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 diversity. Show all posts
Showing posts with label diversity. Show all posts
Friday, 5 February 2010
103 Am I too Old?
Convener: Mary O’Connor
Participants: Gary Horsman,Simon Pittmon, Rod Dixon, Joe Austin, Louise Jeffreys,Alison Goldie, Sally Rose, Adam Brace,Tim Taylor,Dee evans, Clare Fischer, Daniel Copeland,Lee Simpson, Adrian Gillott, David Lff, Barry Wilson, Robin Geffry
(apologies if I spelt your name wrong)
Am I too old?
A question that is hanging around the air (I’m 45) . “I’m not bitter” was an addendum to the title because this session was not to be about complaining about not being young.
Stories are old
Are we obsessed about new and young?... what does that mean?
(young audience etc, theatre for youth.) Many audience promo ideas are youth focused. How and why ? before they go off the rails?
Though in the music industry it is largely performed by youth, the audiences now are diverse and allowed. Young Vic in ’98 ran a programme to get anyone in to watch theatre regardless of age. London wide cheap tickets No assumptions made and it was successful.
Programmes run in Yorkshire 18+ and older people do apply. some young people don’t believe they will live beyond 30.pressures and sense of responsibility for a world that was dying anyway a darkness in the future. limit a long-term-view.
Young people can take on unpaid work. They can afford to. Younger audiences will come they just need to be asked.
New audiences are not necessarily young. New in theatre is not necessarily created by /from young people./ new generations.
We came to the conclusion that there was a handicap around trying to get to a place in your artistic career by a certain age; that it could be limiting.
Experience of one woman director; she felt discrimination, felt too old.
We talked about NOW how that is important, nobody is too old /young just get on with it.. being older means “we hold ourselves back” “they’re going to think I’m too old/ not accepted” “I’m measured by what I have directed” we need to get over this view. Get on with NOW. Another woman director went to drama school in mid ‘40’s. “when you are older you have background, I came out with a toolbox. No-one said I was too old” RSC didn’t turn her down when she applied to be an assistant director. ‘though the Haymarket does limit access to older directors.
Someone’s experience , big questions: Am I too old to return to theatre? How? I was born into it, I went to Drama Centre. is it too late for me to find a mentor?
Then his experiences of being a young “arrogant” 20 year old at drama school excluding a 40+ student in his year group, marginalised them . This sowed the seeds for his current self-limiting.Prejudices that are created in our youth and we carry as we mature without realising it to prejudice ourselves. Self fulfilling prophecy.
We can choose weather we collude with the prejudices (even we hold against our own aging) or not. Noticing that .Older people put themselves into and are put into roles.
Being Bitter
We noticed that old and bitter was negative.
young and bitter was a healthy angst
What do we do/ how can we not be bitter? Answers found in Buddhism/meditation/reflection.
“I’m not bitter now but I have been “
Owning up and facing what has to be done. Bitterness exists in young people in theatre not only older people.
Peer Mentoring
We talked around this . We are different.don’t worry about the differences. There are differences between being 60 or 20.find a point of contact. Don’t want to wait to enforce/prescribe interaction. Find a point of contact.Mutual learning where in the right environment and context age is ignored.common will and purpose can cross boundaries of age. Don’t patronize. Don’t step into a role that isn’t asked for (ie offering advice-being patronizing)
Death of amateur theatre due to lack of space, we talked about finding space squatting in spaces to rehearse.
What is the role of arts centre, for everyone?
.we can Be vigilant, look after ourselves and look after older people in our families and community.
Making mistakes is ok, learning from beginning to end.
091 Political correctness: can there be too much?
Convener: Sandra Yee
Participants: Lisa Hammond, Deepa Shastri, Chris, Meenakshi, Anouk, Sheena, Honour, Sarah, Jonny, Charlie F., Gerard, Chris W., Cherylee, Jenny Moule
Summary of discussion, conclusions and/or recommendations:
Casting Issue:
Should it be colour-blind / not sexuality-specific / disability-blind / etc…?
When specifying requirements for a role, are these specifications of visual appearance (or otherwise) real and true or are these specifications superficial and approximate, or based on perception.
Eg. If a white male is required, does a nearly white male get the job?
If the part calls for a disability, does an able-bodied actor get the part?
(As in ‘My Left Foot’ with Daniel Day Lewis)
Therefore how do we define merit/suitability for a role?
Obviously, we can only work with the people that are accessible. This leads to regional tendencies and decisions. Is this acceptable?
Does text-based theatre, devised theatre or other theatre have their own tendencies with casting decisions?
Responsibility for ‘political correctness’ and learning about it lies on BOTH SIDES: with the potential discriminatee and the decision-maker.
Example: If a South Asian performer gets the part that was open to anyone, how does that performer feel confident that they did not get the part purely for the theatre company to tick its boxes (by cultural diversity) and not by their own merit?
The motives can be ambiguous, not only for the theatre company but also for the audience who may think that that performer got the part BECAUSE they were South Asian.
Obviously, clarity is needed if there is ambiguity. In Employment Contract, Director’s Note, in conversation.
When ‘Cat On A Hot Tin Roof’ was performed with an all-black cast, is there not a Novelty aspect to hook the punter?
Aim for Political Correctness to be non-existent and not an issue.
Also, Taboo subjects and their treatment in Comedy.
Isn’t Political Correctness just an extension of plain Good Manners? To avoid hurting another person’s feelings.
We may inherit our use of our LANGUAGE, the spoken word, from our parents without knowing the true meanings of certain terms, phrases or WORDS.
We remembered the LANGUAGE used by certain Stand-up Comedians of the past that was definitely not P.C.
Are JOKES aimed at yourself OK or Not OK, if you are a minority, eg. Disabled and/or Chinese? Does it not just reinforce the Stereotypes? Should you take responsibility and avoid making those jokes?
“We are all different, yet all the same”
For the Future:
Good to have Post-Show discussions/Q & A sessions to air these topics/issues/matters.
Avoid Tokenism
Maybe have sessions called “Don’t Worry – You Can Get It Wrong” where we can speak out loud all the non-PC terms without return (cathartic?)
Need to allow space to Learn what is P.C. or Not P.C.
Sometimes we need permission to laugh. A group can give or not give permission to be non-P.C.
And to laugh at Non-PC jokes, is that a real or false laugh, a laugh at the people who are laughing, or a laugh at the people who are laughing at the people who are laughing, or.……..etc? And can we tell the difference.
‘Political Correctness’ brings up so much F-E-A-R…
IT’s not easy!
Respect each other.
Need to Test P.C. boundaries to find out where they are.
Learn from mistakes.
P.C. gaffes might be done –innocently – and with a Good Heart.
It is all too easy and natural to Stop Speaking/Conversing – to avoid showing ignorance. Eg. “asian” can be too general. Also can be too specific!
Issue of Authenticity.
“England People Very Nice” by Richard Bean at National Theatre. A controversial play relevant to topic.
“P.C.”, the term, has been HIJACKED
“P.C” ???? Or “Why can’t I be racist anymore?” ????
Why are these Discussions / Chats usually with people that are probably Already Converted ? (Chris mentioned ‘white middle-class males’ were mos
Participants: Lisa Hammond, Deepa Shastri, Chris, Meenakshi, Anouk, Sheena, Honour, Sarah, Jonny, Charlie F., Gerard, Chris W., Cherylee, Jenny Moule
Summary of discussion, conclusions and/or recommendations:
Casting Issue:
Should it be colour-blind / not sexuality-specific / disability-blind / etc…?
When specifying requirements for a role, are these specifications of visual appearance (or otherwise) real and true or are these specifications superficial and approximate, or based on perception.
Eg. If a white male is required, does a nearly white male get the job?
If the part calls for a disability, does an able-bodied actor get the part?
(As in ‘My Left Foot’ with Daniel Day Lewis)
Therefore how do we define merit/suitability for a role?
Obviously, we can only work with the people that are accessible. This leads to regional tendencies and decisions. Is this acceptable?
Does text-based theatre, devised theatre or other theatre have their own tendencies with casting decisions?
Responsibility for ‘political correctness’ and learning about it lies on BOTH SIDES: with the potential discriminatee and the decision-maker.
Example: If a South Asian performer gets the part that was open to anyone, how does that performer feel confident that they did not get the part purely for the theatre company to tick its boxes (by cultural diversity) and not by their own merit?
The motives can be ambiguous, not only for the theatre company but also for the audience who may think that that performer got the part BECAUSE they were South Asian.
Obviously, clarity is needed if there is ambiguity. In Employment Contract, Director’s Note, in conversation.
When ‘Cat On A Hot Tin Roof’ was performed with an all-black cast, is there not a Novelty aspect to hook the punter?
Aim for Political Correctness to be non-existent and not an issue.
Also, Taboo subjects and their treatment in Comedy.
Isn’t Political Correctness just an extension of plain Good Manners? To avoid hurting another person’s feelings.
We may inherit our use of our LANGUAGE, the spoken word, from our parents without knowing the true meanings of certain terms, phrases or WORDS.
We remembered the LANGUAGE used by certain Stand-up Comedians of the past that was definitely not P.C.
Are JOKES aimed at yourself OK or Not OK, if you are a minority, eg. Disabled and/or Chinese? Does it not just reinforce the Stereotypes? Should you take responsibility and avoid making those jokes?
“We are all different, yet all the same”
For the Future:
Good to have Post-Show discussions/Q & A sessions to air these topics/issues/matters.
Avoid Tokenism
Maybe have sessions called “Don’t Worry – You Can Get It Wrong” where we can speak out loud all the non-PC terms without return (cathartic?)
Need to allow space to Learn what is P.C. or Not P.C.
Sometimes we need permission to laugh. A group can give or not give permission to be non-P.C.
And to laugh at Non-PC jokes, is that a real or false laugh, a laugh at the people who are laughing, or a laugh at the people who are laughing at the people who are laughing, or.……..etc? And can we tell the difference.
‘Political Correctness’ brings up so much F-E-A-R…
IT’s not easy!
Respect each other.
Need to Test P.C. boundaries to find out where they are.
Learn from mistakes.
P.C. gaffes might be done –innocently – and with a Good Heart.
It is all too easy and natural to Stop Speaking/Conversing – to avoid showing ignorance. Eg. “asian” can be too general. Also can be too specific!
Issue of Authenticity.
“England People Very Nice” by Richard Bean at National Theatre. A controversial play relevant to topic.
“P.C.”, the term, has been HIJACKED
“P.C” ???? Or “Why can’t I be racist anymore?” ????
Why are these Discussions / Chats usually with people that are probably Already Converted ? (Chris mentioned ‘white middle-class males’ were mos
085 Process Vs Outcome when working with disadvantaged groups
Convener: ilana Winterstein
Participants: Simon Day, Sharon Matthews, Deepa Shastri, Aaron Minnigin, Marie Kenny, Jennifer Pearcy-Edwards, Katherine Maxwell-Cook, Jennifer Lunn, with other people dropping in and out
Summary of discussion, conclusions and/or recommendations:
What do we mean by disadvantaged? To encompass refugee/asylum seeker groups, disabled, youth out of education, etc.
Practitioners self-impose the pressure of having an ‘outcome’. Assumption by funders/ leaders/ participants that there will be some sort of formal outcome.
Does the process sometimes block the ability to create? Example referenced of sign language captioning in theatre creating a barrier for mainstream audiences. Does the process help or hinder the outcome?
Book suggested: Chris Johnson ‘House of Games’. Deals with process, outcomes, expectations, etc.
American company ‘ City At Peace’ run by Paul Griffin. Improve your process y aiming at the highest quality outcome. Process vs outcome = not mutually exclusive. It doesn’t need to be a fight between these.
Cultural nuances – involve a mediator.
Ensure that there are support networks in place. Be honest with yourself and the group about your skills/limitations – eg. Not a drama therapist but a drama practitioner. Be honest about the things you don’t know. Ask the group eg. Cultural norms/taboos.
Arts industry/art viewed as a commodity in the UK. Who is qualified to judge? If art is a form of expression then it becomes problematic to put a value on it. The notion of ‘good and bad’ for an outcome is problematic in itself. Should you force a process to ensure a ‘good’ end product?
Establish your own value systems at the start of a project. Allow participants to decide what is valuable, eg. Turning up regularly to rehearsals may be an achievement. Be specific to the group and group dynamics.
Identify your objectives from the start. For example the theatre project working with asylum seekers aims to give participants a sense of empowerment.
Companies who work with refugees: Ice and Fire. Creative Roots.
Create a safe space. Key to establishing confidence within a group.
Always important to have something to work towards. The process becomes more valuable if there is an end goal, eg. Performance, but be aware that performance can take many different forms eg. Video of rehearsal process.
Use Open Space. If there are language barriers could use objects to initiate open space.
Assume nothing. Make the implicit explicit. Start from the basics when beginning.
As a facilitator really listen to what the group wants, their specifics.
Be in the process and allow it to lead the way
Participants: Simon Day, Sharon Matthews, Deepa Shastri, Aaron Minnigin, Marie Kenny, Jennifer Pearcy-Edwards, Katherine Maxwell-Cook, Jennifer Lunn, with other people dropping in and out
Summary of discussion, conclusions and/or recommendations:
What do we mean by disadvantaged? To encompass refugee/asylum seeker groups, disabled, youth out of education, etc.
Practitioners self-impose the pressure of having an ‘outcome’. Assumption by funders/ leaders/ participants that there will be some sort of formal outcome.
Does the process sometimes block the ability to create? Example referenced of sign language captioning in theatre creating a barrier for mainstream audiences. Does the process help or hinder the outcome?
Book suggested: Chris Johnson ‘House of Games’. Deals with process, outcomes, expectations, etc.
American company ‘ City At Peace’ run by Paul Griffin. Improve your process y aiming at the highest quality outcome. Process vs outcome = not mutually exclusive. It doesn’t need to be a fight between these.
Cultural nuances – involve a mediator.
Ensure that there are support networks in place. Be honest with yourself and the group about your skills/limitations – eg. Not a drama therapist but a drama practitioner. Be honest about the things you don’t know. Ask the group eg. Cultural norms/taboos.
Arts industry/art viewed as a commodity in the UK. Who is qualified to judge? If art is a form of expression then it becomes problematic to put a value on it. The notion of ‘good and bad’ for an outcome is problematic in itself. Should you force a process to ensure a ‘good’ end product?
Establish your own value systems at the start of a project. Allow participants to decide what is valuable, eg. Turning up regularly to rehearsals may be an achievement. Be specific to the group and group dynamics.
Identify your objectives from the start. For example the theatre project working with asylum seekers aims to give participants a sense of empowerment.
Companies who work with refugees: Ice and Fire. Creative Roots.
Create a safe space. Key to establishing confidence within a group.
Always important to have something to work towards. The process becomes more valuable if there is an end goal, eg. Performance, but be aware that performance can take many different forms eg. Video of rehearsal process.
Use Open Space. If there are language barriers could use objects to initiate open space.
Assume nothing. Make the implicit explicit. Start from the basics when beginning.
As a facilitator really listen to what the group wants, their specifics.
Be in the process and allow it to lead the way
Thursday, 4 February 2010
080 Ethnic Theatre
Convener: Amy Ip
Participants: Anouk Mishti, Bindy Asolanki, Amanda, Angela Clerkin
Summary of discussion, conclusions and/or recommendations:
The session was called by Amy who is a Chinese actress and has found the terminology and execution of ethnic or culturally specific theatre to be confusing. It was posed that if we are aiming for a culturally diverse theatre, why are ethnic specific theatres still around? It was acknowledged that they may be a “necessary evil” as some people feel that they need to explore this aspect of their lives. However, is this type of theatre and mentality only serving to further “ghetto-ise” people’s thinking into believing that they are so different from the majority?
Anouk observed that due to the Art’s Council remit about serving different ethnic groups, it can sometimes be easy just to “tick boxes” regarding the ethnic criteria in order to secure funding to get a project off the ground. However, this was seen as potentially harmful as then you are just perhaps perpetuating cultural stereotypes according to what the ACE deigns to be a positive cultural representation.
Amy noted that maybe her view on ethnic theatre may well be prejudiced in itself as she had not really experienced marginalised behaviour to herself in cross-cultural casting. She has not found it necessary to solely aim for theatre that discusses her own ethnicity as has never found it a barrier in casting, particularly in theatre. Other people she knows has found this to be the case and have therefore opted to go for more ethnic specific work.
Amanda also noted that some ethnic theatre groups can over-emphasise issues as being culturally specific when in fact they are universal themes. A case in point was a Talawa production which focused on domestic violence which though is an issue suffered by many people across the world, she found that the play really seemed to imply that it was predominantly a South Asian female problem.
It was discussed that maybe though the point of ethnic theatre groups is to increase diversity in the theatre sector and does give certain people a voice, it can also make the theatre world more divisive rather than diverse.
Participants: Anouk Mishti, Bindy Asolanki, Amanda, Angela Clerkin
Summary of discussion, conclusions and/or recommendations:
The session was called by Amy who is a Chinese actress and has found the terminology and execution of ethnic or culturally specific theatre to be confusing. It was posed that if we are aiming for a culturally diverse theatre, why are ethnic specific theatres still around? It was acknowledged that they may be a “necessary evil” as some people feel that they need to explore this aspect of their lives. However, is this type of theatre and mentality only serving to further “ghetto-ise” people’s thinking into believing that they are so different from the majority?
Anouk observed that due to the Art’s Council remit about serving different ethnic groups, it can sometimes be easy just to “tick boxes” regarding the ethnic criteria in order to secure funding to get a project off the ground. However, this was seen as potentially harmful as then you are just perhaps perpetuating cultural stereotypes according to what the ACE deigns to be a positive cultural representation.
Amy noted that maybe her view on ethnic theatre may well be prejudiced in itself as she had not really experienced marginalised behaviour to herself in cross-cultural casting. She has not found it necessary to solely aim for theatre that discusses her own ethnicity as has never found it a barrier in casting, particularly in theatre. Other people she knows has found this to be the case and have therefore opted to go for more ethnic specific work.
Amanda also noted that some ethnic theatre groups can over-emphasise issues as being culturally specific when in fact they are universal themes. A case in point was a Talawa production which focused on domestic violence which though is an issue suffered by many people across the world, she found that the play really seemed to imply that it was predominantly a South Asian female problem.
It was discussed that maybe though the point of ethnic theatre groups is to increase diversity in the theatre sector and does give certain people a voice, it can also make the theatre world more divisive rather than diverse.
079 Youth Theatre – how to get them involved
Convener: Martin McLean
Participants: Rebecca Hall, Amy Ip + 3 more.
Summary of discussion, conclusions and/or recommendations:
• Rebecca talked about Colchester’s youth project. Has several age groups. Setting up youth group can be challenging – set up a new group in Clacton but it failed through lack of numbers.
• One man talked about working with young people in Newham. Have a lot of interest there. Talked about one occasion when the drama leader actually went out on the streets to find young people and bring them along to the group.
• Martin talked about the challenges of running a youth project for Deafinitely Theatre. Tough because of targets set by the funders although there are enough young deaf people in London interested in drama to set up a group.
• Amy talked about working with a youth theatre group in Islington. Can be a challenge to keep young people coming to the group but she found that using discipline helps! She marketed at very specific groups such as the Chinese community through their newsletters.
• A woman who worked for a company based in Liverpool talked about her experiences of setting up youth groups for Deaf and disabled young people. She is currently producing a guidebook for drama workshop leaders working with disabled groups.
Participants: Rebecca Hall, Amy Ip + 3 more.
Summary of discussion, conclusions and/or recommendations:
• Rebecca talked about Colchester’s youth project. Has several age groups. Setting up youth group can be challenging – set up a new group in Clacton but it failed through lack of numbers.
• One man talked about working with young people in Newham. Have a lot of interest there. Talked about one occasion when the drama leader actually went out on the streets to find young people and bring them along to the group.
• Martin talked about the challenges of running a youth project for Deafinitely Theatre. Tough because of targets set by the funders although there are enough young deaf people in London interested in drama to set up a group.
• Amy talked about working with a youth theatre group in Islington. Can be a challenge to keep young people coming to the group but she found that using discipline helps! She marketed at very specific groups such as the Chinese community through their newsletters.
• A woman who worked for a company based in Liverpool talked about her experiences of setting up youth groups for Deaf and disabled young people. She is currently producing a guidebook for drama workshop leaders working with disabled groups.
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?
060 Does theatre still have a social and moral responsibility?
Convener: Jo Faith
Participants: Sarah Grochala, Ellen Parousi, Lou Platt, Meenakshi, Helen Pringle, Joe Austin, Aaron Mirrigin, Dannie Laybell, Sharon Matthews
Summary of discussion, conclusions and/or recommendations:
Buzz words / ideas – ‘Structures’, ‘Education’, ‘choices of individuals’, ‘Aesthetic v political / deeper meanings’, ‘provoking’, ‘’role of theatre’, ‘types of practice’, ‘form’, ‘Faith’
Most people felt that theatre has a social responsibility, not everyone was sure about moral.
The word responsibility was questioned – ‘quite dry’ as opposed to the creative process. But we discussed how theatre should be seen as more ‘important’ in society, which raised a question about responsibility - we see schools as being responsible for our children, supermarkets as responsible for our food (daily needs), NHS responsible for our health… etc.
If the theatre wants more importance does it need to be more responsible?
Funding – there is often a need to have a social or moral stance to gain funding. Why is this? Should this be the case?
A director – spoke about his issue of conflict with social / moral responsibility when making theatre.
Writer – depends on the context.
Theatre – historically important as a means of passing on information.
Often messages are forgotten – information and awareness may be increased but the key message can be lost and not put into action. How can this be assessed? We are being modified and ‘transformed’ daily, surely, everything feeds into that process…
Is emotional connection as important as a mind / physical reaction? Or is it just pleasure? (essentially pornographic)
Arguably theatre that has a participatory / interactive element is more transformative.
Ongoing work has the most social benefit (working with ex-offenders, with regular contact)
Theatre so often works within the current political climate – not really addressing or challenging anything. (Often agrees with what people are already saying)
Question of Universal truths, moral framework that often the old playwrights were dealing with – many of these texts still used within the education system. Why?
Education failing to embrace enough diversity. Education should ‘provoke’. Discussed why teachers aren’t called ‘provokers’ therefore rather than ‘teachers’.
Education should teach the politics of ‘now’, aware of the fact that things, issues, students, change every year. Are there any solid truths that must always be acknowledged?
‘England People Very Nice’ a play that stirs up community, rather than encouraging good community relationships. The further degrading of victims.
Our moral and social responsibility is to educate people about issues.
Theatre draws together a wide spectrum of strangers to share ideas and raise discussion / debate.
Who is the theatre for?
People don’t like to be preached at, unless they agree with what is being preached!
Religions are stories…so is the theatre
Theatre shouldn’t try and tell everything, nothing in life does or can so neither should theatre be concerned about trying to do that.
Activism should be fun
Is theatre a social and moral act?
Provocation is ok, but a fun time is ok as well. A bad theatre experience is useful?
In the most unlikely places we find the beauty, truths
Often moral / social theatre is boring, long-winded, self-righteous.
Theatre should be using different forms, experimenting with form more.
Trend in social theatre again, why? People are disillusioned with politics, and want to voice this.
Trilogy – a joyful expression of women, questions about feminism still not resolved in society just more silent now. Why?
Social responsibility of theatre – to create a space where people can disagree.
Sense of responsibility of the playwright, the actors, the storytellers. The individual and collective responsibility. Where does personal morality operate within the structure? If theatre is all inclusive, it invites people with all beliefs and political opinions. So theatre will reflect these.
Participants: Sarah Grochala, Ellen Parousi, Lou Platt, Meenakshi, Helen Pringle, Joe Austin, Aaron Mirrigin, Dannie Laybell, Sharon Matthews
Summary of discussion, conclusions and/or recommendations:
Buzz words / ideas – ‘Structures’, ‘Education’, ‘choices of individuals’, ‘Aesthetic v political / deeper meanings’, ‘provoking’, ‘’role of theatre’, ‘types of practice’, ‘form’, ‘Faith’
Most people felt that theatre has a social responsibility, not everyone was sure about moral.
The word responsibility was questioned – ‘quite dry’ as opposed to the creative process. But we discussed how theatre should be seen as more ‘important’ in society, which raised a question about responsibility - we see schools as being responsible for our children, supermarkets as responsible for our food (daily needs), NHS responsible for our health… etc.
If the theatre wants more importance does it need to be more responsible?
Funding – there is often a need to have a social or moral stance to gain funding. Why is this? Should this be the case?
A director – spoke about his issue of conflict with social / moral responsibility when making theatre.
Writer – depends on the context.
Theatre – historically important as a means of passing on information.
Often messages are forgotten – information and awareness may be increased but the key message can be lost and not put into action. How can this be assessed? We are being modified and ‘transformed’ daily, surely, everything feeds into that process…
Is emotional connection as important as a mind / physical reaction? Or is it just pleasure? (essentially pornographic)
Arguably theatre that has a participatory / interactive element is more transformative.
Ongoing work has the most social benefit (working with ex-offenders, with regular contact)
Theatre so often works within the current political climate – not really addressing or challenging anything. (Often agrees with what people are already saying)
Question of Universal truths, moral framework that often the old playwrights were dealing with – many of these texts still used within the education system. Why?
Education failing to embrace enough diversity. Education should ‘provoke’. Discussed why teachers aren’t called ‘provokers’ therefore rather than ‘teachers’.
Education should teach the politics of ‘now’, aware of the fact that things, issues, students, change every year. Are there any solid truths that must always be acknowledged?
‘England People Very Nice’ a play that stirs up community, rather than encouraging good community relationships. The further degrading of victims.
Our moral and social responsibility is to educate people about issues.
Theatre draws together a wide spectrum of strangers to share ideas and raise discussion / debate.
Who is the theatre for?
People don’t like to be preached at, unless they agree with what is being preached!
Religions are stories…so is the theatre
Theatre shouldn’t try and tell everything, nothing in life does or can so neither should theatre be concerned about trying to do that.
Activism should be fun
Is theatre a social and moral act?
Provocation is ok, but a fun time is ok as well. A bad theatre experience is useful?
In the most unlikely places we find the beauty, truths
Often moral / social theatre is boring, long-winded, self-righteous.
Theatre should be using different forms, experimenting with form more.
Trend in social theatre again, why? People are disillusioned with politics, and want to voice this.
Trilogy – a joyful expression of women, questions about feminism still not resolved in society just more silent now. Why?
Social responsibility of theatre – to create a space where people can disagree.
Sense of responsibility of the playwright, the actors, the storytellers. The individual and collective responsibility. Where does personal morality operate within the structure? If theatre is all inclusive, it invites people with all beliefs and political opinions. So theatre will reflect these.
016 Is it a problem that, recently, I feel that I do not want to work with, perform for, or even talk to straight people? If yes, are there solutions
Convener: Brian Lobel
Participants: Many queer people, a handful of straight people, and a few people unidentified.
Summary of discussion, conclusions and/or recommendations:
I’D LOVE PEOPLE TO CONTINUE WRITING ON THIS – ESPECIALLY THOSE STRAIGHT PEOPLE. I DIDN’T LEARN YOUR NAMES. BUT THIS WAS NOT BECAUSE I HATE STRAIGHT PEOPLE.
First and foremost, the question was meant to be a provocation. I do not hate straight people, do not refuse to work with straight people, nor do I find straight people untalented or oppressive. I even have some straight friends.
There was quite a lot of hurt in the group, people hurt because they felt like they were being called oppressors, while others hurt that there is still inequality and choose to deal with this inequality in different, passionate ways. Some people (like the amazing Stella Duffy) felt the need to constantly engage with the greater community (including gays/straights etc), and many more agreed with her – Chris Goode talking about the limited perspective that might derive from only interacting with and responding to a queer audience.
Chris asked me (Brian) what questions I thought could be asked, emotionally/artistically/etc which could not be asked in a straight space (which I defined as not statedly queer or queer-friendly). In response to this, I gave some bad answer. Chris is smarter and sharper than me.
Stella talked about the nuisance of having to continually ‘come out’ over and over and over again as necessity of being a queer performer/writer/theatre maker. She still felt the need to fight and to keep up confidence, noting that even though gay liberation happened years ago, the movement is still far away from being through. My only response to Stella was to question whether perseverance (constantly interacting with a ‘straight’ audience/viewership) was the only path towards eventually integrated spaces, where all felt safe.
Chris Goode wondered if the issue, the feeling, was particular to solo performance, and if a solo performance demands comfort/safety from an audience in a different way from those in ensembles who have others on stage to look to for comfort/safety. This is an excellent point.
We discussed the perspective that could come from having non-queer people in a space with queer people. The example was given about The Jerk, the play about the gay serial killer, and how it was a richer experience as an audience member because there were all sorts of people watching the show. It was also discussed that the main ‘problems’ with the show’s reception was from gay critics, who thought that the work was not ‘good’ for gay people. This started an interesting conversation about the fear of ‘not getting it right’ and non-queer people writing or engaging with queer subjects/subjectivity. We talked for a while about the fear of engaging with and offending lesbians/gay men etc. Stella encouraged writers of all persuasions to write lesbian characters – why? Because there are not enough representations. Even if they get it wrong, she said, it might be worth the effort.
We talked about the impetus to write and to create. There was a nice moment when Lucy said that of course you want to be comfortable/safe in a performance context, not just as a queer, but as a performer who has successfully performed to an audience. The right audience. The receptive audience. I personally think this was a sharp point.
We talked about ways in which queer people might oppress straights. I don’t believe this is possible or a major concern. Someone can challenge on this if they dare.
There was so much here… it was a pretty dramatic session and I’m having trouble writing it up perfectly. I encourage all people to add to this… Basically, much of this boils down to the effectiveness of performance, if we think we should preach to the unconverted to the congregation. People come to church to be reinspired, re-engaged, spoken to and riled up – this is the first thing I like to do. If people can be converted, that’s awesome too, but not tnecessarily the main thing… I am leaving this here, but beg people to please add to the work. (thanks to Mary for her copious notes).
x.o.x.o. Brian
Participants: Many queer people, a handful of straight people, and a few people unidentified.
Summary of discussion, conclusions and/or recommendations:
I’D LOVE PEOPLE TO CONTINUE WRITING ON THIS – ESPECIALLY THOSE STRAIGHT PEOPLE. I DIDN’T LEARN YOUR NAMES. BUT THIS WAS NOT BECAUSE I HATE STRAIGHT PEOPLE.
First and foremost, the question was meant to be a provocation. I do not hate straight people, do not refuse to work with straight people, nor do I find straight people untalented or oppressive. I even have some straight friends.
There was quite a lot of hurt in the group, people hurt because they felt like they were being called oppressors, while others hurt that there is still inequality and choose to deal with this inequality in different, passionate ways. Some people (like the amazing Stella Duffy) felt the need to constantly engage with the greater community (including gays/straights etc), and many more agreed with her – Chris Goode talking about the limited perspective that might derive from only interacting with and responding to a queer audience.
Chris asked me (Brian) what questions I thought could be asked, emotionally/artistically/etc which could not be asked in a straight space (which I defined as not statedly queer or queer-friendly). In response to this, I gave some bad answer. Chris is smarter and sharper than me.
Stella talked about the nuisance of having to continually ‘come out’ over and over and over again as necessity of being a queer performer/writer/theatre maker. She still felt the need to fight and to keep up confidence, noting that even though gay liberation happened years ago, the movement is still far away from being through. My only response to Stella was to question whether perseverance (constantly interacting with a ‘straight’ audience/viewership) was the only path towards eventually integrated spaces, where all felt safe.
Chris Goode wondered if the issue, the feeling, was particular to solo performance, and if a solo performance demands comfort/safety from an audience in a different way from those in ensembles who have others on stage to look to for comfort/safety. This is an excellent point.
We discussed the perspective that could come from having non-queer people in a space with queer people. The example was given about The Jerk, the play about the gay serial killer, and how it was a richer experience as an audience member because there were all sorts of people watching the show. It was also discussed that the main ‘problems’ with the show’s reception was from gay critics, who thought that the work was not ‘good’ for gay people. This started an interesting conversation about the fear of ‘not getting it right’ and non-queer people writing or engaging with queer subjects/subjectivity. We talked for a while about the fear of engaging with and offending lesbians/gay men etc. Stella encouraged writers of all persuasions to write lesbian characters – why? Because there are not enough representations. Even if they get it wrong, she said, it might be worth the effort.
We talked about the impetus to write and to create. There was a nice moment when Lucy said that of course you want to be comfortable/safe in a performance context, not just as a queer, but as a performer who has successfully performed to an audience. The right audience. The receptive audience. I personally think this was a sharp point.
We talked about ways in which queer people might oppress straights. I don’t believe this is possible or a major concern. Someone can challenge on this if they dare.
There was so much here… it was a pretty dramatic session and I’m having trouble writing it up perfectly. I encourage all people to add to this… Basically, much of this boils down to the effectiveness of performance, if we think we should preach to the unconverted to the congregation. People come to church to be reinspired, re-engaged, spoken to and riled up – this is the first thing I like to do. If people can be converted, that’s awesome too, but not tnecessarily the main thing… I am leaving this here, but beg people to please add to the work. (thanks to Mary for her copious notes).
x.o.x.o. Brian
Wednesday, 3 February 2010
011 What is culturally diverse about Theatre?
Convener: Anouk Mishti
Participants: Including actors, writers, curators etc…
Annie Fitzmaurice(Coal Theatre Co); Anouk Mishti (Arts Intuition): Lynette Moran (Mouth to Mouth); Lee Simpson(Improbable; Bindiya Solanki; Jean StClair; Ilana Winterstein
No name changes as no responses received from those that attended below:
Emma (Shakyisles Theatre; Rebecca (Mercury Theatre; Meenakshi; Amy; Amanda; Alicia; Gege; Elinor; Gehane; Kate & Jan – surnames? =signers
Thanks to Bindiya for taking the draft notes of the session.
Summary of discussion, conclusions and/or recommendations:
• Identity and culture; is colour diverse or is it the experience, the story, what the person brings to the role? Just because there is an Asian/Black/Chinese person on stage does not necessarily mean that the show is diverse. It is also the experience that the person brings with them that attributes to the diversity.
• The UK is quite ‘accent-ish’. If you speak with a RP accent, it denotes that you are better educated than someone with e.g. a ‘Bristol-ian’ accent.
• Is colour-blind casting is a joke? It’s better in theatre than TV/Film.
• Why do I get called up by casting directors who are looking a half Scottish/half Arabian girl, do a fantastic audition, and then hear that I don't look half Scottish/half Arabian enough?!
• There's not a lot of diversity in Ireland. It doesn't address the political climate. Programming is not very culturally diverse.
• Who cares about cultural diversity? Is it only people who are culturally diverse?
• “There are two separate things being said here, one is to do with being cast regardless of ones own ethnicity rather than specifically, and the other that someone said that it’s not enough to see non-white faces in a cast – but wanted to see culturally specific roles, so that’s two quite different issues....”
• It's important to be included to properly
• How do you bring cultural diversity into casting? Where are all the disabled people?
• Coronation St asked me to audition for a character that is deaf. So when I got the brief, I read it through and it said “Deaf women who can speak well." This I thought isn't being diverse!
• Graeae Theatre Co put on a production of Sarah Kane’s Blasted and it was amazing! The casting was very diverse, but it didn't matter as it was the story that came through i.e. you didn't notice that the character was in a wheelchair.
• Is there not enough writing out there for disabled people? Is that why we don't see many on stage?
• The RSC and the National do have quite diverse casting and they are mainstream theatre companies.
• The Arts Council are arbiters of what is culturally diverse; they decide what is ‘culturally diverse’. Cultural diversity, when trying to get funding, is all about ticking the right boxes. How do you encourage work that is about culture in mainstream theatre?
• Disabled performers fail to fall into the diverse box. For Arts Council, diversity is other cultures/nationalities, not the disabled. The Arts Council is very interested in ‘ethnic’ women’s theatre.
• Diversity is a fashion. Disabled people need to be in fashion to get funding!
• Is our culture/diversity invisible or visible?
• Theatre is more diverse than TV/film. What can we celebrate from/about cultural diversity?
• Is there cultural diversity in culturally specific projects?
• The cultural diversity in Ireland is now being represented in the new writing that's emerging. Not everyone in Ireland is now white, Irish and Catholic.
• Cultural diversity is a reflection of society.
• With theatre, it is possible to engage people on a deeper level. You can have a white sibling with a black sibling, without there being a story to connect their races. Theatre audiences will accept this as a convention. Theatre deals with reality in depth; it's out & out self-interest to embrace and enthusiastically follow this. When people watch theatre, they can engage more intensely.
• In drama school, is it a fact that it is more difficult to train someone who disabled therefore there are less disabled performers out there with the skills to take on professional productions?
• Theatre and the arts are a small section of society. But we still need to be the advocates of cultural diversity…
• The idea of "Consensus reality" was highlighted in relation to theatre's ability to communicate on a deeper level of reality than film and television tend to, as cited above. For more info on this reference, please see Lee’s articulation that further illuminates the term:
D & D final notes (12.2.2010)
Anouk Mishti
Participants: Including actors, writers, curators etc…
Annie Fitzmaurice(Coal Theatre Co); Anouk Mishti (Arts Intuition): Lynette Moran (Mouth to Mouth); Lee Simpson(Improbable; Bindiya Solanki; Jean StClair; Ilana Winterstein
No name changes as no responses received from those that attended below:
Emma (Shakyisles Theatre; Rebecca (Mercury Theatre; Meenakshi; Amy; Amanda; Alicia; Gege; Elinor; Gehane; Kate & Jan – surnames? =signers
Thanks to Bindiya for taking the draft notes of the session.
Summary of discussion, conclusions and/or recommendations:
• Identity and culture; is colour diverse or is it the experience, the story, what the person brings to the role? Just because there is an Asian/Black/Chinese person on stage does not necessarily mean that the show is diverse. It is also the experience that the person brings with them that attributes to the diversity.
• The UK is quite ‘accent-ish’. If you speak with a RP accent, it denotes that you are better educated than someone with e.g. a ‘Bristol-ian’ accent.
• Is colour-blind casting is a joke? It’s better in theatre than TV/Film.
• Why do I get called up by casting directors who are looking a half Scottish/half Arabian girl, do a fantastic audition, and then hear that I don't look half Scottish/half Arabian enough?!
• There's not a lot of diversity in Ireland. It doesn't address the political climate. Programming is not very culturally diverse.
• Who cares about cultural diversity? Is it only people who are culturally diverse?
• “There are two separate things being said here, one is to do with being cast regardless of ones own ethnicity rather than specifically, and the other that someone said that it’s not enough to see non-white faces in a cast – but wanted to see culturally specific roles, so that’s two quite different issues....”
• It's important to be included to properly
• How do you bring cultural diversity into casting? Where are all the disabled people?
• Coronation St asked me to audition for a character that is deaf. So when I got the brief, I read it through and it said “Deaf women who can speak well." This I thought isn't being diverse!
• Graeae Theatre Co put on a production of Sarah Kane’s Blasted and it was amazing! The casting was very diverse, but it didn't matter as it was the story that came through i.e. you didn't notice that the character was in a wheelchair.
• Is there not enough writing out there for disabled people? Is that why we don't see many on stage?
• The RSC and the National do have quite diverse casting and they are mainstream theatre companies.
• The Arts Council are arbiters of what is culturally diverse; they decide what is ‘culturally diverse’. Cultural diversity, when trying to get funding, is all about ticking the right boxes. How do you encourage work that is about culture in mainstream theatre?
• Disabled performers fail to fall into the diverse box. For Arts Council, diversity is other cultures/nationalities, not the disabled. The Arts Council is very interested in ‘ethnic’ women’s theatre.
• Diversity is a fashion. Disabled people need to be in fashion to get funding!
• Is our culture/diversity invisible or visible?
• Theatre is more diverse than TV/film. What can we celebrate from/about cultural diversity?
• Is there cultural diversity in culturally specific projects?
• The cultural diversity in Ireland is now being represented in the new writing that's emerging. Not everyone in Ireland is now white, Irish and Catholic.
• Cultural diversity is a reflection of society.
• With theatre, it is possible to engage people on a deeper level. You can have a white sibling with a black sibling, without there being a story to connect their races. Theatre audiences will accept this as a convention. Theatre deals with reality in depth; it's out & out self-interest to embrace and enthusiastically follow this. When people watch theatre, they can engage more intensely.
• In drama school, is it a fact that it is more difficult to train someone who disabled therefore there are less disabled performers out there with the skills to take on professional productions?
• Theatre and the arts are a small section of society. But we still need to be the advocates of cultural diversity…
• The idea of "Consensus reality" was highlighted in relation to theatre's ability to communicate on a deeper level of reality than film and television tend to, as cited above. For more info on this reference, please see Lee’s articulation that further illuminates the term:
Lee encountered the term "consensus reality" through Process Oriented Psychology - it simply means the things that we all generally accept as reality. The things we see with our eyes and hear with our ears and touch with our fingers that are real.
Underneath consensus reality are other levels; dreaming, imaginative, essence etc. Consensus reality is usually dominant but when we are in certain states these deeper levels of reality can seem more real, one of those occasions being in theatre (sometimes). Because of this, the consensus reality differences between two actors (colour of skin, body shape, means of moving around etc.) which might mean it is difficult to imagine them cast as relations or lovers or friends in a movie, can in theatre be superseded by their connection to each other and to the audience on a dreaming/imaginative level, thereby making it seem natural and right that they are in those roles. In this way theatre is not only showing examples of diversity or telling us that diversity is a good thing. It is itself modelling deep diversity by relating to people, and giving the audience the opportunity to relate to people on levels other than that of consensus reality; something which in life most of us rarely get the chance to do with people who are, on a consensus reality level, different from us.
D & D final notes (12.2.2010)
Anouk Mishti
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