speak for the organisation and play a meaningful part in developing the content of the organisation’s work.
• As the way in which we consume media changes, the PR’s role must be to keep pace with this change, and to help artists and organisations cope with it. PR can help audiences to engage with the artistic process by creating multiple points of access, through blogs, videos etc… As national newspapers etc become more strapped for cash there are opportunities for PRs to provide more content.
• Theatre makers should be in the vanguard of inventing new ways of using social media, because we are artists and we are adept at playing with media and taking risks in order to discover new forms of expression. But we are failing to keep up. There are a lot of bad examples of rehearsal blogs- they are not personal enough and don’t add any value to the audience experience- but perhaps we need to do it badly before we start doing it well. There is still too much attachment in theatres to traditional media and not enough interest in social media. No one knows yet what the future is for social media- but we only learn through doing.
• The role of the PR should be to bridge the gap between artists and their audience. There is a parallel between the role of dramaturg, when defined as ‘the representative of the audience in the rehearsal room’, and the PR, who ‘manages the relationship between an organization and its publics’. PRs should be feeding back into the organization from its stakeholders as much as they are representing the voice of the organization externally.
• Do PRs have a greater responsibility than to their own organisations- do they have a responsibility to talk about how we are representing the arts as a whole? Should the massed PR community have congregated around the funding crisis to try and vocalise the issues on behalf of the industry? Could we be networking more to establish some ‘metta narratives’ that should underpin our communications for our individual organisations? Could we establish a crack guerilla force of arts PR people to unleash their power at times of crisis?!
• Should theatre PRs be taking more responsibility for training practitioners to be spokespeople for the industry, and to tackle issues-based questions as they might in other industries?
• Should PRs be learning from the way PRs operate in other industries to improve their practice/ increase their standing in their organisations?
• PRs are totally under valued and underpaid, particularly in in-house roles. They are viewed as an extension of the marketing department- at the bottom of the hierarchy- a reflection of the flawed hierarchial structures that are still operating in our theatres. Their full skill set is not being employed- it should place them at the heart of their organisations. The job is far too tactical and not strategic enough.
• The role of PR in the arts has not been clearly defined at all, many really don’t understand what a PR person does and how it is distinct from marketing. Clearer definitions would facilitate greater use of a PR person’s skill set.
• PRs are able to share better the ideas if they are deeply involved in the rehearsal process.
• Everyone is now responsible for their own public ‘brand’ via social networking. Artists who manage their own Twitter and social media accounts are doing a passable job of managing their own PR, but PR professionals should be assisting them more. Lots of theatre companies are doing lots of the nuts and blots of social media, but few to none of them have managed to implement overarching strategy. Creative led organisations should be able to create better and more sophisticated PR campaigns by their very nature and the people who are involved. The same is true of fundraising, which should be done most creatively in the creative industries, but is often better executed in the more traditional commercial sector.
• A good PR is informed and passionate, has honesty and integrity, and should know the tastes of the person to whom they are pitching. A really good PR feels able to tell a particular journalist they may not enjoy this particular show.
• HONESTY is the strongest weapon in the PR person’s arsenal- once you’ve been dishonest with a journalist, you’ve lost them for good- or at least for a very long time. BUT there is a conflict between maintaining your integrity as an honest PR and keeping the person who pays your wages happy. Can we be genuine thought leaders and speak honestly? How do we manage this conflict? It is the fortunate few who can pick and choose the projects they work on. Long term relationships with companies rather than project-to-project relationships develop trusting relationships where the PR can be honest with companies about how and when its appropriate to engage the media. What can in house PRs do if they don’t believe in the work they are promoting? It is important that even if they don’t rate a particular show, they are able to understand it in the context of the bigger aims of the organization and talk about it from this perspective.
• It is very easy to forget that PRs seek to work in theatre because they love it. If they were more valued and had more sophisticated roles, they may be more willing to accept poor pay! Instead good PRs move on to other industries, because a career isn’t sustainable.
• Do the leaders of organisations hold back the work of their PRs? The organisation can't move forwards in the public's eyes because the PR is very low down in the hierarchy of the organisation. Why do directors feel entitled to impose their ideas about how the PR should work if a PR wouldn’t impose their ideas about how the rehearsal room should be run?
• There is a regional theatre PRs network and a West End theatre PRs network. Should an Off-West End network be created?
• Would PRs be willing to become involved in experimental projects at an early stage before there is any funding? Perhaps if they were given the opportunity to experiment with their own approaches- rather than simply being invited into the process then asked to write and send a press release. It is easier for individual freelancers to do pro bono work than agencies.
As a result of this conversation those interested in the issues raised signed up to a mailing list, and discussions are now taking place about setting up an arts PR network as an adjunct to the Twespians network. Anyone wishing to join this mailing list should contact Amber: amber@mobiusindustries.com
Thursday 9 June 2011
Improbable's Monthly D&D Satellite: Funding Cuts, where do we go from here?
May 23rd 2011
Roundhouse Studio
Here is a list of issues that were raised during the evenings session, where the title is highlighted means that a corresponding report was typed up.
1. Maybe you/they deserved to be cut.
2. Crowdfunding websites? How do they work?
3. Dojo?
4. How to cross/meet the bridge organisations in London?
5. What would happen if our imagination dies? Having an imagination good or bad?
6. Is funding actually any good?
7. Stuck in the middle.
8. How do I stay connected?
9. United we stand?
10. Metamorphosis
11. How can closing down be a positive step for the future?
12. What would happen if our imagination dies? Having imagination good or bad?
Roundhouse Studio
Here is a list of issues that were raised during the evenings session, where the title is highlighted means that a corresponding report was typed up.
1. Maybe you/they deserved to be cut.
2. Crowdfunding websites? How do they work?
3. Dojo?
4. How to cross/meet the bridge organisations in London?
5. What would happen if our imagination dies? Having an imagination good or bad?
6. Is funding actually any good?
7. Stuck in the middle.
8. How do I stay connected?
9. United we stand?
10. Metamorphosis
11. How can closing down be a positive step for the future?
12. What would happen if our imagination dies? Having imagination good or bad?
What would happen if our imagination dies? Having imagination good or bad?
Convener: Li E Chen
Summary:
What would happen if our imagination dies? Having imagination good or bad?
I posted this question, because I was wondering what people would do if they lost their funding and what people would do if they still have or just have the funding. How are they going to keep their imagination and create works that can potentially great? If imagination dies, what would people do?
The discussion wasn’t discussed at the DandD evening, as I was drawn into another break-out space. I had amazing conversations on “Is funding any good?” which was raised by a recent graduated theatre student. The session brought together some really important life-time tips for working in the arts. Key point: To create and maintain freedom in your works while you are also being funded.
“You need to keep reminding yourself how you work when you weren’t funded, and make sure you can still do the same when you receive your funding.”
“ACE funds for the artists’ journey and is held different kinds of views.”
“What does “value” mean in making arts for the public? The value is not just for yourself, nor just for the others. It’s both, two independent relationships.”
“Giving things Free is good practice.”
After more than a week later from the DandD, I worked on my above issue:-
Below are some comments that I worked on during my artist residency, as I think above questions are still relevant today.
There are different kinds of imagination:
Bad imagination:
- imagination just for attention
- imagination to become someone that you’re not
- imagination theatre war
- imagination the future
- imagination for what you think it is right
- mix up imagination to real life
- is just about yourself
- want to control what you should be imagining
- your imagination is easily being killed
- not REAL to yourself
- stay focus with your imagination
- closed your eyes and never blink
- me
Good imagination
- imagination the dream of freedom
- imagination to become someone that you’re not
- imagination the future
- imagination from ‘nothing’ is there before
- imagination for what you think it is right
- don’t mix up imagination to real life
- is bigger than yourself
- to control what you imagine but be open about your surrounding: people, place, air, weather, location, economic situation, etc.
- stay focus with your imagination
- be REAL
- your imagination is easily being killed, dangerous, life and death - closed your eyes, open your eyes, closed your eyes, open your eyes, blink your eyes and look
- our
What if our imagination dies?
What if someone imagine ‘nothing’?
what if our imagination does not connect to reality or the fake-reality?
what if we imagine time disappear and can’t be measured any more.
what if we can imagine ‘things’ that our hearts can’t feel, eyes can’t see, thoughts can’t define.
Collection quotes on imagination:
I paint objects as I think them, not as I see them. – Pablo Picasso
I am imagination. I can see what the eyes cannot see. I can hear what the ears cannot hear. I can feel what the heart cannot feel. – Peter Nivio Zarlenga
You can’t depend on your eyes when your imagination is out of focus. – Mark Twain
Imagination will often carry us to worlds that never were. But without it we go nowhere. – Carl Sagan
The lunatic, the lover, and the poet, are of imagination all compact. – William Shakespeare
—-
I don’t think I need to have Piña Bausch’s imagination in order to do great work.
I don’t think I need to have Trisha Brown’s imagination in order to do great work.
I will have my own and think what make senses to me. My imagination will be on ‘nothing’, the process of thinking ‘nothing’, the works on ‘nothing’, I imagine nothing to question, nothing to tell, nothing to do, I imagine what is best, say nothing, explain nothing, record nothing, create nothing. I might sing a song on nothing. I might create exhibition on nothing. I might write a play on nothing. I might create movement on nothing. My imagination of nothing is like wind, air, sun and noise from people and the city.
I haven’t answer the question.
Summary:
What would happen if our imagination dies? Having imagination good or bad?
I posted this question, because I was wondering what people would do if they lost their funding and what people would do if they still have or just have the funding. How are they going to keep their imagination and create works that can potentially great? If imagination dies, what would people do?
The discussion wasn’t discussed at the DandD evening, as I was drawn into another break-out space. I had amazing conversations on “Is funding any good?” which was raised by a recent graduated theatre student. The session brought together some really important life-time tips for working in the arts. Key point: To create and maintain freedom in your works while you are also being funded.
“You need to keep reminding yourself how you work when you weren’t funded, and make sure you can still do the same when you receive your funding.”
“ACE funds for the artists’ journey and is held different kinds of views.”
“What does “value” mean in making arts for the public? The value is not just for yourself, nor just for the others. It’s both, two independent relationships.”
“Giving things Free is good practice.”
After more than a week later from the DandD, I worked on my above issue:-
Below are some comments that I worked on during my artist residency, as I think above questions are still relevant today.
There are different kinds of imagination:
Bad imagination:
- imagination just for attention
- imagination to become someone that you’re not
- imagination theatre war
- imagination the future
- imagination for what you think it is right
- mix up imagination to real life
- is just about yourself
- want to control what you should be imagining
- your imagination is easily being killed
- not REAL to yourself
- stay focus with your imagination
- closed your eyes and never blink
- me
Good imagination
- imagination the dream of freedom
- imagination to become someone that you’re not
- imagination the future
- imagination from ‘nothing’ is there before
- imagination for what you think it is right
- don’t mix up imagination to real life
- is bigger than yourself
- to control what you imagine but be open about your surrounding: people, place, air, weather, location, economic situation, etc.
- stay focus with your imagination
- be REAL
- your imagination is easily being killed, dangerous, life and death - closed your eyes, open your eyes, closed your eyes, open your eyes, blink your eyes and look
- our
What if our imagination dies?
What if someone imagine ‘nothing’?
what if our imagination does not connect to reality or the fake-reality?
what if we imagine time disappear and can’t be measured any more.
what if we can imagine ‘things’ that our hearts can’t feel, eyes can’t see, thoughts can’t define.
Collection quotes on imagination:
I paint objects as I think them, not as I see them. – Pablo Picasso
I am imagination. I can see what the eyes cannot see. I can hear what the ears cannot hear. I can feel what the heart cannot feel. – Peter Nivio Zarlenga
You can’t depend on your eyes when your imagination is out of focus. – Mark Twain
Imagination will often carry us to worlds that never were. But without it we go nowhere. – Carl Sagan
The lunatic, the lover, and the poet, are of imagination all compact. – William Shakespeare
—-
I don’t think I need to have Piña Bausch’s imagination in order to do great work.
I don’t think I need to have Trisha Brown’s imagination in order to do great work.
I will have my own and think what make senses to me. My imagination will be on ‘nothing’, the process of thinking ‘nothing’, the works on ‘nothing’, I imagine nothing to question, nothing to tell, nothing to do, I imagine what is best, say nothing, explain nothing, record nothing, create nothing. I might sing a song on nothing. I might create exhibition on nothing. I might write a play on nothing. I might create movement on nothing. My imagination of nothing is like wind, air, sun and noise from people and the city.
I haven’t answer the question.
Wednesday 25 May 2011
Demystifying crowdfunding websites
Convener: Elina Manni
Crowdfunding websites are good for:
Raising cash (set a realist goal, between £1000 - £5000)
Developing a loyal audience
Developing relationships for future projects
Some websites to consider:
WeFund
Crowdfunder
WeDidThis
KickStarter (USA)
Some suggestions for successful crowdfunding:
Direct traffic to your crowdfunding project via blogs, tweets, Facebook...
Come up with exciting rewards: free tickets to special showings, dinner with cast members...
Check out companies and artists who have carried out successful crowdfunding campaigns (London Bubble after losing its core funding, Lucy Foster's project at Soho Theatre ...
Put some cash aside for your own campaign to kickstart it ...
Thank you for all your help and kind suggestions!
Crowdfunding websites are good for:
Raising cash (set a realist goal, between £1000 - £5000)
Developing a loyal audience
Developing relationships for future projects
Some websites to consider:
WeFund
Crowdfunder
WeDidThis
KickStarter (USA)
Some suggestions for successful crowdfunding:
Direct traffic to your crowdfunding project via blogs, tweets, Facebook...
Come up with exciting rewards: free tickets to special showings, dinner with cast members...
Check out companies and artists who have carried out successful crowdfunding campaigns (London Bubble after losing its core funding, Lucy Foster's project at Soho Theatre ...
Put some cash aside for your own campaign to kickstart it ...
Thank you for all your help and kind suggestions!
Metamorphosis'
Convener: Emma Ghafur
Participants: Emma, Elina, Helen
shifting landscapes
changing tides
uncertainty, danger and excitment
personal and professional
pushing boundaries
new partnerships
resilliance
leaving mental health job
to focus on being a theatre director
being committed to that
getting a lift from LIFT festival
flexible, creative
key words for this time
clean break theatre stable but still affected by cuts
forging new partnerships with colleges
skills exchange for tutors
working with new organisations collaborations
networks diminising
contacts leaving
local authority contacts and work diminished
turning funding on its head
approaching potential partners with something instead
snowball effect of interest and support
all three linked to clean break seen Soho work,
or worked with and have an immediate connection
london arts in health forum
for opportunities and funding
ITC group meetings for directors, producers
good conversation in first open space
came to its own conclusion
and stopped in time to move with two feet
buzz or flit to the next conversation station.
Participants: Emma, Elina, Helen
shifting landscapes
changing tides
uncertainty, danger and excitment
personal and professional
pushing boundaries
new partnerships
resilliance
leaving mental health job
to focus on being a theatre director
being committed to that
getting a lift from LIFT festival
flexible, creative
key words for this time
clean break theatre stable but still affected by cuts
forging new partnerships with colleges
skills exchange for tutors
working with new organisations collaborations
networks diminising
contacts leaving
local authority contacts and work diminished
turning funding on its head
approaching potential partners with something instead
snowball effect of interest and support
all three linked to clean break seen Soho work,
or worked with and have an immediate connection
london arts in health forum
for opportunities and funding
ITC group meetings for directors, producers
good conversation in first open space
came to its own conclusion
and stopped in time to move with two feet
buzz or flit to the next conversation station.
Thursday 5 May 2011
Improbable's Monthly D&D Satellite: What are we going to do about Puppetry?
Below are a list of issues that were raised during the evening, where they are highlighted means that a report has been typed up against it.
1. Puppetry: What are its unique offers to the theatre?
2. What are puppet theatre buildings for?
3. What is a Puppeteer?
4. Puppets are just for kids aren't they?
5. Are objects more honest than puppets?
6. How do we convince venues that adult puppetry is worthwhile to be programmed?
7. Considering the nature of puppets, can they ever truly consent to a lewd act? Or are puppets funny?
8. If you know the conditions in which your ideas arise, would you be interested in sharing in recreating it, and seeing if more people can make it bigger?
9. Has anyone (intentionally) set a puppet on fire?
10. Can the Puppet and the actor share the stage equally within the duration of a performance?
11. The dramatic potential of materials that transform. i.e. Puppets on Stage
12. Why is puppetry experiencing a surge of interest?
13. Most unsophisticated people are scared of puppet- why?
14. How do puppets tickle the unconscious?
15. Are puppets just used to tell a story?
16. Has Puppetry become an academic subject? How do we ensure the live art form continues to develop?
17. Is it all about the puppets?
18. Should the discipline of puppetry be a part of all drama school training?
19. Modes of survival: how to survive without the arts council a a puppeteer?
20. Can we find new relations between puppets and puppeteers?
21. Why making an object alive when it is also dead?
22. Is there hope for new puppetry companies to create a sustainable future for themselves?
1. Puppetry: What are its unique offers to the theatre?
2. What are puppet theatre buildings for?
3. What is a Puppeteer?
4. Puppets are just for kids aren't they?
5. Are objects more honest than puppets?
6. How do we convince venues that adult puppetry is worthwhile to be programmed?
7. Considering the nature of puppets, can they ever truly consent to a lewd act? Or are puppets funny?
8. If you know the conditions in which your ideas arise, would you be interested in sharing in recreating it, and seeing if more people can make it bigger?
9. Has anyone (intentionally) set a puppet on fire?
10. Can the Puppet and the actor share the stage equally within the duration of a performance?
11. The dramatic potential of materials that transform. i.e. Puppets on Stage
12. Why is puppetry experiencing a surge of interest?
13. Most unsophisticated people are scared of puppet- why?
14. How do puppets tickle the unconscious?
15. Are puppets just used to tell a story?
16. Has Puppetry become an academic subject? How do we ensure the live art form continues to develop?
17. Is it all about the puppets?
18. Should the discipline of puppetry be a part of all drama school training?
19. Modes of survival: how to survive without the arts council a a puppeteer?
20. Can we find new relations between puppets and puppeteers?
21. Why making an object alive when it is also dead?
22. Is there hope for new puppetry companies to create a sustainable future for themselves?
Wednesday 4 May 2011
What are Puppet Theatre Buildings For?
Who was in the group: Sean Myatt (co-convener), Nic Hopkins (co-convener), Peter Glanville, Ronnie Le Drew, Nina Watson, Steve Tiplady, two helpful, late joining Bees
Thoughts reflecting experiences:
+ "A living room to take tea with puppeteers and puppets"
+ "A magnet for interest" - newcomers and established performers; other theatre directors/producers wanted puppetry input or partnerships
+ A great track record in introducing, training, developing puppeteers (LAT, NPT), giving them work (sometimes pay!) and the evidence is the long list of alumni
+ Infrastructure for the puppetry community:
- training
- experimentation
- rehearsal
- performance space
- audience venue
- potential centre (recognition, support, advice, endorsement, development, collaboration) for excellence (standards, resources, help, making sure the novice does credit to the art form ("maybe the three chord band can compose a masterpiece"))
+ Specialist as well as General Facilities
- base for regular puppeteers and makers and their skills and experience
- a place to experience the liveness of puppetry and do your apprenticeship - techniques and artifacts
- the basics for learning stagecraft and stage management - by making the tea, and learning on the job
- lights, flies, staging, green rooms, technicians and technical ware, music and sound, props and wardrobe
- special stuff
-- puppets, and objects
-- bridges and trenches
-- focus on the small stage
-- special lighting
-- facilities to engage very young audiences
-- workshops, tools, more tools, models, examples, materials, support and know-how, makers
Thoughts about opportunities and maybe some risks
+ Place to develop audiences, and maybe take risks
+ Place to develop partnerships - artistic, funding, sponsors, education and outreach, heritage
+ What about The (lost or potentially disappearing) History of British Puppetry? Risks of distraction with archiving and storage but maybe
- Collaborate with museum sector
- educational and heritage and legacy performances - for touring
+ Join up some thinking: All/How many building based companies? Plus Puppet Centre Trust, Unima, others ...
- Share in providing a base for the raised profile of puppetry - how to find out/see more
- Share in sustaining/growing the infrastructure for puppeteers, makers, related arts and artists
- Share in making the case for funding the infrastructure the art form needs, despite government reluctance to put money into (more) arts buildings (London)
-- never mind the damage to the puppetry underneath
-- never mind the damage to the pipeline of puppet theatre alumni
The good, the bad and the ugly of Children's Theatre
- programmes that ARE funded
- accessible to the very young (yes but what is the best design for theatre for children especially the very young: does it marry up with puppetry)
- if you keep on like this how are we going to get adult puppetry taken seriously
- all children's theatre should be puppet or object based?
+ The Boundaries of Centres
- Types and styles of making
- Types and styles of directing/performance
- Don't building based companies have to specialise at least a bit, depending on their skills and artistic policy?
- Centres of excellence - as Centres for puppeteers or other a theatre directors - may not to provide access to the whole range ofmodels and approaches
Then we went to ask the puppeteers group what they thought - as suggested by a bee!
Thoughts reflecting experiences:
+ "A living room to take tea with puppeteers and puppets"
+ "A magnet for interest" - newcomers and established performers; other theatre directors/producers wanted puppetry input or partnerships
+ A great track record in introducing, training, developing puppeteers (LAT, NPT), giving them work (sometimes pay!) and the evidence is the long list of alumni
+ Infrastructure for the puppetry community:
- training
- experimentation
- rehearsal
- performance space
- audience venue
- potential centre (recognition, support, advice, endorsement, development, collaboration) for excellence (standards, resources, help, making sure the novice does credit to the art form ("maybe the three chord band can compose a masterpiece"))
+ Specialist as well as General Facilities
- base for regular puppeteers and makers and their skills and experience
- a place to experience the liveness of puppetry and do your apprenticeship - techniques and artifacts
- the basics for learning stagecraft and stage management - by making the tea, and learning on the job
- lights, flies, staging, green rooms, technicians and technical ware, music and sound, props and wardrobe
- special stuff
-- puppets, and objects
-- bridges and trenches
-- focus on the small stage
-- special lighting
-- facilities to engage very young audiences
-- workshops, tools, more tools, models, examples, materials, support and know-how, makers
Thoughts about opportunities and maybe some risks
+ Place to develop audiences, and maybe take risks
+ Place to develop partnerships - artistic, funding, sponsors, education and outreach, heritage
+ What about The (lost or potentially disappearing) History of British Puppetry? Risks of distraction with archiving and storage but maybe
- Collaborate with museum sector
- educational and heritage and legacy performances - for touring
+ Join up some thinking: All/How many building based companies? Plus Puppet Centre Trust, Unima, others ...
- Share in providing a base for the raised profile of puppetry - how to find out/see more
- Share in sustaining/growing the infrastructure for puppeteers, makers, related arts and artists
- Share in making the case for funding the infrastructure the art form needs, despite government reluctance to put money into (more) arts buildings (London)
-- never mind the damage to the puppetry underneath
-- never mind the damage to the pipeline of puppet theatre alumni
The good, the bad and the ugly of Children's Theatre
- programmes that ARE funded
- accessible to the very young (yes but what is the best design for theatre for children especially the very young: does it marry up with puppetry)
- if you keep on like this how are we going to get adult puppetry taken seriously
- all children's theatre should be puppet or object based?
+ The Boundaries of Centres
- Types and styles of making
- Types and styles of directing/performance
- Don't building based companies have to specialise at least a bit, depending on their skills and artistic policy?
- Centres of excellence - as Centres for puppeteers or other a theatre directors - may not to provide access to the whole range ofmodels and approaches
Then we went to ask the puppeteers group what they thought - as suggested by a bee!
Has puppetry become an academic subject? How can we ensure the development of the living art form
Members of the discussion were: Max, Charlotte, Jacqueline, Jack and Linda
Points noted
There seems to be a co-relation between how contemporary dance developed and what puppetry needs to do.
How do we do this?
It helps greatly having like minded people in the same room.
How do we make puppetry financially viable?
We need to make links with the commercial world.
Doing scratch performances with invited guests- people who can be investors and business people. We can present five minutes of really good work for them to see.
Puppetry will develop if we mix it with different genres eg dance, music, film.
Why not have performances and commissions in art galleries? This could be mutually beneficial.
We could have more artists in residency programmes eg one month long
We can look at puppetry as moving sculptures.
We can provide free school eg skill sharing opportunities
What we need is space to rehearse and create in.
We are not prepared to work for free any more.
We need more reviews on new puppetry. We need to get the media on side
We should use the web to spread the word eg the supper clubs that are sprouting up all over the place – all marketed by internet
WE need more pictures and visual essays
PCT should be able to offer tutorial- pop in times. – PCT does offer mentoring if requested.
At another group about the viability of a new company
We heard
We must ask ourselves what is really unique and special about puppetry?
It is very good at satire
It re-invents what normal people can’t do
When a puppet does an every day thing it makes the action heroic- so we re-invent the small things eg combing you hair
Puppetry can express the real life of animals and the life of the very young eg a 3 year old can be portrayed by a puppet eg dealing with divorce and child abuse.
In marketing our puppetry work we need to be very clear about the offer we are making.
Points noted
There seems to be a co-relation between how contemporary dance developed and what puppetry needs to do.
How do we do this?
It helps greatly having like minded people in the same room.
How do we make puppetry financially viable?
We need to make links with the commercial world.
Doing scratch performances with invited guests- people who can be investors and business people. We can present five minutes of really good work for them to see.
Puppetry will develop if we mix it with different genres eg dance, music, film.
Why not have performances and commissions in art galleries? This could be mutually beneficial.
We could have more artists in residency programmes eg one month long
We can look at puppetry as moving sculptures.
We can provide free school eg skill sharing opportunities
What we need is space to rehearse and create in.
We are not prepared to work for free any more.
We need more reviews on new puppetry. We need to get the media on side
We should use the web to spread the word eg the supper clubs that are sprouting up all over the place – all marketed by internet
WE need more pictures and visual essays
PCT should be able to offer tutorial- pop in times. – PCT does offer mentoring if requested.
At another group about the viability of a new company
We heard
We must ask ourselves what is really unique and special about puppetry?
It is very good at satire
It re-invents what normal people can’t do
When a puppet does an every day thing it makes the action heroic- so we re-invent the small things eg combing you hair
Puppetry can express the real life of animals and the life of the very young eg a 3 year old can be portrayed by a puppet eg dealing with divorce and child abuse.
In marketing our puppetry work we need to be very clear about the offer we are making.
How do we convince venues that adult puppetry is worthwhile to be programmed?
We need to change the perception of Puppetry = Children's show
Offering 2 versions of the same performance, one for young audience and another for adult audience (Programmers will book the show for young audience)
Programmers see adult puppetry is too risky to book
Not many venues where like to programme visual theatre or adult puppetry piece
Sharing information about venues and theatres who are happy to programme adult puppetry or have audience of adult puppetry.
Maybe through Puppet Centre Trust?
Sharing experiences among adult puppetry companies (eg, funding etc)
Can established theatre companies which use a lot of puppetry offer a help to young companies? (eg; Blind Summit, Improbable, Faulty Optic, Complicite etc)
Scratch performance event only for adult puppetry pieces to order to invite programmers
More integration of puppets with main stream theatre
Showing adult puppetry pieces where you could have direct contacts with audience. (eg; Edinburgh festivals) Audience should be the driving force and programmers and producers will catch up afterwards
Promote adult puppetry production as a visual theatre piece
Offering 2 versions of the same performance, one for young audience and another for adult audience (Programmers will book the show for young audience)
Programmers see adult puppetry is too risky to book
Not many venues where like to programme visual theatre or adult puppetry piece
Sharing information about venues and theatres who are happy to programme adult puppetry or have audience of adult puppetry.
Maybe through Puppet Centre Trust?
Sharing experiences among adult puppetry companies (eg, funding etc)
Can established theatre companies which use a lot of puppetry offer a help to young companies? (eg; Blind Summit, Improbable, Faulty Optic, Complicite etc)
Scratch performance event only for adult puppetry pieces to order to invite programmers
More integration of puppets with main stream theatre
Showing adult puppetry pieces where you could have direct contacts with audience. (eg; Edinburgh festivals) Audience should be the driving force and programmers and producers will catch up afterwards
Promote adult puppetry production as a visual theatre piece
What is a Puppeteer?
What is a Puppeteer?
Proposed by Mark Down
People who came:
Irena Stratieva
Oleg Shulev
Adrian Kohler
Lie Chen
Phelim McDermot
Kristin Fredrickson
Maria Andrews
What got written:
Who decides who is a puppeteer?
A person who has skill
But also goes deeper
Children / adult
Marginalisation
Revival = end of puppet adult/ child thing
Bulgaria
Building based work
Training as a puppeteer = acting + puppetry
4 years study
Puppeteers more famous than actors
chorus
Puppet /_ directing
- scenography
- writers
You become an actor first – 4 years.
You would not get employed.
No one proposed a discussion group for puppet scenography, direction writing
Is acting and puppeteering different?
Acting has depth of performance? Puppeteering all in the image?
Or puppetry goes very deep instantly – the challenge is staying with it.
Why replace an actor with a puppet? Must justify choice eg. tearing an arm off
But tricks only sustain a short time
How to go deep and stay there
Is object theatre puppetry?
Being a puppeteer means - “Having a puppet ear”
When dancers dance they become objects
Is film animation puppetry?
Do we need a union?
Audiences need training because of film and psychological acting
Why is “puppet making” not a separate thing? Taught separately?
In Bulgaria if a puppeteer does not have acting they cannot be a puppeteer.
Now when you have all the skills – can act, sing, direct, manipulate… then are you a puppeteer? There is something more.
A need to make and do puppets.
Trapped by this need.
What is it? Is this what a puppeteer is? Addiction?
It’s good to be a little bit addicted to something.
Why this urge to give life to objects? - uncanny/ tickle the unconscious.
Puppeteers overcome death.
It’s all about what you can’t do with an orange
Puppetry is like playing an instrument – a piano, a violin. You collaborate with the instrument to make music.
Why is a puppeteer?
- show an idea
- Talking through an object – releases the voice
- T o do violent things – transgress
A puppeteer is someone who disappears on stage.
Perhaps this is why he/ she is so difficult to pin down?
Proposed by Mark Down
People who came:
Irena Stratieva
Oleg Shulev
Adrian Kohler
Lie Chen
Phelim McDermot
Kristin Fredrickson
Maria Andrews
What got written:
Who decides who is a puppeteer?
A person who has skill
But also goes deeper
Children / adult
Marginalisation
Revival = end of puppet adult/ child thing
Bulgaria
Building based work
Training as a puppeteer = acting + puppetry
4 years study
Puppeteers more famous than actors
chorus
Puppet /_ directing
- scenography
- writers
You become an actor first – 4 years.
You would not get employed.
No one proposed a discussion group for puppet scenography, direction writing
Is acting and puppeteering different?
Acting has depth of performance? Puppeteering all in the image?
Or puppetry goes very deep instantly – the challenge is staying with it.
Why replace an actor with a puppet? Must justify choice eg. tearing an arm off
But tricks only sustain a short time
How to go deep and stay there
Is object theatre puppetry?
Being a puppeteer means - “Having a puppet ear”
When dancers dance they become objects
Is film animation puppetry?
Do we need a union?
Audiences need training because of film and psychological acting
Why is “puppet making” not a separate thing? Taught separately?
In Bulgaria if a puppeteer does not have acting they cannot be a puppeteer.
Now when you have all the skills – can act, sing, direct, manipulate… then are you a puppeteer? There is something more.
A need to make and do puppets.
Trapped by this need.
What is it? Is this what a puppeteer is? Addiction?
It’s good to be a little bit addicted to something.
Why this urge to give life to objects? - uncanny/ tickle the unconscious.
Puppeteers overcome death.
It’s all about what you can’t do with an orange
Puppetry is like playing an instrument – a piano, a violin. You collaborate with the instrument to make music.
Why is a puppeteer?
- show an idea
- Talking through an object – releases the voice
- T o do violent things – transgress
A puppeteer is someone who disappears on stage.
Perhaps this is why he/ she is so difficult to pin down?
Why do you want to make an object (or Art) come alive when it is also dead?
Comments:
The outcome of my issue was raised in the group but wasn't discussed in the evening, however, I am still very curious about this issue. Therefore, I decided to put this into an online check box questionnaire as part of an experiment of "I AM YOUR ANTI-MATTER" for anyone who want to share their answer or continuous the conversation.
In one of the other groups, I was very fascinated by Penny Francis' comments, (if I recorded correctly), she said every object has its own life, puppeteers/artists discover life from the object. It is a journey that the artists/puppeteers discover life from the object and bring them into life. Her comment left me more curious about the life of an object and how the others who discovers their life of objects and what their journey of discovery are.
Please find the online check box questionnaire that I set up from http://liechen.wordpress.com/2011/04/19/anti-matter-particles-record-1
The outcome of my issue was raised in the group but wasn't discussed in the evening, however, I am still very curious about this issue. Therefore, I decided to put this into an online check box questionnaire as part of an experiment of "I AM YOUR ANTI-MATTER" for anyone who want to share their answer or continuous the conversation.
In one of the other groups, I was very fascinated by Penny Francis' comments, (if I recorded correctly), she said every object has its own life, puppeteers/artists discover life from the object. It is a journey that the artists/puppeteers discover life from the object and bring them into life. Her comment left me more curious about the life of an object and how the others who discovers their life of objects and what their journey of discovery are.
Please find the online check box questionnaire that I set up from http://liechen.wordpress.com/2011/04/19/anti-matter-particles-record-1
Monday 21 March 2011
Improbable's Monthly D&D Satellite - What are we doing about queer theatre?
These are a list of the sessions that were called on 14th March at Oval House Theatre, where the title is highlighted means the report has been typed up.
1. How can I make my rehearsal process as queer as the content of my shows?
2. Why does the world (appear to) be more interested in gay men than gay women?
3. Challenging Mainstream/ Orthodoxy? Does 'queer' necessarily imply a questioning of a 'perceived' mainstream or is that an orthodoxy in itself?
4. How can music be a queer stimulus?
5. Is queer becoming more 'acceptable' in mainstream society? and if so, does that represent its demise?
6. Is there a queer youth? If there is are they making queer theatre?
7. What is queer? Lifestyle? Physical? Sexuality? Fashions?
8. As queer artists are we still the oppressed underdogs in UK Theatre or are we in fact the ruling elite with all the power>
9. I want to be a member of the Gay Mafia - Does anyone here have a membership form?
10. How do we make queer theatre without feeling afraid of the stereotype that may come with it and the fear of being pigeon-holed for life?
11. What does 'Queer' look like, or is it all in the eye of the beholder?
12. I am terrified of saying the wrong thing and offending someone. What is there to be said and who is allowed to say it?
13. If we were to make topical queer theatre for 2011, what would it be about?
14. The invite said 'Theatre is inherently queer'. I agree, but I still want to ask why?
15. S&M, Kink, Queer, Feminism & You
16. Why am I no longer interested in queer theatre?
17. Who is allowed to make queer theatre? Who is allowed to watch?
18. Where does 'Trans' work sit in queer?
1. How can I make my rehearsal process as queer as the content of my shows?
2. Why does the world (appear to) be more interested in gay men than gay women?
3. Challenging Mainstream/ Orthodoxy? Does 'queer' necessarily imply a questioning of a 'perceived' mainstream or is that an orthodoxy in itself?
4. How can music be a queer stimulus?
5. Is queer becoming more 'acceptable' in mainstream society? and if so, does that represent its demise?
6. Is there a queer youth? If there is are they making queer theatre?
7. What is queer? Lifestyle? Physical? Sexuality? Fashions?
8. As queer artists are we still the oppressed underdogs in UK Theatre or are we in fact the ruling elite with all the power>
9. I want to be a member of the Gay Mafia - Does anyone here have a membership form?
10. How do we make queer theatre without feeling afraid of the stereotype that may come with it and the fear of being pigeon-holed for life?
11. What does 'Queer' look like, or is it all in the eye of the beholder?
12. I am terrified of saying the wrong thing and offending someone. What is there to be said and who is allowed to say it?
13. If we were to make topical queer theatre for 2011, what would it be about?
14. The invite said 'Theatre is inherently queer'. I agree, but I still want to ask why?
15. S&M, Kink, Queer, Feminism & You
16. Why am I no longer interested in queer theatre?
17. Who is allowed to make queer theatre? Who is allowed to watch?
18. Where does 'Trans' work sit in queer?
Is it the fear of being pigeonholed stop you from making Queer theatre?
Is it the fear of being pigeonholed stop you from making Queer theatre?
Stories about writers being told not to write about being disabled or not to write another play with/about being disabled so that they don’t get pigeonholed.
If writers are being told that how can directors find good work to develop, produce and direct.
Its not being talked about.
Those who have a voice, who are out, who are only given one side of the story. E..g. Miriam Margoyles speaking on Graham Norton show regarding straight people have better perspective in play gay roles.
Rarrgh!!!!!
Discussion regarding actors coming out and the consequences of that.
Discussion regarding bisexuals feeling fear of coming out within LGBT community and the stigma attached. Also discussions regarding LGBT work being misread as not LGBT and how to make it clearer.
Fear of being someone who just bangs on about the same thing.
What are the demands from those higher up.
Various people joined in the discussion mostly lesbians, though bisexual and gay perspectives contributed/listened to as well.
Stories about writers being told not to write about being disabled or not to write another play with/about being disabled so that they don’t get pigeonholed.
If writers are being told that how can directors find good work to develop, produce and direct.
Its not being talked about.
Those who have a voice, who are out, who are only given one side of the story. E..g. Miriam Margoyles speaking on Graham Norton show regarding straight people have better perspective in play gay roles.
Rarrgh!!!!!
Discussion regarding actors coming out and the consequences of that.
Discussion regarding bisexuals feeling fear of coming out within LGBT community and the stigma attached. Also discussions regarding LGBT work being misread as not LGBT and how to make it clearer.
Fear of being someone who just bangs on about the same thing.
What are the demands from those higher up.
Various people joined in the discussion mostly lesbians, though bisexual and gay perspectives contributed/listened to as well.
Friday 18 March 2011
Why do gay men get all the attention/Why aren’t lesbians cool?
Session title : (variations on) Why do gay men get all the attention/Why aren’t lesbians cool?
Convenor : Stella
A brief, pithy discussion with people coming and going.
All of us (from a range of sexualities and genders) pretty much agreed that lesbians aren’t (perceived as) cool/exciting/interesting and that there are far more gay men on our stages/screens as themselves and as characters.
We think it might be because :
- men get all the attention anyway
- gay men are men, the world’s more interested in men
- lesbians are seen as/presented as : depressed, suicidal, prisoners, objects of hatred; gay men are seen as lovely, cuddly, sensitive, sad, se-obsessed (though perhaps it depends on who’s doing the seeing/showing)
- lack of gender equality in productions/programming across the board means there’s a knock-on effect in how few lesbians we see on stage/on screen (both as characters and as performers)
- the gay men who don’t like lesbians are the same gay men who don’t like any women (see also the lesbians who don’t like men/gay men)
- an assumption that lesbians and gay men have loads in common whereas actually they may have least in common?
- if women stopped moving out of (being moved out of) the workforce when having children, would that fix the pay gap problem?
- we all want representation and visibility but we want it to be GOOD, well-rounded, ‘real’
- young lesbians ARE cool (esp in Skins, Sugar Rush) … so only older/middle aged lesbians aren’t?
- is it just to do with the position of women in society overall?
- who is allowed to ‘judge’ the LGBT characters in a piece? Is a straight director/commissioner allowed (LGBT people in session saying yes, straight director in session saying doesn’t feel is allowed)
- we think perhaps the straight world is much more comfortable with gay men than with gay women
- lesbians are women & it’s just not that good for women overall, so is going to be commensurately bad for lesbians
Convenor : Stella
A brief, pithy discussion with people coming and going.
All of us (from a range of sexualities and genders) pretty much agreed that lesbians aren’t (perceived as) cool/exciting/interesting and that there are far more gay men on our stages/screens as themselves and as characters.
We think it might be because :
- men get all the attention anyway
- gay men are men, the world’s more interested in men
- lesbians are seen as/presented as : depressed, suicidal, prisoners, objects of hatred; gay men are seen as lovely, cuddly, sensitive, sad, se-obsessed (though perhaps it depends on who’s doing the seeing/showing)
- lack of gender equality in productions/programming across the board means there’s a knock-on effect in how few lesbians we see on stage/on screen (both as characters and as performers)
- the gay men who don’t like lesbians are the same gay men who don’t like any women (see also the lesbians who don’t like men/gay men)
- an assumption that lesbians and gay men have loads in common whereas actually they may have least in common?
- if women stopped moving out of (being moved out of) the workforce when having children, would that fix the pay gap problem?
- we all want representation and visibility but we want it to be GOOD, well-rounded, ‘real’
- young lesbians ARE cool (esp in Skins, Sugar Rush) … so only older/middle aged lesbians aren’t?
- is it just to do with the position of women in society overall?
- who is allowed to ‘judge’ the LGBT characters in a piece? Is a straight director/commissioner allowed (LGBT people in session saying yes, straight director in session saying doesn’t feel is allowed)
- we think perhaps the straight world is much more comfortable with gay men than with gay women
- lesbians are women & it’s just not that good for women overall, so is going to be commensurately bad for lesbians
Tuesday 15 March 2011
HOW CAN I MAKE MY REHEARSAL PROCESS AS QUEER AS THE CONTENT OF THE SHOWS I MAKE?
Convener: Ben Webb
- Begin by defining queer (I can't!)
- Queer seems to me to be inherently undefinable, unplaceable, shifting...
- Can you define it by what it's not? Or do we just then end up with binaries?
- I am tired of the constant reiterative struggle to define - why can't we just do?
- ...but a working definition of queer would be useful (if not definitive)...
- The show doesn't need to be ready for opening night.
- It's useful to not knowing and not be right and create an environment where these things are possible (or even better encouraged).
- Queer theatre might be theatre that is not always the same (a process is by definition ongoing). Maybe stop thinking of theatre as a product.
- Keep your process moving.
- Process becomes the product. So enjoy that.
- Learn to craft process (the space where it happens) rather than the show... an open space.
- People bring predictability.
- Work out a of a conversation - multiple voices.
- There is an ethical imperatibe of paying close attention to who the people you work with really are = complexity.
- Derek Jarman's process. If you show up you're in the film. A community.
- Four principles to do: 1) Turn up 2) pay attention 3) Tell the truth 4) Don't be attached to the end result.
- Chaos (Declan Donnellan?)
- Queer artists tend to have a lived practice (a queer proposition) - how we live dissidently within the culture.
- Everything comes out through the work. You can't switch it off.
- Aren't you a working artist every moment of your day (and night). Reconsider rehearsal time. How does this effect the quality of the work?
- Initiate a process that enables us to love each other more as collaborators.
- Open Space as rehearsal (Improbable)
- Is rehearsal process resistant to Queer? Is rehearsal counter-revolutionary?
- Explore Anarchist ways of running meetings (hand signals / decentralisation).
- Is Queer anti-system?
- There are two stories on stage. The story you are telling plus the story of the company's experience together.
- Is there something queerly erotic about a strongly guided process- this is where we're going.
-There are many types of Queer.
- Telling people what to do is not being in control. You are never in control anyway.
- Phrasing things as questions/invitations can be useful.
- Tickle people into trying things they're not sure about (directing as seduction).
- Process work (what flirts with you today?)
- It's always people, people, people.
- Check in/check out every day (create a space for weakness).
- Queer = un/anticapitalist.
- Begin by defining queer (I can't!)
- Queer seems to me to be inherently undefinable, unplaceable, shifting...
- Can you define it by what it's not? Or do we just then end up with binaries?
- I am tired of the constant reiterative struggle to define - why can't we just do?
- ...but a working definition of queer would be useful (if not definitive)...
- The show doesn't need to be ready for opening night.
- It's useful to not knowing and not be right and create an environment where these things are possible (or even better encouraged).
- Queer theatre might be theatre that is not always the same (a process is by definition ongoing). Maybe stop thinking of theatre as a product.
- Keep your process moving.
- Process becomes the product. So enjoy that.
- Learn to craft process (the space where it happens) rather than the show... an open space.
- People bring predictability.
- Work out a of a conversation - multiple voices.
- There is an ethical imperatibe of paying close attention to who the people you work with really are = complexity.
- Derek Jarman's process. If you show up you're in the film. A community.
- Four principles to do: 1) Turn up 2) pay attention 3) Tell the truth 4) Don't be attached to the end result.
- Chaos (Declan Donnellan?)
- Queer artists tend to have a lived practice (a queer proposition) - how we live dissidently within the culture.
- Everything comes out through the work. You can't switch it off.
- Aren't you a working artist every moment of your day (and night). Reconsider rehearsal time. How does this effect the quality of the work?
- Initiate a process that enables us to love each other more as collaborators.
- Open Space as rehearsal (Improbable)
- Is rehearsal process resistant to Queer? Is rehearsal counter-revolutionary?
- Explore Anarchist ways of running meetings (hand signals / decentralisation).
- Is Queer anti-system?
- There are two stories on stage. The story you are telling plus the story of the company's experience together.
- Is there something queerly erotic about a strongly guided process- this is where we're going.
-There are many types of Queer.
- Telling people what to do is not being in control. You are never in control anyway.
- Phrasing things as questions/invitations can be useful.
- Tickle people into trying things they're not sure about (directing as seduction).
- Process work (what flirts with you today?)
- It's always people, people, people.
- Check in/check out every day (create a space for weakness).
- Queer = un/anticapitalist.
Thursday 10 February 2011
Improbable's Monthly D&D Satellite - What are we going to do about Theatre
These are a list of the sessions that were called on 9th February 2011 at The Roundhouse:
1. Where will we find a great producer?
2. Peer Mentoring - Help.
3. How do we move indoors? Tips, advice, debate
4. Running o the monthly open space together!
5. How to get the last 5% of my crowd funding?
6. I have Play - Doh
7. Visualising working with a group of underground artists
8. Inventive rehearsal styles on a show string
9. I'm learning BSL, would anyone like to help me practice?
10. Is it risky to produce a play about Cancer?
1. Where will we find a great producer?
2. Peer Mentoring - Help.
3. How do we move indoors? Tips, advice, debate
4. Running o the monthly open space together!
5. How to get the last 5% of my crowd funding?
6. I have Play - Doh
7. Visualising working with a group of underground artists
8. Inventive rehearsal styles on a show string
9. I'm learning BSL, would anyone like to help me practice?
10. Is it risky to produce a play about Cancer?
Improbable's Monthly D&D Satellite - Festive Edition
Festive D&D - 7th December at The People Show Studios
In our last Monthly D&D of 2010 some really interesting issues were raised.
In a bid to keep these conversations going and to perhaps reflect further on the questions asked I will post a list of these issues:
1. Open Space - How?
2. I am being made redundant this month and my life just got more interesting as a result. How can I make the most of the creative opportunities?
3. I'm maybe buying a flat - is it the right thing to do? Will I have to get a proper job?
4. The People Show have been going since 1966/121 shows. What can we learn from them for the current arts funding climate?
5. Creative Collaboration - how?
6. The right email tone? Not too rude, not stupidly polite. How?
7. ACE Portfolio Funding vs. GFTA - which one?
8. Deadlines and Writers Block
9. Jesus, An intelligent activist?
10. Jesus - A good theatre maker?
In our last Monthly D&D of 2010 some really interesting issues were raised.
In a bid to keep these conversations going and to perhaps reflect further on the questions asked I will post a list of these issues:
1. Open Space - How?
2. I am being made redundant this month and my life just got more interesting as a result. How can I make the most of the creative opportunities?
3. I'm maybe buying a flat - is it the right thing to do? Will I have to get a proper job?
4. The People Show have been going since 1966/121 shows. What can we learn from them for the current arts funding climate?
5. Creative Collaboration - how?
6. The right email tone? Not too rude, not stupidly polite. How?
7. ACE Portfolio Funding vs. GFTA - which one?
8. Deadlines and Writers Block
9. Jesus, An intelligent activist?
10. Jesus - A good theatre maker?
Improbable's Monthly D&D Satellite - Hosted by Chuck Mike (July 2010)
Below is a list of issues that were raised. Where the issue is highlighted it means that there is a report attached to this.
1. If you address the issue of race in a play, does that mean that the play has to be ‘about’ racism? Can it not be about
the story as a whole instead?
2. Cultural ownership, race what?
3. Is funding based on race empowering or restrictive?
4. I want to create intercultural, interracial, international devised theatre. Who is doing this? If no one, who wants to?
5. How does race relate to cultural ownership? Who makes the rules about who is allowed to do what?
6. Yes it does but what is the Arts Council doing about it?
7. Can you affect the hearts of people by policies?
8. It does matter, how else will I get funding?
9. I’m still finding my opinions. Want to help me?
10. What practical strategies can the British East Asian sector learn from Black and South Asian artists in the loving
fight for equal opportunities?
11. There are a series of practical actions that address the question, shall we list them?
12. How will we know when we’re past it?
13. Is it race or is it culture? Is it social or economic?
14. Yes, it matters but the questions says UK – what about regional theatre?
15. Co- confessing: I’ll tell you how I think I am racist and you can tell me how you think you are – if you want…
16. If we concentrate on race. Does it reinforce negative notions of difference?
17. If we dissolve the matter of race, do we lose our identity, power & leverage within the industry?
18. What do you want the Arts Council to do about it?
19. What is UK Theatre today? How does race come in to play?
20. How does the question shift when we say international as opposed to race, think touring?
21. Is it better to be a black mugger/ Indian shop owner/ Chinese illegal immigrant and work,
or wait for the real character/acting role?
22. How do we practically make the decision makers and influences change and produce action?
1. If you address the issue of race in a play, does that mean that the play has to be ‘about’ racism? Can it not be about
the story as a whole instead?
2. Cultural ownership, race what?
3. Is funding based on race empowering or restrictive?
4. I want to create intercultural, interracial, international devised theatre. Who is doing this? If no one, who wants to?
5. How does race relate to cultural ownership? Who makes the rules about who is allowed to do what?
6. Yes it does but what is the Arts Council doing about it?
7. Can you affect the hearts of people by policies?
8. It does matter, how else will I get funding?
9. I’m still finding my opinions. Want to help me?
10. What practical strategies can the British East Asian sector learn from Black and South Asian artists in the loving
fight for equal opportunities?
11. There are a series of practical actions that address the question, shall we list them?
12. How will we know when we’re past it?
13. Is it race or is it culture? Is it social or economic?
14. Yes, it matters but the questions says UK – what about regional theatre?
15. Co- confessing: I’ll tell you how I think I am racist and you can tell me how you think you are – if you want…
16. If we concentrate on race. Does it reinforce negative notions of difference?
17. If we dissolve the matter of race, do we lose our identity, power & leverage within the industry?
18. What do you want the Arts Council to do about it?
19. What is UK Theatre today? How does race come in to play?
20. How does the question shift when we say international as opposed to race, think touring?
21. Is it better to be a black mugger/ Indian shop owner/ Chinese illegal immigrant and work,
or wait for the real character/acting role?
22. How do we practically make the decision makers and influences change and produce action?
If we dissolve the issue of race, do we lose our power, leverage and identity in the industry?
Person who called the session: Adanna Oji
Who attended the session: Babou, Sola, Tonderai, Anna, Hannah
Summary of discussion:
Culture/background can influence good theatre.
If race taken away – interesting to see what theatre would evolve.
Should use your power and race to influence and show/share with other cultures.
Negative connotations from word ‘race’ – should be acknowledged and reclaimed – ONE RACE
Black community uses ‘race’ as ownership on certain areas such as racism, etc. If race issue dissolved perhaps dissolve boundaries that dictate ‘silent’ rule of who can write/direct plays about what.
Need to understand that ‘race’ comes with historical context and that when dealing with it you need to empathise with that.
Theatre and race – 2 different elements. Theatre: relate. Race: abstract word used to oppress.
People can be ostracising and selfish with race and theatre – “You can’t do this subject because you’re not/are black”.
People can become selfish with ‘race’ or use the colour card because their stories haven’t been told.
Leverage – Yes sometimes there is leverage when you have more racial/cultural experience at your disposal.
Power – we all have it. We may not tap into it but it’s there.
Identity – that’s where you’re from as a person – YOU.
Leverage – In the black community you can get funding for being a ‘minority’ - perform during Black History Month, etc. No race issue, no funding?
Who attended the session: Babou, Sola, Tonderai, Anna, Hannah
Summary of discussion:
Culture/background can influence good theatre.
If race taken away – interesting to see what theatre would evolve.
Should use your power and race to influence and show/share with other cultures.
Negative connotations from word ‘race’ – should be acknowledged and reclaimed – ONE RACE
Black community uses ‘race’ as ownership on certain areas such as racism, etc. If race issue dissolved perhaps dissolve boundaries that dictate ‘silent’ rule of who can write/direct plays about what.
Need to understand that ‘race’ comes with historical context and that when dealing with it you need to empathise with that.
Theatre and race – 2 different elements. Theatre: relate. Race: abstract word used to oppress.
People can be ostracising and selfish with race and theatre – “You can’t do this subject because you’re not/are black”.
People can become selfish with ‘race’ or use the colour card because their stories haven’t been told.
Leverage – Yes sometimes there is leverage when you have more racial/cultural experience at your disposal.
Power – we all have it. We may not tap into it but it’s there.
Identity – that’s where you’re from as a person – YOU.
Leverage – In the black community you can get funding for being a ‘minority’ - perform during Black History Month, etc. No race issue, no funding?
What can we do about race in regional theatre?
Person who called the session: Faith
Who attended the session? Dan, Raymond, Tash, Jamie
Summary of discussion:
Hardly anyone came to this session.
Reflects attitude to regional theatre. Why? Are big black/other race communities across the U.K.
In ‘white’ areas should there be ‘black’ theatre?
Would it exoticise black people?
Should we allow predominantly rural communities to be ignorant to black culture?
More economic – cuts.
Directly proportional?
Regions should create initiatives themselves.
More diverse writing – not ‘black’ plays – represents and reflects.
Should theatre reflect the community it’s held in?
‘Ethnic’ plays cuts off (should be more mixed).
Assumption that less of an audience in regions. Too hard.
Who attended the session? Dan, Raymond, Tash, Jamie
Summary of discussion:
Hardly anyone came to this session.
Reflects attitude to regional theatre. Why? Are big black/other race communities across the U.K.
In ‘white’ areas should there be ‘black’ theatre?
Would it exoticise black people?
Should we allow predominantly rural communities to be ignorant to black culture?
More economic – cuts.
Directly proportional?
Regions should create initiatives themselves.
More diverse writing – not ‘black’ plays – represents and reflects.
Should theatre reflect the community it’s held in?
‘Ethnic’ plays cuts off (should be more mixed).
Assumption that less of an audience in regions. Too hard.
Is funding based on race empowering or restrictive? It does matter… but how else will I get funding?
Session Title:
3. Is funding based on race empowering or restrictive?
9. It does matter… but how else will I get funding ?
Person who called the session?
Ain, Alex
Summary of discussion:
Arts Council ratio of minority finding to its overall funding is very low.
When does race become destructive and not necessary?
3. Is funding based on race empowering or restrictive?
9. It does matter… but how else will I get funding ?
Person who called the session?
Ain, Alex
Summary of discussion:
Arts Council ratio of minority finding to its overall funding is very low.
When does race become destructive and not necessary?
Practical Strategies - Equal Opportunities
Session Title(s):
Practical Strategies – Equal opportunities
List of Actions
How to measure when progress has been made
National Demographic quotas (contract compliance)
Withdraw from Eurocentric classical canon
Person who called the session:
Tyrone, David Tse, Ade Solanke
Who attended the session?
Brenda Garrick, Ailin Conant, Liz Chan, Chika Unaka, Tyrone, David Tse, Ade Solanke, Ian Rimington
Summary of discussion:
• Every producing theatre to have one commission of a BME written play
• Theatre should reflect the area that it is based – problem may ‘ghettoise’ the production.
• Need to reflect national demographic.
• National Arts policy
• The onus should be on us as BME artists to make changes.
• Casting policy needs to change across the board.
• Boycott of the classic plays older than 50 years.
• Want to see at least two shows a year directed by a BME person.
• BME people running theatres.
• Colour blind casting, with the actors chosen because of their ability.
• Must have demographic quotas, to address the issue of lack of BME actors on stage (In Arts Council policy)
Practical Strategies – Equal opportunities
List of Actions
How to measure when progress has been made
National Demographic quotas (contract compliance)
Withdraw from Eurocentric classical canon
Person who called the session:
Tyrone, David Tse, Ade Solanke
Who attended the session?
Brenda Garrick, Ailin Conant, Liz Chan, Chika Unaka, Tyrone, David Tse, Ade Solanke, Ian Rimington
Summary of discussion:
• Every producing theatre to have one commission of a BME written play
• Theatre should reflect the area that it is based – problem may ‘ghettoise’ the production.
• Need to reflect national demographic.
• National Arts policy
• The onus should be on us as BME artists to make changes.
• Casting policy needs to change across the board.
• Boycott of the classic plays older than 50 years.
• Want to see at least two shows a year directed by a BME person.
• BME people running theatres.
• Colour blind casting, with the actors chosen because of their ability.
• Must have demographic quotas, to address the issue of lack of BME actors on stage (In Arts Council policy)
Subscribe to:
Posts (Atom)