notes from
"Programme Notes: case studies for locating experimental theatre"
a Live Art Development Agency publication, 2007
Programme Notes is concerned with how theatres might shift their programmes, and in so doing, their audiences. This short selection of interviews and essays asks how theatres might alter their artistic aspirations through new approaches and in dialogue with a different range of artists and theatre makers.
Lois Keidan and Daniel Brine, Live Art Development Agency
David Micklem, Arts Council England
All kinds gather, a place of provocation, a challenge to both the artist and their audience. An exciting possibility.
A bridge is built reflecting our own contradictions, in the bridging - a process of transformation - these opposite forces connect and reflect our human existence.
This is an act of artistic creation. This becomes the reality.
Juliet Ellis
Experiment is the lifeblood of theatre.
The influence of work seen in tiny studios and galleries across the country has a direct impact on our larger stages. I would like the National Theatre to be the lens through which audiences and practitioners can experience the broadest range of theatrical experience. To this end I’m keen to encourage more diversity and greater experiment as we develop a vibrant 21st century theatre.
Nicholas Hytner, Director
National Theatre
It is essential for the mainstream to acknowledge the debt it has to those working outside the traditional structures and that doesn't just mean giving them a gig and then moving on!
It is essential to invest in the process of nurturing the work and develop a muscle for holding that particular space in which this work can grow in.
Phelim McDermott, Artistic Director
Improbable
Theatre, at its most radically distinctive,
is the place where people gather together to invent their future.
Consequently experimentation is its only viable practice:
not merely a training ground, not a marginal self-involvement,
but theatre fully and faithfully encountering itself in public.
It's hard to imagine a more vital optimism.
Chris Goode
Lyn Gardner: There is Something Stirring.
What we are seeing is a movement which has the potential to put live art and theatre right at the centre of our culture as it breaks down all the old divisions and suspicions between theatre and live art, the playhouse and the gallery, the text and the visual and physical...
Unlike traditional theatre that takes place behind the closed door of the playhouse, it shuts nobods out, and it allows the audience to take themselves to the event. It has a plasticity which ensures that it is what every individual member of the audience thinks it is … and reclaims a place that belongs to us and where we can play and dream. This is art which allows us ownership of our own lives and own imaginative processes.
Increasingly audiences see through these marketing scams and hunger for cultural experiences which not only are different but which have an authenticity.
Many young people are creating a substantial wave of new practitioners who don't want to make drama but who do want to make theatre, who couldn't care less about plays but who care very passionately about live art.
"Programme Notes: case studies for locating experimental theatre"
a Live Art Development Agency publication, 2007
Programme Notes is concerned with how theatres might shift their programmes, and in so doing, their audiences. This short selection of interviews and essays asks how theatres might alter their artistic aspirations through new approaches and in dialogue with a different range of artists and theatre makers.
Lois Keidan and Daniel Brine, Live Art Development Agency
David Micklem, Arts Council England
All kinds gather, a place of provocation, a challenge to both the artist and their audience. An exciting possibility.
A bridge is built reflecting our own contradictions, in the bridging - a process of transformation - these opposite forces connect and reflect our human existence.
This is an act of artistic creation. This becomes the reality.
Juliet Ellis
Experiment is the lifeblood of theatre.
The influence of work seen in tiny studios and galleries across the country has a direct impact on our larger stages. I would like the National Theatre to be the lens through which audiences and practitioners can experience the broadest range of theatrical experience. To this end I’m keen to encourage more diversity and greater experiment as we develop a vibrant 21st century theatre.
Nicholas Hytner, Director
National Theatre
It is essential for the mainstream to acknowledge the debt it has to those working outside the traditional structures and that doesn't just mean giving them a gig and then moving on!
It is essential to invest in the process of nurturing the work and develop a muscle for holding that particular space in which this work can grow in.
Phelim McDermott, Artistic Director
Improbable
Theatre, at its most radically distinctive,
is the place where people gather together to invent their future.
Consequently experimentation is its only viable practice:
not merely a training ground, not a marginal self-involvement,
but theatre fully and faithfully encountering itself in public.
It's hard to imagine a more vital optimism.
Chris Goode
Lyn Gardner: There is Something Stirring.
What we are seeing is a movement which has the potential to put live art and theatre right at the centre of our culture as it breaks down all the old divisions and suspicions between theatre and live art, the playhouse and the gallery, the text and the visual and physical...
Unlike traditional theatre that takes place behind the closed door of the playhouse, it shuts nobods out, and it allows the audience to take themselves to the event. It has a plasticity which ensures that it is what every individual member of the audience thinks it is … and reclaims a place that belongs to us and where we can play and dream. This is art which allows us ownership of our own lives and own imaginative processes.
Increasingly audiences see through these marketing scams and hunger for cultural experiences which not only are different but which have an authenticity.
Many young people are creating a substantial wave of new practitioners who don't want to make drama but who do want to make theatre, who couldn't care less about plays but who care very passionately about live art.
The audiences are already storming the barricades. It is up to the rest of us to give them a helping hand because the revolution has already started without us, and it would be such a pity to miss it.
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