Let’s Have A Creche

Convener: Sophie Trott

Summary of discussion, conclusions and/or recommendations:

I wasn’t able to stay for my session because I needed to take a very tired child home.  But I did have a few chats with various other people about this, some parents, some not.  And I’ve had some ideas.

I understand that from a legal point of view, it is tricky for Improbable to provide a crèche or even talk about provision for one from an outside group.

There were a number of informal arrangements, which worked for those people who were already friends.  However, those who don’t have other friends with kids are excluded from this.

What if I set up a facebook group for people with children wanting to come to D&D?  It could post on the D&D facebook (group? Page?) without having come from the organisers of the event.  People would then be able to say to each other how many children they needed to bring and make all sorts of reciprocal arrangements.

For example I could say something like:  I’m bringing my 2 year old, and would be happy to mind another child for a session if someone’ll do the same for me. 

That’s what I’ll do then.  Will try and call it kidsatD&D or something. 

Another thought about the geography of the room is that I noticed when I was hanging out with my daughter and her friend, they were really happy to be in the middle of things, and this didn’t seem to bother anyone.  Maybe once the opening circle has happened some toys and drawing stuff could be in the middle of the room as well as in the little ‘fenced off’ area.

Entry points for older writers: How to find development support and a nurturing environment when you're over 25

Convener: John Myatt

Participants: Attendees included Kathryn Worthington, Andrew Piper, George, plus a few more ears and voices that really helped to move my thinking on.

 Summary of discussion, conclusions and/or recommendations:

The reality check: sending your script and hanging your future on the feelings/opinions of a theatre reader isn’t perhaps the best way forward. If you want a better handle on your own future, you have to another solution, other than these gatekeepers and their reading piles.

Here’s a summary of the discussion that focused on how to get your work seen by the people who you need to see it …

… JUST DO IT

The age-old argument: do you rely on others or do-it-yourself? DIY doesn’t have to mean get it to the fringe. It can be a weekend workshop, or a rehearsed reading. Find a director who can help. Find actors. Offer to pay them for a weekend workshop: expenses or nominal fee that’s offset by artistic satisfaction of their involvement in the creative process. Play around with your play, with people who can help you spot what works, what doesn’t, and what fixes could happen. And when it’s ready, get it in front of a director …

… MAKE FRIENDS

Get to know a theatre, a director, a producer. Know their programme. See their work and go to them if you like it. Don’t ask them to read your play: just ask for advice. A chat over coffee. Think hard about who you want to know better, then be gentle with your alliance. Have plenty things to talk about beyond your play …

…SEE STUFF

Seek out work you enjoy. See it all, if you can. It will help you see what’s working, what’s current. And it will help you to find the people who it’s right to talk with …

… BE CLEAR ABOUT YOUR BIOG

Think about your story as a writer: where you’ve come from, the decisions you’ve made, what you’ve done. You don’t need to talk about every play you’ve written. Just the ones that found a space and/or an audience. It’s not about creating CV checklist. It’s about revealing something about your drive to write for the stage. What sort of writer are you? Where are you coming from? What are you going to be like to work with …

… BE CONFIDENT ABOUT YOUR WORK

It’s easy to slip into unhelpful thinking patterns when you work so much alone with occasional basic feedback.  Which leads to apologetic approaches. If you’re going to start talking to people about you and your work, be confident about it. If you think it’s strong, you don’t have to say it; the way you talk about it, or yourself, will show this. Confidence breeds confidence. Unlearn your negative, safety-barrier introductions and invite support …

… SO YOU'RE NOT A NEW VOICE

Some theatres, some people, like to feel they’ve played a significant role in your development, in discovering you. Maybe everyone likes to feel includes in the playwriting process. Therefore, a raw first play might be more attractive than a more polished, aware piece. So …

… GIVE THEM SPACE TO HELP

One example: stage directions. Hold them back as much as possible. Let directors and designers be excited by the possibilities when they’re reading. Let actors dress the text …

…BE JUST A LITTLE CANNY

It doesn’t have to be cynical or Zeitgeist-chasing. But there will be ‘gaps in the market’, things of the now. Subjects and stories that haven’t been told. Picking one of these as your first play could make a difference. You’ll have plenty of time to explore your other ideas when you’re in there and listened to …

… EMBRACE YOUR NEW D&D MEMBERSHIP

Where to find the energy and confidence to do all of the above? Easy. D&D. Start there. Realise it’s not such a big, cold world of closed doors. Change how you see and think about the landscape. Change how you feel about yourself. Change the way you work with your work …

Thanks to everyone who came to the session. And to everyone at the event, who gave their wisdom so warmly.

Physical Theatre with Older Actors

Convener: Kitty Martin

Participants: Tamsin Clarke, Jon Pashley, Hugh Hayes, Sharon Eckman, Ana Brothers, Dodger Phillips, Abbi Greenland, Lawrence O’Connor, Lucy Westell and others who can and went.

 Summary of discussion, conclusions and/or recommendations:

Addressing physical performance with an older actor, we had the following thoughts & comments:

Although there are exceptions, it’s unusual to see older actors performing in Physical Theatre shows. It was noted that Frantic Assembly’s current show LOVESONG has some electric moments with older performers.

Physical Theatre is perceived as a young performers game. Are we missing a trick here?

There was conversation about what is Physical Theatre:

Isn’t all theatre physical to some degree or other?

There is more to Physical Theatre than strenuous athleticism and speed.

Good movement/physicality can be something that you can’t obviously see.

There is no support network or lab work focusing on physicality and older actors. European Theatre organizations appear to have the funding, internal structure and cultural approval to train and conduct R&D with an Ensemble over a long period of time. The UK is not set up this way.

There needs to be an acceptance that bodies change as we age and we can work within those limitations, abilities and rhythms and still produce stimulating work. It is more interesting to see people working with the limitations of their bodies and how they negotiate that – a metaphor for what it is to be a human being.

It is harder to find older actors who are fit enough to perform 8 shows/week of strenuous athletic theatre. Older actors are more likely to have family and financial responsibilities and are not prepared/able to work for very low pay.

Regardless of age, when people move with ease it is attractive to watch.

Do audiences always/only want to see spectacular, extreme feats of physicality?

Will an audience worry about older actors who are not up to the physical demands?

Movement directors & safety – Regardless of age, it is best practice for physical theatre productions to engage a movement director who has responsibility for the safety and physical welfare of performers. It is essential for younger and older performers to avoid injury. Be safe – At the end of the day, it’s just a play and a story we are telling! Keep in mind we are doing this for an audience not for our own gratification.

Regardless of age, performers need to have an understanding of what they can do physically. An actor’s limits can be stretched with good quality, ongoing training. There is a balance to be had between pushing the body and working within it’s limitations. Older actors have a better understanding of where their body is in the space, than younger actors. There is an assumption that younger actors are more physically aware – this is misguided.

Regardless of age, all performers should be empowered to say “no” if they are asked to do movements which may compromise their health or cause injury. 

Ideally movement comes from each actor’s body. Older actors should be acknowledge for their physicality and valued for what they can contribute and what they can physically say about being of a certain age. If a particular movement is not possible, it is possible to find an interesting, valid alternative.

Role models – look for them – they are out there:

Barry Grantham, Pina Bausch, LOVESONG, Leonard Bernstein who conducts with his whole body….youtube – my friend Maya on Fire Island (try that!)

Conclusions:

We need to raise awareness that older performers have much to give and offer something different to younger performers. Both are valid.

Being safe is crucial.

It is useful to challenge assumptions, preconceptions and perceptions.

What is the best use if 50+ arts paper pushers for the next generation of creative artists.

Convener:    Chris Grady

Participants:     Dan Woods, Clara Giraud, Rebecca Atkinson Lord, Lizzie Crarer,           C Saddleton, Imogen Butler Cole, Gary Horsman, Danny Braverman, Simon Pittman, Bethany Haynes, Danny Betz Heinemann  (with apologies to all for misspelling from your email addresses)

Summary of discussion, conclusions and/or recommendations:

People joined through the 90 minutes for three reasons: curiosity, because they were “elders” or fast becoming them, or because they wondered as “emerging artists” how best to tap into elders.  [My “ “ phrases to paraphrase various descriptions offered across the circle]

There were three challenges to the underlying premise:

Why is it just young people who need advice/guidance championing ?

Young people should get on and do it, and not need/seek/rely on past experience

Paper Pushers can be creative too & “use” is an unhelpful term.

Areas of exploration:

a)    There is one artist advisor at Oval House funded by ACE – could there be more ?

b)    We should not prioritise early career artists – why not look at a 20yr old mentoring a 70yr old [check out Authentic Artist / Tender Age project ref. here]

c)    We need to be part of breaking the wider cultural taboos of age

d)    Lifelong learning seems to be a term and an aspiration which we don’t hear as much any more.  All focus on 1^st degree and education in early 20’s – rather than continuing interest in continuing education

e)    One expression that older people shouldn’t be seen as a “mine” to be used, although a wider feeling that they were a valuable resource.

f)      Very important to say it is possible to make exciting work at any age.

g)    Young theatremakers tend to team up with young producers and so there is not a lot of shared experience available

h)    Emerging artists tend to read/see talks by experienced successful people talking about their success – maybe we’d learn more from some failures. People know the names of the celebrities in the arts and cultural sector, they don’t know who might be really valuable from the backroom boys and girls to mentor and give advice.

i)      We need to understand what was better/worse before in the industry to help current practitioners put it into perspective. “there’s a real gaping hole in my understanding”

j)      Reinventing the wheel can be envigorating, and everyone has to learn to start with – but time can be saved. [At this point there was a perfect example – one theatrmaker talking about creating Bengali/English bi-lingual children’s theatre, and one of the elders wondering what had happened to the actors involved in a similar project at the Half Moon half a lifetime ago – they connected and will find experiences and people to share.]

k)    Are there other people out there doing CGO type surgeries * see below. Noone seemed to know of others.

l)      Younger artists should get out there, see work, prop up the bar in theatres and the spaces they hope to inhabit, talk to people, congratulate the director/boss/elder – everyone needs praise, and everyone likes to be asked their opinions and offer advice. Use that human trait to make connections.

m)  Discussion on the loneliness of the solo artis/creator/company, and how valuable it is at times to be able to work in the same room as others and just share ideas, check copywriting, scream and laugh together.

n)    Concern that much of the “wisdom” of how to do it is all now on the web and for some who don’t spend long drawing info down from the web, there is a missing element of human contact just chatting about challenges

Quick Proposals:

1. What about finding more people who do what CGO does
2. What about finding some funding to make this more available rather than just a charity/free offer of time [as Oval House]
3. What about finding a room where creative individuals can work together and bounce ideas off [I’m sure these exist – let’s share knowledge]
4. What about a Blog of artistic/creative producer cock-ups for learning. [I will start writing some of them down on my CGO blog]

CGO Surgery

For anyone who would be interested. This is a free offer for any creative to come and have a creative conversation for 1 hour in my “office” at the National Theatre, once a month [well a café table in the Lyttleton which has been my base for 5+ years].  Anyone who wants a slot, email me and I will try and accommodate. Next one Sat Mar 3^rd and then monthly/ish after that. Dates on my website www.chrisgrady.org.

Final thoughts

a)    I love Jen S’s suggestion to get a few trusted mentors to write a phrase about how they see you and what you give them by your existence. It is so heartening to read that people do rate you. I did it using Linked In. I sent out a note saying will you recommend me?  I got some lovely stuff and it read a bit like an obituary [I am saving it carefully with my will to pass onto the Stage when needed]

b)    I was asked did I have one piece of advice for an emerging artist – really difficult because that’s too generalized question.  Three thoughts. Follow your dream. You have most of the answers inside you – you just may need a bit of help getting them out. You probably know (or are one degree of separation away from) every person you need to know at each stage of your journey – you just have to do a bit of lateral thinking about how to engage with them.

Thanks for a lovely slow-burn discursive session. I have not caught everything because there are some really interesting side-chats about specifics.

Chris

Theatre for young people?

Convener: Nick Bruckman

Participants: Julia, Jamie Zubairi, Victoria @ Filskittheatre, Sarah @ Filskittheatre, Katy @ Filskittheatre, t james martin, jake @ a younger theatre, sarah, dan, lonie,ellis,the what works,martin, tiphaine

Summary of discussion, conclusions and/or recommendations:

What is the difference between theatre for young people and normal theatre?

That’s not necessarily a very useful distinction to make. Good theatre is good theatre.

Younger audiences tend to be more brutal. They are quicker to notice when an actor is not being truthful, and will not be shy about sharing that observation.

What’s particularly exciting about theatre for young people?

You get to make work that will be a first audience experience for a lot of people. They will be more accepting of genres being mixed, and a wider range of theatrical devices being used.

Doing something television can’t.

What’s frustrating about theatre for young people?

Preconceptions within the industry. (Are you doing panto?)

Educational aspects being hammered home.
There is often a lack of ambition to appeal to both adult and young audience members.

A lot of work feels the need to not upset. As if children are unable to deal with darker themes. As if they always need a happy ending.

Programmers and marketing departments’ want to create strict age categories for work for young people.

Strong link with curriculum.

Recommendations include

(twice) Catherine Wheels – White

Oily cart
Imaginate (Development Agency in Scotland)

Mothers With Alzheimers

Convener: Kate Maravan

Participants: Alyson Mckechnie, Chris Grady, Cindy Oswin, Sam Smith, Bonnie Rose, Steven Raynor, Lauren Cooney

Summary of discussion, conclusions and/or recommendations:

Alzheimers has been described as a ‘never ending funeral’, my mother who is in early stages will not acknowledge her dementia and my father moves in and out of acceptance and denial. I have encountered a host of frightening and upsetting stories about those with Alzheimers and it is one of societies enduring taboos. As I experience the changes in my mother and my relationship with her, I wanted to share with others at D and D and invite new perspectives and insights. It was a small but thoroughly engaged group and it has opened my mind and heart to the experience of dementia. Instead of a focus on loss, death of self, suffering and fear of shifting realities, we explored about the possibility of different and more creative ways of relating with those with Alzheimers. An aliveness and connection with the present moment and exploring the language of now; a discovery of the person we are with now rather than an attachment to who we once knew or who we feel they should still be. An invitation to be still, quiet and discover all that lies in the spaces between words and doing. The creating of new and meaningful realities. That relating to someone with dementia is an exchange and can be a creative interaction.

I am very interested in how the dismantling of the fixed notion of identity and personality is part of my Alzheimers experience. As my mother shifts, the ground under my feet is shifting. A both frightening and yet totally liberating possibility of redefining one’s relationship to self, others and the world.  I go away inspired by the creative possibilities and an understanding of the potential of Alzheimers to  contribute and enrich.

Was Rowan Atkinson Right?

Convener(s): Cindy Oswin

Participants: Fiona Drummond, Rosemary Lee, Gerard, Kate, Mhairi Credlis, Aaron Peterson, Daniel Copeland, Clementine Jones, Emma Bernard, Kathryn, Laura Mugridge, Jonathan Petherbridge, Jools Voce, Isabel Carr

Summary of discussion, conclusions and/or recommendations:

Miriam O’Reilly brought a case against the BBC for unfair dismissal from Countryfile on the grounds of ageism. Rowan Atkinson responded yesterday with a letter saying she should not have been allowed to do so.

The letter from Rowan Atkinson to R4 Media show which sparked this session contained the following quote: “if either at the outset of a TV programme or at time during its screen life you want to replace an old person with a young person or a white person with a black person or a disabled straight with an able bodied gay, you should have as much creative freedom to do so as you have the change the colour of John Craven’s anorak”

The group broadly disagreed with the letter but a director pointed out that it was difficult when an organisation was pushing for inclusivity -  enforced diversity when a creative felt that a particular person was wrong for a role.

People begin to feel insecure when things change and shift.

Just because the BBC is a public institution doesn’t mean it’s competent.

Country file has more to do with entertainment that a factual programme.

What difference does this make?

The BBC has surprisingly less accountability than private ones.

 Different dynamics come into play when it is a public platform 

 Presenters - Duos of age and youth prevalent –that is an older man and younger glamorous female – eg Bruce Forsyth and Tess Daley – sacking of Arlene Phillips from Strictly Come Dancing. Also happens in news programmes.

Appearance dominates in casting, for TV in particular

What people want to see is it youth dominating the media or do people want to see themselves represented – is it our fault – the consumers - that we want to see good looking people on TV generally ie youthful

It’s young people making programmes and therefore they favour young people when employing.

An actor gave an example of a casting spec that required a man to be heterosexual looking.

Creative freedom was one thing but possible discrimination regarding the presenter of a factual programme on a public service broadcaster involved other factors – not the same thing and important not to conflate or misconstrue issues. Possible mis-application of legislation yet another issue.

A female actor said that before the O’Reilly case she felt that she didn’t have a voice as she was “older” but now she felt that she did.

Mark Thompson DG of the BBC has said since then “we got it wrong about women”

In conclusion, the group felt that we need to keep challenging the media – the BBC in particular as we are paying for it - around issues of ageism - and bring possibly unconscious decision making forward into consciousness, to bring about change.