Issue: Wildflowers, real and metaphorical Pioneers?
Convener(s): Clare Whistler
Participants: Poppy Burton-Morgan, then Mark Smith
Summary of discussion, conclusions and/or recommendations:
The seeds of something…, making art from seeds of ideas…performance in the landscape
Artists and change
Do you need to stand still to evolve
Not a be or a butterfly but a magnet
Performance contexts are breaking down all the time , not necessarily devised anymore
Being brave enough and to trust enough to go on a journey that no one else seems to be taking
To go wild….attend to what flowers……have beauty live……and have it die…to be the beauty and the art
Living in a wildflower meadow as a performance artist and seeing what one makes…living with the earth and weathers….needing collaborations and links, finding them person and place one by one, through intimacy, stillness, no technology
Cultivating the wild to re-understand that we will continue to make art money or not, being motivated beyond any money
Is it me singing in the dark? Sometimes that is a wonderful place to be,
Sometimes its necessary to be in the dark
Have you given yourself enough ‘standing still’
Reflect and breath and refract
The lightning hits the tree, what re-generates
Essence
Seeds
Being the wildflower
The session was held in Duncan – for Isadora – a pioneer
Monday, 7 February 2011
ISSUE 2: HOW CAN YOU BE A PARENT OF YOUNG CHILDREN AND A THEATRE MAKER?
Issue: How can you be a parent of young children and a theatre maker?
Convener(s): Ed Bartram
Participants:
David J, Mark, Nick Haverson, Catzeagle, Jonathan Holloway, Nick Sweeting, Kate, a ferguson, Laura Edey, Simon Treves, K Lloyd, rod, Helen Pringle, Sarah jane, Martin, Paul, Scarlett, Alex, Kylie
Summary of discussion, conclusions and/or recommendations:
Lots of varying views on the subject…
■ networks and other parents are vital - there is an amazing resource here [all different people who are interested] – parenthood as nourishing and stimulating us as artists; with parents in theatre, it really informs their kids what they do later in life.
■ as a parent some things start to make sense, you acquire some wisdom and really fucking annoying when the people in the room [making decisions about theatre and productions] don’t get it
■ plea in a positive way that you communicate your issues effectively – having children might be one of those things; don’t want to fall into mentality of “you can’t understand if you don’t have children”; everyone who has children has different responses to looking after children
■ as a producer can’t be all supportive – got to draw line somewhere in terms of supporting performers with kids
■ its really hard `‘when I’m with kids and making work I’m not really present [with kids]’; ‘completely lost my focus when my first child was born’; ‘whole new interest in young theatre’; ‘difficult to reconcile pursuing obsession of theatre and dealing with kids’; choosing your compromises: if you’re absent from the club its really difficult to get decent work; parenthood changes way of working, changes schedules, shorter term projects, won’t tour
■ got balance wrong at first didn’t spend time with first child, and not repeating pattern with later kids; responding to own experience of parents as actors and how that created problems
■ difficulties around child protection / OFSTED issues if you look after a group of children not your own; do the children have to be in the same room as you form a legal perspective? When does looking after children become someone else’s business
■ Holyheld festival (near Falmouth) really well organized for kids; Young Vic has group on genesis network for directors with children
■ Northern stage in Newcastle developing projects with performers with children but tough with OFSTED / nursery issues etc
■ childcare pools suggested for artists across country; in Australia common for nanny to work with a company
Convener(s): Ed Bartram
Participants:
David J, Mark, Nick Haverson, Catzeagle, Jonathan Holloway, Nick Sweeting, Kate, a ferguson, Laura Edey, Simon Treves, K Lloyd, rod, Helen Pringle, Sarah jane, Martin, Paul, Scarlett, Alex, Kylie
Summary of discussion, conclusions and/or recommendations:
Lots of varying views on the subject…
■ networks and other parents are vital - there is an amazing resource here [all different people who are interested] – parenthood as nourishing and stimulating us as artists; with parents in theatre, it really informs their kids what they do later in life.
■ as a parent some things start to make sense, you acquire some wisdom and really fucking annoying when the people in the room [making decisions about theatre and productions] don’t get it
■ plea in a positive way that you communicate your issues effectively – having children might be one of those things; don’t want to fall into mentality of “you can’t understand if you don’t have children”; everyone who has children has different responses to looking after children
■ as a producer can’t be all supportive – got to draw line somewhere in terms of supporting performers with kids
■ its really hard `‘when I’m with kids and making work I’m not really present [with kids]’; ‘completely lost my focus when my first child was born’; ‘whole new interest in young theatre’; ‘difficult to reconcile pursuing obsession of theatre and dealing with kids’; choosing your compromises: if you’re absent from the club its really difficult to get decent work; parenthood changes way of working, changes schedules, shorter term projects, won’t tour
■ got balance wrong at first didn’t spend time with first child, and not repeating pattern with later kids; responding to own experience of parents as actors and how that created problems
■ difficulties around child protection / OFSTED issues if you look after a group of children not your own; do the children have to be in the same room as you form a legal perspective? When does looking after children become someone else’s business
■ Holyheld festival (near Falmouth) really well organized for kids; Young Vic has group on genesis network for directors with children
■ Northern stage in Newcastle developing projects with performers with children but tough with OFSTED / nursery issues etc
■ childcare pools suggested for artists across country; in Australia common for nanny to work with a company
ISSUE 3: BRANDING: HELP ME!
Issue: Branding: Help Me!
Convener(s): Lucy Ockenden
Participants: Timothy Bird, Sarah Corbett, Rob Crouch, Chantal Guevara,Chris Grady, Kirstie McKenzie, Sasha Milavic Davies, Mark Smith,
Summary of discussion, conclusions and/or recommendations:
We discovered that the primary issue was the need for a brand to express a truth about a person, company or product (show, celebrity, artist). However, one main difficulty for many ‘arts people’ is that they wear many hats or do different things.
Some felt that when audience or market identified consist of very different people then often more than one brand, or website, or business card, or outfit (suit/casual/manual) is required.
Others thought that it was important to embrace the idea of an artist or creative company expressing their diversity under one brand.
Sarah Corbett would like to do a further session on ‘personal marketing’.
Notes for successful branding:
- Identify client / audience
- Brand design should reflect what you are
- Important then to be the thing you claim to be - IE TRUTH
- Don’t get too hung up on strategy and design, when in fact ‘word of mouth’ and referral are more likely to garner new business etc
Current culture (not just in the arts) is to distrust the polymath (ie we all want the kidney stone specialist to do the op rather than a generalist surgeon. Are people scared or threatened by polymaths?
However, all agreed that cross-fertilisation, integration and collaboration are of key importance to creativity. This makes life difficult given that we have also noted that polymaths are not necessarily trusted.
Conclusion – be brave, true to yourself, and if you are a polymath – admit it and hang in there. The world will realize it needs us!!! (hopefully…)
Secondary discussion
People came and went, but we also finished by discussing how some ‘successful brands’ (ie they make money) are not necessarily successful in their implementation and in behaving in an ethical way towards the people who enable their success. This reflects one of the principal drawbacks of the capitalist world.
Convener(s): Lucy Ockenden
Participants: Timothy Bird, Sarah Corbett, Rob Crouch, Chantal Guevara,Chris Grady, Kirstie McKenzie, Sasha Milavic Davies, Mark Smith,
Summary of discussion, conclusions and/or recommendations:
We discovered that the primary issue was the need for a brand to express a truth about a person, company or product (show, celebrity, artist). However, one main difficulty for many ‘arts people’ is that they wear many hats or do different things.
Some felt that when audience or market identified consist of very different people then often more than one brand, or website, or business card, or outfit (suit/casual/manual) is required.
Others thought that it was important to embrace the idea of an artist or creative company expressing their diversity under one brand.
Sarah Corbett would like to do a further session on ‘personal marketing’.
Notes for successful branding:
- Identify client / audience
- Brand design should reflect what you are
- Important then to be the thing you claim to be - IE TRUTH
- Don’t get too hung up on strategy and design, when in fact ‘word of mouth’ and referral are more likely to garner new business etc
Current culture (not just in the arts) is to distrust the polymath (ie we all want the kidney stone specialist to do the op rather than a generalist surgeon. Are people scared or threatened by polymaths?
However, all agreed that cross-fertilisation, integration and collaboration are of key importance to creativity. This makes life difficult given that we have also noted that polymaths are not necessarily trusted.
Conclusion – be brave, true to yourself, and if you are a polymath – admit it and hang in there. The world will realize it needs us!!! (hopefully…)
Secondary discussion
People came and went, but we also finished by discussing how some ‘successful brands’ (ie they make money) are not necessarily successful in their implementation and in behaving in an ethical way towards the people who enable their success. This reflects one of the principal drawbacks of the capitalist world.
ISSUE 4: WHERE THE HELL DO WE BEGIN? THE GRADUATE DREAM
Issue: Where the hell do we begin? The Graduate Dream
Convener(s): Pat Ashe
Summary of discussion, conclusions and/or recommendations:
This is just a list of what happened as it happened. It may not make sense.
• Grad jobs/internships – can you afford to work for free/ Are unpaid internships worth it/
• Should you be told the ‘truth’ about jobs before you leave training/uni?
• University should be equipping you with the skills you lack (covering letters, taxes, cv writing) Student should be feedbacking, demanding change once they have left.
• How you do it? Working to live, finding time to make and create. Fitting your art around ‘real’ work.
• Support over funds.
• A graduate open space? Pooling resources among the grads. Meeting every one else who has just been let loose.
• Knocking on the big doors, pulling open the cracks.
• Why London? Create a new artistic community. A new place to make work rather than chasing those already here.
• Corporate connections – We can give you this, what you can give us? (theatre deli – example of strong connections to companies)
• Grab it. Living choices/ licensed squats – live for cheap.
• Sweet talk the council/local businesses – make them look good to get what you want. Connect the people.
• Drama school resentment – not teaching the basics.
• Are we lazy? Ask for it, don’t wait for it.
• ‘Know what you don’t know’
• Admit what you don’t know, ask for that help.
• Don’t wait to be told you are good enough. Accept you are good enough.
• Feedback on your ideas with each other, share.
• The amount of freedom is overwhelming. Be liberated. You’re free. Focus on the positive, just go for it. Try, approach everyone. Stand on your own two feet.
• The freedom challenge, spoon-feed vs. challenge in education.
• Failure. Learning, embracing. A richer experience is fail more? Opens more spaces and avenues in your work. Danger making a better show?
• The scratch model? Whats wrong with being unfinished. Why say sorry?
• The pressure to make work straight away. 1 year before next flood of grads.
• Process is important at the start of your career. Make some shit work.
• Young companies, are we too easy on them? Looking at their possible future work over their current work.
• The link from maker to audience, ask a producer now, don’t wait 10 years to do it.
• How important is the spectator in new work/the reason for creation?
That was it briefly.
Convener(s): Pat Ashe
Summary of discussion, conclusions and/or recommendations:
This is just a list of what happened as it happened. It may not make sense.
• Grad jobs/internships – can you afford to work for free/ Are unpaid internships worth it/
• Should you be told the ‘truth’ about jobs before you leave training/uni?
• University should be equipping you with the skills you lack (covering letters, taxes, cv writing) Student should be feedbacking, demanding change once they have left.
• How you do it? Working to live, finding time to make and create. Fitting your art around ‘real’ work.
• Support over funds.
• A graduate open space? Pooling resources among the grads. Meeting every one else who has just been let loose.
• Knocking on the big doors, pulling open the cracks.
• Why London? Create a new artistic community. A new place to make work rather than chasing those already here.
• Corporate connections – We can give you this, what you can give us? (theatre deli – example of strong connections to companies)
• Grab it. Living choices/ licensed squats – live for cheap.
• Sweet talk the council/local businesses – make them look good to get what you want. Connect the people.
• Drama school resentment – not teaching the basics.
• Are we lazy? Ask for it, don’t wait for it.
• ‘Know what you don’t know’
• Admit what you don’t know, ask for that help.
• Don’t wait to be told you are good enough. Accept you are good enough.
• Feedback on your ideas with each other, share.
• The amount of freedom is overwhelming. Be liberated. You’re free. Focus on the positive, just go for it. Try, approach everyone. Stand on your own two feet.
• The freedom challenge, spoon-feed vs. challenge in education.
• Failure. Learning, embracing. A richer experience is fail more? Opens more spaces and avenues in your work. Danger making a better show?
• The scratch model? Whats wrong with being unfinished. Why say sorry?
• The pressure to make work straight away. 1 year before next flood of grads.
• Process is important at the start of your career. Make some shit work.
• Young companies, are we too easy on them? Looking at their possible future work over their current work.
• The link from maker to audience, ask a producer now, don’t wait 10 years to do it.
• How important is the spectator in new work/the reason for creation?
That was it briefly.
ISSUE 5: HOW TO GET IN THE INDUSTRY AS A FOREIGN ACTOR
Issue: How to get in the industry as a foreign actor
Convener(s): Jean Paul Dal Monte
Participants:
Monica Nappo
Claire Thill
Martin Parr
Shuna Snow
Steven
Summary of discussion, conclusions and/or recommendations:
- Find an Agent
- Sell your “diversity” your “Foreignness” as an asset not competing for british roles
- Try to break, to breach the rigidity of the cliché’ of Italian, French etc. giving the double choice between the stereotype and the “foreign” but versatile type of actor
- If the market is still and there are no funds, better do something on your own better than stay waiting. For example, that’s what many actors do in Italy.
- If you have your agent in your own country, it’s useful asking him for links and connections with UK agents
Convener(s): Jean Paul Dal Monte
Participants:
Monica Nappo
Claire Thill
Martin Parr
Shuna Snow
Steven
Summary of discussion, conclusions and/or recommendations:
- Find an Agent
- Sell your “diversity” your “Foreignness” as an asset not competing for british roles
- Try to break, to breach the rigidity of the cliché’ of Italian, French etc. giving the double choice between the stereotype and the “foreign” but versatile type of actor
- If the market is still and there are no funds, better do something on your own better than stay waiting. For example, that’s what many actors do in Italy.
- If you have your agent in your own country, it’s useful asking him for links and connections with UK agents
ISSUE 6: HOW DO WE KEEP THEATRES AND ARTS CENTRES IN DARLINGTON AND BARNET OPEN?
Issue: How do we keep theatres and arts centres in Darlington and Barnet open…
Convener(s): Mhora
Participants: Kerry, Holly, Ella, Gary, Mark, Caroline, David, David, Dan, Jenny, Lynn… and more
Summary of discussion, conclusions and/or recommendations:
Lively discussion with Arts Depot in Barnet, Arts Centre in Darlington, and Stratford Circus in Newham - all facing cuts from local authorities/London Councils (in London) and reductions in ACE funding
Also contributions and thoughts from BAC, Bradford, Royal & Derngate, Tricycle, Riverside…
Keeping open in the short term…
• Politicians – national and local - need to be onside – when they’re not its VERY hard
• Board has to be committed and strong
• Harness community and local support as advocates to local politicians
• Organisation needs to be planning how to remodel the business – for any eventuality
• Negotiate time to manage transition – do we have more time in London following judicial view of London Councils?
• Keep looking to the future – tell people about your vision and open the doors
• Harness the energy of the local people who love you
• You’re their arts centre in their community
• Don’t be afraid of the Big Society
• Where arts centre/arts service is local authority run – be ready to use your ‘right to challenge’ (Localism Bill) – could this happen in Bradford
• Necessity is the mother of invention…
• Change mindset
• Change the language – investment not subsidy
• Become more politically engaged
• Run ‘I love my arts centre’ campaigns
Keeping open in the medium to long term…
Treat the loss of funds like a project – ask who you can work with in partnership for the next 4-5 years – survival doesn’t have to be about mergers and takeovers
Reinventing the business model and building local political and community relationships and partnerships – it took Royal & Derngate a year to do this
Become fashionable – build the venue up as a destination
If your venue allows find tenants that help to pay overheads
Build up endowments/buy buildings and run them commercially (Live Theatre, Newcastle)/bequests programmes
Become a provider of other services - run other arts and cultural buildings/bring other services into the building – community services/libraries
See if we can create corporate philanthropy models such as SESC’s in Brazil, where local businesses receive tax benefits from putting money into local arts centres (but these are complex)
Get involved with neighbourhood forums – could be able to access Community Infrastructure Levy funds in future
Keep a hold of your vision
Convener(s): Mhora
Participants: Kerry, Holly, Ella, Gary, Mark, Caroline, David, David, Dan, Jenny, Lynn… and more
Summary of discussion, conclusions and/or recommendations:
Lively discussion with Arts Depot in Barnet, Arts Centre in Darlington, and Stratford Circus in Newham - all facing cuts from local authorities/London Councils (in London) and reductions in ACE funding
Also contributions and thoughts from BAC, Bradford, Royal & Derngate, Tricycle, Riverside…
Keeping open in the short term…
• Politicians – national and local - need to be onside – when they’re not its VERY hard
• Board has to be committed and strong
• Harness community and local support as advocates to local politicians
• Organisation needs to be planning how to remodel the business – for any eventuality
• Negotiate time to manage transition – do we have more time in London following judicial view of London Councils?
• Keep looking to the future – tell people about your vision and open the doors
• Harness the energy of the local people who love you
• You’re their arts centre in their community
• Don’t be afraid of the Big Society
• Where arts centre/arts service is local authority run – be ready to use your ‘right to challenge’ (Localism Bill) – could this happen in Bradford
• Necessity is the mother of invention…
• Change mindset
• Change the language – investment not subsidy
• Become more politically engaged
• Run ‘I love my arts centre’ campaigns
Keeping open in the medium to long term…
Treat the loss of funds like a project – ask who you can work with in partnership for the next 4-5 years – survival doesn’t have to be about mergers and takeovers
Reinventing the business model and building local political and community relationships and partnerships – it took Royal & Derngate a year to do this
Become fashionable – build the venue up as a destination
If your venue allows find tenants that help to pay overheads
Build up endowments/buy buildings and run them commercially (Live Theatre, Newcastle)/bequests programmes
Become a provider of other services - run other arts and cultural buildings/bring other services into the building – community services/libraries
See if we can create corporate philanthropy models such as SESC’s in Brazil, where local businesses receive tax benefits from putting money into local arts centres (but these are complex)
Get involved with neighbourhood forums – could be able to access Community Infrastructure Levy funds in future
Keep a hold of your vision
ISSUE 7: DR THEATRE: THEATRE ARTS AND THE HEALING ARTS: POSSIBILITIES AND STUFF TO DISCUSS
Issue: Dr Theatre: Theatre Arts and the Healing Arts: Possibilities and Stuff to Discuss
Convener(s): Steven Whinnery—typed up by Kath Burlinson
Participants: Steve, Kath, Deirdre McLaughlin, Imogen Crouch-Hyde, Anna Porubcansky, Ewan Downie, John Hale, Louise Platt, Lewis Barfoot, Nicholas McInerny, El Heidingsfeld, Persephone, Theresa Feliz, Peta Cooke, Jamie Wood, Chris Grady
Summary of discussion, conclusions and/or recommendations:
Steven began by asking each of us in the circle at that time to introduce ourselves and say what we do/why we were drawn to discuss the question. The following is a brief and incomplete summary of what people said:
Steven—a mask maker and actor—mentioned the stigma attached to living on benefits and having clinical depression, also currently studying bodywork including Feldenkrais
Kath—theatre maker/director/actor, interested in creating transformative theatre, what makes a sacred event, also not separating, but integrating
Louise—drama therapist, professional connection between theatre and healing arts
John—works in psychology as well as theatre
Deidre—doing Ph.D at central, also actor/director/massage therapist. Wants to know how to circumvent the stigma around ‘healing arts’/therapy
Imogen—graduating soon from Central and concerned with survival issues—how to make a career in theatre bring in an income
Lewis—experience of healing in different contexts—medical and artistic—wanting to share the humanity
Percy—involved in creating piece about extinction/ecological needs/climate and relationship with non-human world
Theresa—nutritional and massage therapist—childhood experience on commune in India
Anna—involved in theatre in Poland and mentioned a festival called the ‘Brave’ festival (?)
Ewan—has worked for some years with Song of the Goat—interested in how much we can give to each other and audience—how do we make transformative theatre? And how do we build an audience for that?
Jamie—involved in devising and collaborative processes—can be a healing place if it comes from the right place—interested in how to take that knowledge into working with people who are not actors
Nick McInerny joined group, asked about duty of care when getting into deeper territory psychologically/emotionally, both for participants and audience. Some discussion of the dangers of not having appropriate structures in place, led on to recognition that conventional theatre too does not acknowledge the intimacy (false or genuine) that occurs within casts and the mourning/grieving/loss when a show ends. Led to discussion of ritual as structure and perhaps greater need for this.
Interesting how discussion that began as quite heart-based then went into a territory more governed by fear. Nick asked what strategies people have for creating safe spaces etc. Kath said starting with the self is all she can do—monitoring her own psychophysical responses moment by moment and being vigilant about doing her work before working with others. Lewis spoke about the importance of honouring what is, and spoke of her experience both with herself and Ewan and their audience in a piece they made recently about torture. The idea of really taking responsibility for your own experience was mentioned.
There was a discussion about what honesty is, or whether Ewan’s phrase ‘honest commitment’ is a better way to approach the issue. John and Nick spoke of the complexities of the issue, our capacity for self-deception, many stories and plays being based on different kinds of delusion.
We also spoke about audiences, how to encourage our audiences into the ‘right’ space—a space of openness. Kath also spoke about how you never know who is in the audience or how they will respond—transformative for one may be dull as ditchwater for another. A reminder came about the importance of play and playfulness. Nick spoke about immersive theatre and Ewan mentioned an example involving a performer night after night inviting an audience member to come and dance with him—no-one ever did until one night when a man stood up and shouted that he was from Iran, where dancing is illegal, and YES, he was going to come up and dance.
Action:
We agreed to create an e-group to continue these discussions and to perhaps provide a supportive context for those of us interested in these questions. Kath agreed to do the admin!
To Louise Platt: fellow dramatherapist would like to meet you!
Convener(s): Steven Whinnery—typed up by Kath Burlinson
Participants: Steve, Kath, Deirdre McLaughlin, Imogen Crouch-Hyde, Anna Porubcansky, Ewan Downie, John Hale, Louise Platt, Lewis Barfoot, Nicholas McInerny, El Heidingsfeld, Persephone, Theresa Feliz, Peta Cooke, Jamie Wood, Chris Grady
Summary of discussion, conclusions and/or recommendations:
Steven began by asking each of us in the circle at that time to introduce ourselves and say what we do/why we were drawn to discuss the question. The following is a brief and incomplete summary of what people said:
Steven—a mask maker and actor—mentioned the stigma attached to living on benefits and having clinical depression, also currently studying bodywork including Feldenkrais
Kath—theatre maker/director/actor, interested in creating transformative theatre, what makes a sacred event, also not separating, but integrating
Louise—drama therapist, professional connection between theatre and healing arts
John—works in psychology as well as theatre
Deidre—doing Ph.D at central, also actor/director/massage therapist. Wants to know how to circumvent the stigma around ‘healing arts’/therapy
Imogen—graduating soon from Central and concerned with survival issues—how to make a career in theatre bring in an income
Lewis—experience of healing in different contexts—medical and artistic—wanting to share the humanity
Percy—involved in creating piece about extinction/ecological needs/climate and relationship with non-human world
Theresa—nutritional and massage therapist—childhood experience on commune in India
Anna—involved in theatre in Poland and mentioned a festival called the ‘Brave’ festival (?)
Ewan—has worked for some years with Song of the Goat—interested in how much we can give to each other and audience—how do we make transformative theatre? And how do we build an audience for that?
Jamie—involved in devising and collaborative processes—can be a healing place if it comes from the right place—interested in how to take that knowledge into working with people who are not actors
Nick McInerny joined group, asked about duty of care when getting into deeper territory psychologically/emotionally, both for participants and audience. Some discussion of the dangers of not having appropriate structures in place, led on to recognition that conventional theatre too does not acknowledge the intimacy (false or genuine) that occurs within casts and the mourning/grieving/loss when a show ends. Led to discussion of ritual as structure and perhaps greater need for this.
Interesting how discussion that began as quite heart-based then went into a territory more governed by fear. Nick asked what strategies people have for creating safe spaces etc. Kath said starting with the self is all she can do—monitoring her own psychophysical responses moment by moment and being vigilant about doing her work before working with others. Lewis spoke about the importance of honouring what is, and spoke of her experience both with herself and Ewan and their audience in a piece they made recently about torture. The idea of really taking responsibility for your own experience was mentioned.
There was a discussion about what honesty is, or whether Ewan’s phrase ‘honest commitment’ is a better way to approach the issue. John and Nick spoke of the complexities of the issue, our capacity for self-deception, many stories and plays being based on different kinds of delusion.
We also spoke about audiences, how to encourage our audiences into the ‘right’ space—a space of openness. Kath also spoke about how you never know who is in the audience or how they will respond—transformative for one may be dull as ditchwater for another. A reminder came about the importance of play and playfulness. Nick spoke about immersive theatre and Ewan mentioned an example involving a performer night after night inviting an audience member to come and dance with him—no-one ever did until one night when a man stood up and shouted that he was from Iran, where dancing is illegal, and YES, he was going to come up and dance.
Action:
We agreed to create an e-group to continue these discussions and to perhaps provide a supportive context for those of us interested in these questions. Kath agreed to do the admin!
To Louise Platt: fellow dramatherapist would like to meet you!
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