Phelim called this session on Monday morning.
These notes are excited but poor!
Sorry no names except Jack!
I called this session after experiencing the five D&D’s and others elsewhere. A big and amazing part of the events is the relationships around eldership.
An obvious example is younger artists seeking the wisdom and experience of older artists. I gave the example of seeing Betty Bourne support Michael Twaits a couple of years ago as a young gay artist. It was also remarkable to hear Betty tell stories of his you activism and performance. These stories are an important legacy.
I saw that D&D has the possibility to nurture and facilitate these relationships. I also have a strong desire to continue this as it is an important part of our community which can be neglected. Particularly in theatre performance older people can become isolated and we are losing the places in which this exchange can happen. Also OS supports this to happen in a subtle way not just as an information exchange but in a context which is enjoyable for both and has a genuine quality to with integrity.
The relationship is also a two way one the elder learns from the “pupil” and vice versa.
Someone (forgive forgot to get names please let us know) Talked about their festival “Bealtaine“ which celebrates creativity in older age. www.bealtaine.com.
They had learned a lot about eldership through the passing on of traditional irish music and in how it was considered learning together. It was an exchange relationship.
They had ambassadors who were older people.
He said they had a certain definition of what Age was:
It was someone 10 years older than yourself so it was a fluid thing in relation to oneself
someone with experience.
and elder was:
1 You might start at any time
2 Significantly affected by loss
3 Something that you’ve always done.
Condsiderations in the project were
opportunities for older people to create.
Older people challenged to make new work
If we were thinking of the future and Elders at the D&D event access was a consideration. Security and Hearing and warmth!
This was an opportunity to look at art through a different lens.
it was a horizontal landscape
So not a hierarchical one and could happen in lots of different places.
We said this was about supporting and facilitation wise conversation not about ”getting a job“ from someone.
We said that Open Space helps but is difficult to describe if you haven’t experienced it.
Mandela’s Elders were talked about : Global elders a project supported by Peter Gabriel and By Branson
The sharing of wisdom and of Practice.
I talked about wanting to Honour the Elders.
it was part of D&D but I had a dream of a project/performance ritual which did this.
It was perhaps especially for those who were maverick and then potentially isolated. Who could get forgotten.
I wanted to honour them so they didnt just feel crazy or undervalued. I also recognised that i wanted to honour that elder in myself. This was a role that could move between us. Young people could be an elder too.
My selfish motive was that I did not want to end up bitter myself as an Elder!
If this was a Rite of passage what would this rite be.
Practical Things:
Jack talked about wanting to work with Vivian Pickles and he had to approach her around the agency a he was told she wasn’t working now. He did and she was amazing.
James talked about being mentored by me I’d forgotten!) and at first he expected answers and asked about how to get Impro to be reliable and always work.. and I said well I don’t know. Actually saying I didn’t know (How to make sure an improvised show worked) was useful. Because he realised it wasn’t about getting THE answer.
What was useful was an honest relationship.
We talked about practical ways to bring the Elders to D&D The invitation was important but also that they would know it wouldn’t be an off putting event.
Other thing that was important was the space..
Warmth
Hearing
Security
Matilda suggested that there was a great oppprtunity in older people being directed by younger people.
If we invite them how do we find them?
Who are they?
Could everyone think of two or three people who should come? Make a commitment to getting them along.
Should we have another open space about this.. yes but we shouldn’t create a ghetto.. this would be to continue the energy of this conversation.
A separate one would feed back in.
Elders being present is yet another diversity issue for this group and its potential creativity.
Is this event only for people who arent working. We showed hands for who has been working for six months or more or not.
It was half and half.
we had another discussion re diversity and dance and does the word theatre put dance people off.
We talked about the Archetype of the Elder
In South Africa with Mandela
The Elders helped create peace.
In our culture we celebrate the wise silent guru type elder but not necessarily the crazy fool. with crazy wisdom
David Bailey: I don’t know everything.. but i know the 400 mistakes you can make.
Matilda talked of Rosemary Lee’s intergenerational work. non verbal channels support this work and cross boundaries between the ages.. dancing together..
this event has a bias twards youth..
Equity meetings are 80% older people..
Lets create a culture where it is communicated that it’s attractive to be old counter to the celebration of youth youth
youth.
THE FIRE. The circle of theElders
I talked about my idea for a project that was inspired by Somerset house OS we did that could be an Eldership project. prompted by the light wells and the coal shutes.. The bringing of coal to building a fire or hearth that the Elders would sit at.
The fire could be made.. the younger people would come and and ask questions or give thanks or honour to the circle of elders. We talked about how we were in a circle and doing this in the moment ourselves. Someone suggested that those who came could bring a piece of coal for the fire.
There were some other defenitions of Guru..
S/he who reminds..
Jack talked about Philip Tobias who was able to radically change his life view and belief about his anthropological ideas in his SEVENTIES! because of a discovery he made.
Elder :
One who is detached and welcomes all the voices.
One who continues
One who starts.
Someone said that this aspect of elders and theatre was studied academically in The US but not here. Theatre and Aging.Is it studied?
Someone mentioned the Silver Festival.
The university of the third age was mentioned.
Someone from the arts council had heard about D&D through their academic connections not their work connections.
We talked about the improbable mentoring fete.
Getting mentoring relationships past the age of 30 was difficult as then you were seen as in the profession and were peers or competition.
It is possible to become a beginner at 60. We are always a beginner. There are repercussions of the Harriet Harmon age equality bill.
What do elders need ..
before they die a sense of recognotion. living on in people talking.. a legacy
People who are older say ”We are invisible“
The Elder’s relationship to Death and mortality is important. Reconciling to death is important.
What is the legacy? It is a big mysthic story.
Reading of a deceased on a plaque or a gravestone their presence is still felt..
they dead are still present as active elders. We must not forget them. THE ANCESTORS are elders who are now dead.
Mark Rylance’s ceremeny at the Globe to welcome the ancestors to the new globe was powerful.
WE ourselves were already present in the thoughts of our ancestors before we were born.
I was very excited about getting our relatives/elders to the next D&D.
I made a personal commitment to move forward on the Eldership project as a performance ritual for the Improbable company soon.
ACTION POINTS:
Tell people they wont have to do weird shit or too physical theatre exercises if they dont want!
Lets look after the tenor of the environment..
look after the silent ones.
Could I would I bring my Grandmother here?
Lets include the Older people in our lives.
lets have a monthly D&D about this?
Email people who we want to come.
Think of a simple way to honour the elders in our everyday life this week and do it!
Someone talked about a plaque they walked past on their way to work and it says”
“ROY BYFORD ACTOR” and this made him feel proud to be an act
Showing posts with label access. Show all posts
Showing posts with label access. Show all posts
Friday, 5 February 2010
Thursday, 4 February 2010
078 Intergenerational work – how do we make and produce it
Convener: Lynnette Moran
Participants: Niamh Mc Cann, Jonathan Petherby, Dominic Campbel, Rebecca – from mercury theatre, Mark Phoenix, Jack Klaff
Summary of discussion, conclusions and/or recommendations:
The starting point for the conversation was a look at the number of platforms available to emerging artists…a lot of emerging is happening. However where are the platforms for artists who have been making work for 30, 40 or 50 + years?
Why is their a general expectation that the work of older artists will be retrospective as opposed to innovative, current, contemporary and culturally relevant…or does this expectation exist?
Does innovation and the theatre of the future belong to emerging artists or is this ownership shared with longer practicing artists?
How do we generate platforms, events, opportunities and funding to support this development of older artist?
It was noted through specific examples that longevity in a theatre maker’s career affords the artist a type of luxury - to refine methodologies, document work, simplify processes, choose projects carefully, condense touring etc.
However in contrast this luxurious status also defines the levels of ‘risk’ that can take place. How can an established theatre maker, normally associated with the main stage generate new experimentation, play smaller spaces, scratch and test ideas, new collaborations, forms and techniques? Where is the space for constructive risk and failure?
What are the contrasts and tensions that are derived from an older artist asking a younger artist for advice or mentoring - as opposed to a younger artist asking an older artist for mentoring or advice?
We discussed presentation, audience and frameworks.
It was noted that the first generation of experimental theatre makers, performance artists and dancer/choreographers are just reaching their 80’s now. In a sense the innovation of older artists is relatively new territory.
We also discussed the changes in structure and form applied by maturing experimental companies – and we collectively look forward to watching other companies develop over time.
How do we define ‘generation’? What is it perceived to be?
Is it age brackets such as 20 – 30, 30-40, and 40 – 50?
Or is it schools of thought – different generations of learning or types of training?
Schools of Thought V’s Age Brackets
It was decided amongst the group the term ‘intergenerational’ was not suitable to best describe the exchange that takes place between younger and older artists – however we were undecided what an alternative term could be however the group agreed they could identify the primary potential that intergenerational work offered was through ‘an exchange of language’, so perhaps this is was good starting point.
Participants: Niamh Mc Cann, Jonathan Petherby, Dominic Campbel, Rebecca – from mercury theatre, Mark Phoenix, Jack Klaff
Summary of discussion, conclusions and/or recommendations:
The starting point for the conversation was a look at the number of platforms available to emerging artists…a lot of emerging is happening. However where are the platforms for artists who have been making work for 30, 40 or 50 + years?
Why is their a general expectation that the work of older artists will be retrospective as opposed to innovative, current, contemporary and culturally relevant…or does this expectation exist?
Does innovation and the theatre of the future belong to emerging artists or is this ownership shared with longer practicing artists?
How do we generate platforms, events, opportunities and funding to support this development of older artist?
It was noted through specific examples that longevity in a theatre maker’s career affords the artist a type of luxury - to refine methodologies, document work, simplify processes, choose projects carefully, condense touring etc.
However in contrast this luxurious status also defines the levels of ‘risk’ that can take place. How can an established theatre maker, normally associated with the main stage generate new experimentation, play smaller spaces, scratch and test ideas, new collaborations, forms and techniques? Where is the space for constructive risk and failure?
What are the contrasts and tensions that are derived from an older artist asking a younger artist for advice or mentoring - as opposed to a younger artist asking an older artist for mentoring or advice?
We discussed presentation, audience and frameworks.
It was noted that the first generation of experimental theatre makers, performance artists and dancer/choreographers are just reaching their 80’s now. In a sense the innovation of older artists is relatively new territory.
We also discussed the changes in structure and form applied by maturing experimental companies – and we collectively look forward to watching other companies develop over time.
How do we define ‘generation’? What is it perceived to be?
Is it age brackets such as 20 – 30, 30-40, and 40 – 50?
Or is it schools of thought – different generations of learning or types of training?
Schools of Thought V’s Age Brackets
It was decided amongst the group the term ‘intergenerational’ was not suitable to best describe the exchange that takes place between younger and older artists – however we were undecided what an alternative term could be however the group agreed they could identify the primary potential that intergenerational work offered was through ‘an exchange of language’, so perhaps this is was good starting point.
071 Access – How Do We Get Better?
Convener: Nick Sweeting
Participants: Various – please add name if you were there
Deepa Shastri, Nadine Ishani, Helen Pringle, Becci Haines
Summary of discussion, conclusions and/or recommendations:
- Attitude is all important
- Be inclusive – include “targeted’ groups in planning
- Look at what’s been done before inc research
- ACE funded buildings have obligations
- Opportunity of 2012 Paralympics – inc people with other languages – or general Olympics too but with Access
- Keep customers in mind
- Who do we influence?
- Theatres only open access at specific times and with specific companies
- A long ‘nagging’ journey
- Colour schemes…..affect everyone
- Internet – feedback forums
- Accessible print – RNIB Website – guideline – good example = New Wolsey
- Print matching audience
- Inc Marketing department in access discussions
- Mktg to Deaf audiences – awareness of signing and captions
- Access for immersive performances/1 to 1 performances – include Deaf and disabled people in the rehearsal/development process
- Signing/description for impro shows
ACTION
Not all the onus should be on Companies like Graeae and deafinitely Theatre –
non Deaf and disabled led companies need to get involved.
Nick and Improbable to enquire how to take things forward…..meet 2012 team – Steve Mannix?
Participants: Various – please add name if you were there
Deepa Shastri, Nadine Ishani, Helen Pringle, Becci Haines
Summary of discussion, conclusions and/or recommendations:
- Attitude is all important
- Be inclusive – include “targeted’ groups in planning
- Look at what’s been done before inc research
- ACE funded buildings have obligations
- Opportunity of 2012 Paralympics – inc people with other languages – or general Olympics too but with Access
- Keep customers in mind
- Who do we influence?
- Theatres only open access at specific times and with specific companies
- A long ‘nagging’ journey
- Colour schemes…..affect everyone
- Internet – feedback forums
- Accessible print – RNIB Website – guideline – good example = New Wolsey
- Print matching audience
- Inc Marketing department in access discussions
- Mktg to Deaf audiences – awareness of signing and captions
- Access for immersive performances/1 to 1 performances – include Deaf and disabled people in the rehearsal/development process
- Signing/description for impro shows
ACTION
Not all the onus should be on Companies like Graeae and deafinitely Theatre –
non Deaf and disabled led companies need to get involved.
Nick and Improbable to enquire how to take things forward…..meet 2012 team – Steve Mannix?
043 Gate-Keepers (or Obstructions to Involvement)
Convener: Stephen Darcy
Participants: Allen O’Leary, Kerry, Tim, John Spooner, Ellis, John
Summary of discussion, conclusions and/or recommendations:
What is a Gate-Keeper? Are we all gate – keepers in some way? Can we be more open?
For Writers; Perseverence….
The Gate Keeper is not necessarily an enemy. What are the agents – casting and literary looking for? A happy marriage? A positive relationship.
Directors usually want everyone to be ‘The One’.
We are Gate Keepers of the Language: ie for any non English speakers in this country we are the social/political/ cultural barrier… or facilitators. Eg doctor,social worker,dole officer,
Kerry said, “ I am a gate keeper…The artist must seek to find the right gate keeper. It’s a relationship.”
Why do we do it? The industry is like a machine. “In New Zealand I’m on the inside. Here I’m on the outside” (Allen O’Leary) Why do we persevere? Coz it’s more fun on the inside….
Obstructions: Please Add…
I’m not successful because………………………………………………………….
I’m wrong!
I’ve got the wrong body / hair / look / style / voice / colour / gender / ethnicity…………………………………………………………………………………
[Please Add]…………………………………………………………………………….
…………………………………………………………………………………………….
I haven’t met the right……………………………………………………………………
I haven’t done the leg-work / research / classes / training……………………..........
………………………………………………………………………………………………
I don’t have enough Talent! (the facilitator finds this point particularly controversial)……………………………………………………………………………
Thoughts;
Maybe it is the wrong gate.
Maybe I’m using the wrong key. Wrong lock ……………………..
Maybe Try and step away from the gate.
Is the gate an institution or person? I can chat to anyone in person ie Literary manager of the national. But I can’t pick up the phone and call. Pourquoi?
“I know lots of gate keepers. They’re lovely. If I ask them for a job it’s the end of the friendship.” John
I want to run the marathon in under 3 hours! I run it in 3.20. Success or Failure?
Conclusion:
Start your own party! And keep at it!
Participants: Allen O’Leary, Kerry, Tim, John Spooner, Ellis, John
Summary of discussion, conclusions and/or recommendations:
What is a Gate-Keeper? Are we all gate – keepers in some way? Can we be more open?
For Writers; Perseverence….
The Gate Keeper is not necessarily an enemy. What are the agents – casting and literary looking for? A happy marriage? A positive relationship.
Directors usually want everyone to be ‘The One’.
We are Gate Keepers of the Language: ie for any non English speakers in this country we are the social/political/ cultural barrier… or facilitators. Eg doctor,social worker,dole officer,
Kerry said, “ I am a gate keeper…The artist must seek to find the right gate keeper. It’s a relationship.”
Why do we do it? The industry is like a machine. “In New Zealand I’m on the inside. Here I’m on the outside” (Allen O’Leary) Why do we persevere? Coz it’s more fun on the inside….
Obstructions: Please Add…
I’m not successful because………………………………………………………….
I’m wrong!
I’ve got the wrong body / hair / look / style / voice / colour / gender / ethnicity…………………………………………………………………………………
[Please Add]…………………………………………………………………………….
…………………………………………………………………………………………….
I haven’t met the right……………………………………………………………………
I haven’t done the leg-work / research / classes / training……………………..........
………………………………………………………………………………………………
I don’t have enough Talent! (the facilitator finds this point particularly controversial)……………………………………………………………………………
Thoughts;
Maybe it is the wrong gate.
Maybe I’m using the wrong key. Wrong lock ……………………..
Maybe Try and step away from the gate.
Is the gate an institution or person? I can chat to anyone in person ie Literary manager of the national. But I can’t pick up the phone and call. Pourquoi?
“I know lots of gate keepers. They’re lovely. If I ask them for a job it’s the end of the friendship.” John
I want to run the marathon in under 3 hours! I run it in 3.20. Success or Failure?
Conclusion:
Start your own party! And keep at it!
038 Babies in Theatre
Convener: Morven Macbeth
Participants: lots of very generous, honest people to whom I’m grateful
Summary of discussion, conclusions and/or recommendations:
Opened with where I’m coming from on this Issue – which has over recent months become a massive issue for me – in all sorts of respects, the prospects of having a baby in this world ie the world of work / theatre all the way through to coming out of a screening of The Age of Stupid and thinking well there’s no way on earth I’m even going to consider having a baby and everything in between. It can be really really difficult to talk honestly and openly about this ‘issue’ – obviously it’s a very emotive subject and very easy to hit a nerve – so I hoped the Open Space would engender a free and genuine discussion about some or all of the above. Thoughts and descriptions of times in lives:
- a designer, had her baby at 24 and soon after became a single parent, spoke about not knowing any other designers with small children then, work is do-able in theatre rather than in film/tv, that her daughter will now happily sit through a tech
- what sorts of mums do we see on stage?
- ‘the death of creativity is a buggy in the hallway’
- the difference if there is a supportive partner with you and there is a share of childcare
- one is do-able – two is a different thing entirely…
- don’t worry about it – do it – no point in worrying about the consequences
- losing focus on getting work because something else if far more important to you
- oogly boogly – how babies come into our work, become part of it
- it all comes down to how determined and how courageous you are
- it goes SO fast – your 6 month old is 17 before you know it
- a one woman show made by a woman whose partner left her when she was 7 months pregnant, she made a show about it within a year of giving birth, had her second child 17 years later
- having a baby is like having another full time job
- freelancing being possible once one of the group had had her son, taking tax credits etc into account
- not being able to see as much live theatre – not the time to – a place where ‘digital theatre’ comes into it’s own
- you end up talking to people you’d never have spoken to before
- example given of the Unicorn Theatre – attitude, changing the way you think, the way you physically bring up your children, the environment you create is up to you and the people around you
- involving children in rehearsal process – playing
- example given of a meeting with an agent being effectively ‘over’ having gone well when the question of age, being in a long term relationship came up because all that added up to having babies and therefore being ‘no use’ to him. Point made that a co-operative would be genuinely unlikely to take that attitude, as would many agents
- hearing a lot about people’s skills developing after they’ve had children, if you acknowledge that you may not want to perform for a year, 18 months, 3 years or whatever having had a baby then what else can you do, what other areas do your current skills lead you towards?
- having children focuses you
- it’s like open space – whatever happens happens, whenever it starts is the right time for it to start
- how do you tour with a 13 month old? Using a local child-minder? What if something goes wrong, the minder can’t get there and you can’t get to the theatre? It’s not like an office where you can call in to tell them you can’t make it in today. ACTION – encouraging theatres to have local childcare lists and child friendly digs lists available
- experience of regional theatres particularly being very positive and flexible over the arrangements that need to be made with actors who have children
- Equity are good in terms of offering advice in certain areas eg benefits available to you
- rep theatres used to have crèches in the olden days and apparently there used to be ‘homes’ for the children of touring actors, a bit like temporary foster care
- in terms of the ‘moral’ question point made that there’s the responsibility to ‘breed the good people’. That it falls under the remit of ‘if you don’t leave the house today you won’t get hit by a bus’ – you just can’t think like that
- parenting is a whole other ball game, a whole other session
Participants: lots of very generous, honest people to whom I’m grateful
Summary of discussion, conclusions and/or recommendations:
Opened with where I’m coming from on this Issue – which has over recent months become a massive issue for me – in all sorts of respects, the prospects of having a baby in this world ie the world of work / theatre all the way through to coming out of a screening of The Age of Stupid and thinking well there’s no way on earth I’m even going to consider having a baby and everything in between. It can be really really difficult to talk honestly and openly about this ‘issue’ – obviously it’s a very emotive subject and very easy to hit a nerve – so I hoped the Open Space would engender a free and genuine discussion about some or all of the above. Thoughts and descriptions of times in lives:
- a designer, had her baby at 24 and soon after became a single parent, spoke about not knowing any other designers with small children then, work is do-able in theatre rather than in film/tv, that her daughter will now happily sit through a tech
- what sorts of mums do we see on stage?
- ‘the death of creativity is a buggy in the hallway’
- the difference if there is a supportive partner with you and there is a share of childcare
- one is do-able – two is a different thing entirely…
- don’t worry about it – do it – no point in worrying about the consequences
- losing focus on getting work because something else if far more important to you
- oogly boogly – how babies come into our work, become part of it
- it all comes down to how determined and how courageous you are
- it goes SO fast – your 6 month old is 17 before you know it
- a one woman show made by a woman whose partner left her when she was 7 months pregnant, she made a show about it within a year of giving birth, had her second child 17 years later
- having a baby is like having another full time job
- freelancing being possible once one of the group had had her son, taking tax credits etc into account
- not being able to see as much live theatre – not the time to – a place where ‘digital theatre’ comes into it’s own
- you end up talking to people you’d never have spoken to before
- example given of the Unicorn Theatre – attitude, changing the way you think, the way you physically bring up your children, the environment you create is up to you and the people around you
- involving children in rehearsal process – playing
- example given of a meeting with an agent being effectively ‘over’ having gone well when the question of age, being in a long term relationship came up because all that added up to having babies and therefore being ‘no use’ to him. Point made that a co-operative would be genuinely unlikely to take that attitude, as would many agents
- hearing a lot about people’s skills developing after they’ve had children, if you acknowledge that you may not want to perform for a year, 18 months, 3 years or whatever having had a baby then what else can you do, what other areas do your current skills lead you towards?
- having children focuses you
- it’s like open space – whatever happens happens, whenever it starts is the right time for it to start
- how do you tour with a 13 month old? Using a local child-minder? What if something goes wrong, the minder can’t get there and you can’t get to the theatre? It’s not like an office where you can call in to tell them you can’t make it in today. ACTION – encouraging theatres to have local childcare lists and child friendly digs lists available
- experience of regional theatres particularly being very positive and flexible over the arrangements that need to be made with actors who have children
- Equity are good in terms of offering advice in certain areas eg benefits available to you
- rep theatres used to have crèches in the olden days and apparently there used to be ‘homes’ for the children of touring actors, a bit like temporary foster care
- in terms of the ‘moral’ question point made that there’s the responsibility to ‘breed the good people’. That it falls under the remit of ‘if you don’t leave the house today you won’t get hit by a bus’ – you just can’t think like that
- parenting is a whole other ball game, a whole other session
021 Outdoor Theatre in the Winter
Convener: Sophie Austin
Participants: Sophie. Andrew, Kas, Lwin, Su Su, jill, Paul, Jonathan
Summary of discussion, conclusions and/or recommendations:
We discussed the idea of creating a promenade theatre piece specifically for an outdoor space in winter.
1. When doing outdoor theatre in the winter you need to think about the following:
Toilets – how many?
Power – generators? Noise, distance cabling
How not to make actors ill – heaters, space blankets, hot water bottles, gazebos
Voice – how to ensure an actor is heard? Well trained actors, good warms ups, employ speech/sound expert to suggest set possibilities for improving sound.
3 key people - Director, producer & events manager – someone who can focus on the audience experience
Access – Clear pathways, how to lead people round, speed of promenade, ensure good communication with the audience and performers. Ask experts like Graeae, Extant or Shape
Length of time of show – how long should it be? Should we ensure that people are moving all the time?
Should the audience be able to see everything?
Ensure you communicate with the audience – be clear – it is going to rain, it is going to snow. BE PREPARED.
You can’t guess the weather, prepare for every eventuality.
Lighting – torches, hurricane lanterns, flares, floating candles, glow sticks, fire
Offer a hot drink at some point during the show.
Are the good audience of Britain willing to come to outdoor theatre in the winter? As long as you are honest and communicate the ‘risks’ involved, they will come.
The general consensus was that the show must go on.
All who contributed go very inspired by the possibilities and not too bogged down in the inevitable health and safety conundrums – that’s probably for a different sessions.
Participants: Sophie. Andrew, Kas, Lwin, Su Su, jill, Paul, Jonathan
Summary of discussion, conclusions and/or recommendations:
We discussed the idea of creating a promenade theatre piece specifically for an outdoor space in winter.
1. When doing outdoor theatre in the winter you need to think about the following:
Toilets – how many?
Power – generators? Noise, distance cabling
How not to make actors ill – heaters, space blankets, hot water bottles, gazebos
Voice – how to ensure an actor is heard? Well trained actors, good warms ups, employ speech/sound expert to suggest set possibilities for improving sound.
3 key people - Director, producer & events manager – someone who can focus on the audience experience
Access – Clear pathways, how to lead people round, speed of promenade, ensure good communication with the audience and performers. Ask experts like Graeae, Extant or Shape
Length of time of show – how long should it be? Should we ensure that people are moving all the time?
Should the audience be able to see everything?
Ensure you communicate with the audience – be clear – it is going to rain, it is going to snow. BE PREPARED.
You can’t guess the weather, prepare for every eventuality.
Lighting – torches, hurricane lanterns, flares, floating candles, glow sticks, fire
Offer a hot drink at some point during the show.
Are the good audience of Britain willing to come to outdoor theatre in the winter? As long as you are honest and communicate the ‘risks’ involved, they will come.
The general consensus was that the show must go on.
All who contributed go very inspired by the possibilities and not too bogged down in the inevitable health and safety conundrums – that’s probably for a different sessions.
Wednesday, 3 February 2010
012 Why are so few creative jobs publicly advertised?
Convener: Ellan Parry
Participants: Kate Lane, Sarah Grange, Samal Blak, Chris Grady, Mark Price, Rosanne Peak Payne
Summary of discussion, conclusions and/or recommendations:
If you think about how much theatre is produced in this country, probably something like 1 in 1000 creative jobs is publicly advertised. Labour laws exist to protect people from this in other industries, so why is it ignored in ours? Technical, backstage and admin jobs seem much more often to be publicly advertised, is this because unions such as BECTU are better at ensuring this, or is it because people don’t care enough about techies to be nepotistic?
Most of the people making the decisions in theatre, particularly at the highest levels, all seem to have gone to school or Oxbridge with each other.
Collaborative nature of theatre means that people form creative partnerships and ensembles, meaning that they’re more comfortable working with people they know and have worked with before. But good things can happen when people go outside their comfort zone and work with new people.
Theatre can feel like a closed club – fine if you’re a member, difficult if you’re not, and very hard to get into if you don’t know the right people.
The accepted route in theatre of starting out by working for free will tend to filter out the non-wealthy.
SOLUTIONS:
Go to Oxbridge. One of the group had a friend who was taking three years out of her career to do a BA at Cambridge mainly in order to meet ‘the right people’.
Don’t be afraid to approach people, seek them out to ask advice etc, build up relationships.
Let’s lobby Equity. Get them to force the National Theatre (as it’s supposed to be for the public, funded by public money) to publicly advertise not only technical posts but director, designer jobs etc. If not for all its shows then maybe just one per season? Let’s make this happen by next year! Start a petition.
Problem with publicly advertising jobs at major theatres – potentially swamped with unsuitable applicants. Solution: DEAL WITH IT. Employer’s responsibility to filter applications as in any other industry, also word advertisement so that level of skill and experience required is clear. The graphic design world has a better model – jobs are advertised, and there’s an accepted scale, so companies can advertise for a ‘mid-weight’ designer etc – could we not adopt this model?
Nepotism is ultimately bad for theatre as well as the people who work in it – leads to stagnant and samey work – let’s open the doors.
www.artsjobs.org.uk - there are loads of sites like this advertising work in smaller organizations – degree of immediate gratification/high job which isn’t the norm. Free sites are used to v. v. v. good effect but you have to scour.
Participants: Kate Lane, Sarah Grange, Samal Blak, Chris Grady, Mark Price, Rosanne Peak Payne
Summary of discussion, conclusions and/or recommendations:
If you think about how much theatre is produced in this country, probably something like 1 in 1000 creative jobs is publicly advertised. Labour laws exist to protect people from this in other industries, so why is it ignored in ours? Technical, backstage and admin jobs seem much more often to be publicly advertised, is this because unions such as BECTU are better at ensuring this, or is it because people don’t care enough about techies to be nepotistic?
Most of the people making the decisions in theatre, particularly at the highest levels, all seem to have gone to school or Oxbridge with each other.
Collaborative nature of theatre means that people form creative partnerships and ensembles, meaning that they’re more comfortable working with people they know and have worked with before. But good things can happen when people go outside their comfort zone and work with new people.
Theatre can feel like a closed club – fine if you’re a member, difficult if you’re not, and very hard to get into if you don’t know the right people.
The accepted route in theatre of starting out by working for free will tend to filter out the non-wealthy.
SOLUTIONS:
Go to Oxbridge. One of the group had a friend who was taking three years out of her career to do a BA at Cambridge mainly in order to meet ‘the right people’.
Don’t be afraid to approach people, seek them out to ask advice etc, build up relationships.
Let’s lobby Equity. Get them to force the National Theatre (as it’s supposed to be for the public, funded by public money) to publicly advertise not only technical posts but director, designer jobs etc. If not for all its shows then maybe just one per season? Let’s make this happen by next year! Start a petition.
Problem with publicly advertising jobs at major theatres – potentially swamped with unsuitable applicants. Solution: DEAL WITH IT. Employer’s responsibility to filter applications as in any other industry, also word advertisement so that level of skill and experience required is clear. The graphic design world has a better model – jobs are advertised, and there’s an accepted scale, so companies can advertise for a ‘mid-weight’ designer etc – could we not adopt this model?
Nepotism is ultimately bad for theatre as well as the people who work in it – leads to stagnant and samey work – let’s open the doors.
www.artsjobs.org.uk - there are loads of sites like this advertising work in smaller organizations – degree of immediate gratification/high job which isn’t the norm. Free sites are used to v. v. v. good effect but you have to scour.
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