TOLD BY AN IDIOT OPEN SPACE
TOLD BY AN IDIOT ARE DEVELOPING THEIR PARTICIPATION PROGRAMME.
IF YOU WERE TOLD BY AN IDIOT, HOW WOULD YOU DO IT?
These are the issues that were raised during the open space, where a report has been typed up, the issue name links to the report.
Staff it with skill
What's wrong with the word education?
Why and what for?
Baby or Bathwater?
Engaging young people who do not want to be engaged in theatre “I aint doing drama – its gash!”
Where would you take it?
Trust your/their imagination
'We don't stop playing because we get old - we get old because we stop playing'/Working with the Elderly
International Exchange
Why would you want to be taught by an idiot?
Get them up and doing stuff
Open Rehearsals?
How to inspire/train/teach others to reach a wide audience?
Who should we participate/partner with?
Is a performer central to engaging with a young audience?
How can we get it wrong?
Make it real
Is process more important than product?
Friday 25 June 2010
Thursday 24 June 2010
Issue 12: Open Rehearsals?
Convener John Wright
Participants: Paul Hunter, Phelim McDermott, Dickie, Fay, John, Merce Ribot and my biggest apologies because didn’t write down the names. (We started as a small group of about 6 and we were between 10-14 people by the end of the session)
Summary of discussion
A. On John Wirght’s Open Rehearsals (OR) experience in France
1. OR Format:
- Tickets sold
- Questions would be asked to the audience
- There was a talk to the audience before hand
- Very popular
- Similar experience to putting on a show every night
2. Ideas/discussion/questions on this particular experience:
- Need of a structure to establish the rules of engagement.
- How can we get people to participate more? And Why?
- David class- work in progress
- Listen to the audience for feedback?
- Can it develop to a director/group of actors defending their ideas?
B. Discussion. Ideas, challenges and rewards of OR and further questions
- The need to find STRUCTURE to establish audience participation (when, how...) in a NON-ISSUE based OR experience. This in contrast to WorldWork issue based interventions.
- OP has the potential to transform relation between (switch roles?)
Performer – Writer – Director
And
Audience member - performer
- STRUCTURE understood as a trigger to create an develop work NOT as overall schedule for a final result (not to create expectation for an end product)
AND
STRUCURE depends and emerges from the inter-action with audience.
- CHALLENGES experienced when working with audience participation/OR:
1. The audience can become a judge
2. Actors can experience- pressure, freeze, nerves...
3. Touching/bring up difficult topics (at this point, a brief discussion was held about the boundaries between therapy and theatre)
- POSITIVE IMPUTS found on OR experiences:
1. OR can help unite/bound a theatre company.
2. “drunk on theatre”: audience participation creates another level of engagement with the performance, “makes you interested and enjoy theatre” in a different way (most important: that’s a comment from a non-theatre consumer)
3. OR, can it create a new form of theatre?
C. Relevant organizations using audience participation:
-WorldWork
Issue based + characters/role changing (interesting: ability to defend difficult ideas + difficult issues topics come up)
-Coney theatre Company
Role play.
Combination of SET UP RULES + individual choices: PERSONAL INPUT. The performance duration varies from group to group.
Participants: Paul Hunter, Phelim McDermott, Dickie, Fay, John, Merce Ribot and my biggest apologies because didn’t write down the names. (We started as a small group of about 6 and we were between 10-14 people by the end of the session)
Summary of discussion
A. On John Wirght’s Open Rehearsals (OR) experience in France
1. OR Format:
- Tickets sold
- Questions would be asked to the audience
- There was a talk to the audience before hand
- Very popular
- Similar experience to putting on a show every night
2. Ideas/discussion/questions on this particular experience:
- Need of a structure to establish the rules of engagement.
- How can we get people to participate more? And Why?
- David class- work in progress
- Listen to the audience for feedback?
- Can it develop to a director/group of actors defending their ideas?
B. Discussion. Ideas, challenges and rewards of OR and further questions
- The need to find STRUCTURE to establish audience participation (when, how...) in a NON-ISSUE based OR experience. This in contrast to WorldWork issue based interventions.
- OP has the potential to transform relation between (switch roles?)
Performer – Writer – Director
And
Audience member - performer
- STRUCTURE understood as a trigger to create an develop work NOT as overall schedule for a final result (not to create expectation for an end product)
AND
STRUCURE depends and emerges from the inter-action with audience.
- CHALLENGES experienced when working with audience participation/OR:
1. The audience can become a judge
2. Actors can experience- pressure, freeze, nerves...
3. Touching/bring up difficult topics (at this point, a brief discussion was held about the boundaries between therapy and theatre)
- POSITIVE IMPUTS found on OR experiences:
1. OR can help unite/bound a theatre company.
2. “drunk on theatre”: audience participation creates another level of engagement with the performance, “makes you interested and enjoy theatre” in a different way (most important: that’s a comment from a non-theatre consumer)
3. OR, can it create a new form of theatre?
C. Relevant organizations using audience participation:
-WorldWork
Issue based + characters/role changing (interesting: ability to defend difficult ideas + difficult issues topics come up)
-Coney theatre Company
Role play.
Combination of SET UP RULES + individual choices: PERSONAL INPUT. The performance duration varies from group to group.
Wednesday 23 June 2010
Issue 11: Get them up and doing stuff
Convener: Steve H
Participants: Hazel, Chris
Summary of discussion
Talked about how difficult it is for some people to do this – to accept that what works for one person does not necessarily work for another. Need for a safety net and a structure that has games that are easy/ that work combined with more challenging stuff both for participant and leader.
To challenge is vital as it is what we do to ourselves as performers and theatre makers – to deny them this would mean not having a understanding of this.
Participants: Hazel, Chris
Summary of discussion
Talked about how difficult it is for some people to do this – to accept that what works for one person does not necessarily work for another. Need for a safety net and a structure that has games that are easy/ that work combined with more challenging stuff both for participant and leader.
To challenge is vital as it is what we do to ourselves as performers and theatre makers – to deny them this would mean not having a understanding of this.
Issue 10: Why would you want to be taught by an idiot?
Convener: Lucia
Participants: Nick White, Paul, Jonathan Peck, Jacqui O’Hanlon
Summary of discussion
- It presents an opportunity for teachers/students to work in a new different way
- Told by an Idiot offers subversion and energy
- Told by an Idiot are not teachers, we are artists/theatremakers and this is our strength. We are not limited by boundaries, the work / connections will grow organically
- Told by an Idiot places great emphasis on the creativity of the performer, the individuals working in that room and this is empowering and liberating. There is no formula or sense of something being lifted from elsewhere
- “How stuff happens” – this is what teachers want to know and are interested in. How do theatre companies work?
- Told by an Idiot reignites the spark for people who may have become slightly tired, stale or out of practice
- The way the company works is relevant to the curriculum, to assessed coursework modules in devising. For younger students there are argument to be made in relation to creativity, literacy, listening and writing
- One of the A Level syllabus may list TBAI, this provides a natural selling point
- An intensive professional development programme for teachers, FE, lecturers would have huge appeal, teachers find it increasingly difficult to have opportunities to be inspired and work with professional practitioners and a staleness can creep into their approach. Working with teachers spreads the reach of the company far and wide
- What are the routes for allowing people into the company and feeling part of it, thinking about how it might best offer participation opportunities? Open rehearsal?
- Told by an Idiot’s way of working would possibly have appeal for deaf groups, people with mental health issues, learning difficulties but does the company want to be that specific?
Participants: Nick White, Paul, Jonathan Peck, Jacqui O’Hanlon
Summary of discussion
- It presents an opportunity for teachers/students to work in a new different way
- Told by an Idiot offers subversion and energy
- Told by an Idiot are not teachers, we are artists/theatremakers and this is our strength. We are not limited by boundaries, the work / connections will grow organically
- Told by an Idiot places great emphasis on the creativity of the performer, the individuals working in that room and this is empowering and liberating. There is no formula or sense of something being lifted from elsewhere
- “How stuff happens” – this is what teachers want to know and are interested in. How do theatre companies work?
- Told by an Idiot reignites the spark for people who may have become slightly tired, stale or out of practice
- The way the company works is relevant to the curriculum, to assessed coursework modules in devising. For younger students there are argument to be made in relation to creativity, literacy, listening and writing
- One of the A Level syllabus may list TBAI, this provides a natural selling point
- An intensive professional development programme for teachers, FE, lecturers would have huge appeal, teachers find it increasingly difficult to have opportunities to be inspired and work with professional practitioners and a staleness can creep into their approach. Working with teachers spreads the reach of the company far and wide
- What are the routes for allowing people into the company and feeling part of it, thinking about how it might best offer participation opportunities? Open rehearsal?
- Told by an Idiot’s way of working would possibly have appeal for deaf groups, people with mental health issues, learning difficulties but does the company want to be that specific?
Issue 9: International Exchange
Convener Patricia Rodriguez
Participants Jackie, Nick, Patricia, Phil, Lucy… (and more)
Summary of discussion
• First question was, does Told by an Idiot as a Company have enough international exposure to give continuity to a potential International Participation Exchange program? The conclusion to this idea was that Yes, they have enough connections achieved through their work to pursue it. In fact, they have already done it.
• What are the benefits of an International exchange?
Importing new ideas
Fresh air
Spreading the ethos of TBAI
• The spirit of the International Exchange relates to the idea that Theatre practitioners are becoming more mobile so theatre experiences can be shared in a much wider perspective, opening up a new world of inspiration.
• We tend to forget that relationship building is actually more important that a final product or creation. This is what exchange is all about.
• This type of program will fit entirely with TBAI spirit as their theatre practice goes beyond language.
• Creative learning should have an international perspective
• A potential theme could be the exchange of a particular cultural element (classical plays, a tradition, a story)
• It will also contribute to the promotion of English language through fun.
• It will promote Participation as a practice that is not usual in other countries.
• A project could be to link two groups/ schools/ theatre companies using TBAI as centre or coordinating point.
• It will be essential to contemplate digital platforms to communicate and promote the experiences (past/ present and future)
• This type of projects is very much linked to the 2012 ambition.
• A potential project was: what could happen if we mix in the same TBAI room a multicultural group?
• It would be interesting finding out which cultures and where there is a crucial need of participation activities.
Funding possibilities and references.
• It is always important to check with the host countries for funding opportunities.
• V.S.O Voluntary Services Overseas.
• European Union Cultural Department
• Arts council
• British Council
• Partnerships ( if it is the case) with American Universities.
• Visiting Arts is a good source of Information for International experiences
• Other:
• ARK (Education Charity Organisation)
• Webplay – Internet based Education Organisation that links education projects all over the world.
Participants Jackie, Nick, Patricia, Phil, Lucy… (and more)
Summary of discussion
• First question was, does Told by an Idiot as a Company have enough international exposure to give continuity to a potential International Participation Exchange program? The conclusion to this idea was that Yes, they have enough connections achieved through their work to pursue it. In fact, they have already done it.
• What are the benefits of an International exchange?
Importing new ideas
Fresh air
Spreading the ethos of TBAI
• The spirit of the International Exchange relates to the idea that Theatre practitioners are becoming more mobile so theatre experiences can be shared in a much wider perspective, opening up a new world of inspiration.
• We tend to forget that relationship building is actually more important that a final product or creation. This is what exchange is all about.
• This type of program will fit entirely with TBAI spirit as their theatre practice goes beyond language.
• Creative learning should have an international perspective
• A potential theme could be the exchange of a particular cultural element (classical plays, a tradition, a story)
• It will also contribute to the promotion of English language through fun.
• It will promote Participation as a practice that is not usual in other countries.
• A project could be to link two groups/ schools/ theatre companies using TBAI as centre or coordinating point.
• It will be essential to contemplate digital platforms to communicate and promote the experiences (past/ present and future)
• This type of projects is very much linked to the 2012 ambition.
• A potential project was: what could happen if we mix in the same TBAI room a multicultural group?
• It would be interesting finding out which cultures and where there is a crucial need of participation activities.
Funding possibilities and references.
• It is always important to check with the host countries for funding opportunities.
• V.S.O Voluntary Services Overseas.
• European Union Cultural Department
• Arts council
• British Council
• Partnerships ( if it is the case) with American Universities.
• Visiting Arts is a good source of Information for International experiences
• Other:
• ARK (Education Charity Organisation)
• Webplay – Internet based Education Organisation that links education projects all over the world.
Issue 8: 'We don't stop playing because we get old- we get old because we stop playing'/Working with the Elderly
Conveners:Paul Hunter & Jenny Byne
Participants: John Wright, Felix, Phelim, Sebastian Warrack, Dickie, Faye
Summary of discussion
➢ Working with older performers – how do we make this possible? How do you engage with them?
➢ Can you apply the same models of work and methodologies to work with the elderly as we do to work with young people?
➢ The elderly tend to be up for doing most things. The key issues tend to be more practical and logistical – it’s about providing the right conditions in terms of access requirements. E.g a warm space; making sure people can hear
➢ What works best is a whole range of experience and ages – inter-generational
➢ We can pigeonhole the elderly in terms of what we perceive they want to do. Actually, they can be much more bold and adventurous (when given the opportunity), then we might first anticipate
➢ An ‘elder’ can be classed as anyone who is 10 years older than you. It’s a relationship – it’s not a one way thing
➢ Phelim’s project - Honouring the Elders – it’s about celebrating people; not for what they did, but for what they are now
➢ Gender is also an issue – it can be much harder for women – female actresses
➢ It’s about generating an atmosphere where people feel they can be foolish
➢ Cross-fertilisation – community works that genuinely helps to inform the company’s work
➢ Bringing a whole mixture of people into one room is the ideal
➢ You can’t play if it’s not safe
➢ Leadership – empowerment through mentoring
➢ In order to work with harder to reach groups, you need to build in time to reach people and establish a relationship. You need to develop work over a long period of time to build trust. In order to do this, TBAI need to widen the pool of Idiots, otherwise there simply isn’t the manpower to support and sustain the work
➢ Doing something that has an impact, and then not following it up is an issue. It feels tokenistic
➢ Working with TBAI and Improbable is about re-connecting performers to why they originally wanted to become performers. Taking them out of the traditional hierarchy and rules of the rehearsal room. It can be re-energising and empowering – but also challenging and frightening
➢ Similarly for participants, it can be invigorating to be placed in a situation outside of society’s normal rules and structures – that can be a very freeing and healthy thing
➢ Playing safely is not necessarily a linear thing. You may need to see someone play before you know it’s safe
➢ It’s about non-judgment. Everyone in the room has something to offer
➢ The logistics and practicalities of a programme/project should appear effortless for the participants
➢ How do you create an environment where people feel safe on their own terms?
➢ Often, a shared obstacle can be good. It can be unifiying and can create a sense of trust
➢ Is everyone present on the same basis? Some may have chosen to be there, others may not have – the rules of engagement may be different
➢ It can both. It can be for people with knowledge and experience, and for people without any experience/prior interest. It can be about enrichment for those who are engaged, and it can be about enlightenment for those who have never been engaged before
➢ The opportunity to subvert our usual expectations - for performers to learn from non-performers
➢ There has to be fluid boundaries – and the performers in the company need to be prepared to work within this kind of fluid framework. E.g. a community group coming in mid-way into rehearsal. It’s about being brave. Performers have to buy into the model.
➢ Long-term, sustained relationships with schools can help to avoid a hit and run situation
➢ WHAT’S THE WORST THING THAT COULD HAPPEN?!?
Recommendations:
o Third Thought, First Framework – Peter Avary
o The Big Chair Dance
o Spare Tire – just received funding. Worth TBAI registering interest
o Magic Me – a company that runs projects with very young people and very old people. Worth TBAI speaking to
Participants: John Wright, Felix, Phelim, Sebastian Warrack, Dickie, Faye
Summary of discussion
➢ Working with older performers – how do we make this possible? How do you engage with them?
➢ Can you apply the same models of work and methodologies to work with the elderly as we do to work with young people?
➢ The elderly tend to be up for doing most things. The key issues tend to be more practical and logistical – it’s about providing the right conditions in terms of access requirements. E.g a warm space; making sure people can hear
➢ What works best is a whole range of experience and ages – inter-generational
➢ We can pigeonhole the elderly in terms of what we perceive they want to do. Actually, they can be much more bold and adventurous (when given the opportunity), then we might first anticipate
➢ An ‘elder’ can be classed as anyone who is 10 years older than you. It’s a relationship – it’s not a one way thing
➢ Phelim’s project - Honouring the Elders – it’s about celebrating people; not for what they did, but for what they are now
➢ Gender is also an issue – it can be much harder for women – female actresses
➢ It’s about generating an atmosphere where people feel they can be foolish
➢ Cross-fertilisation – community works that genuinely helps to inform the company’s work
➢ Bringing a whole mixture of people into one room is the ideal
➢ You can’t play if it’s not safe
➢ Leadership – empowerment through mentoring
➢ In order to work with harder to reach groups, you need to build in time to reach people and establish a relationship. You need to develop work over a long period of time to build trust. In order to do this, TBAI need to widen the pool of Idiots, otherwise there simply isn’t the manpower to support and sustain the work
➢ Doing something that has an impact, and then not following it up is an issue. It feels tokenistic
➢ Working with TBAI and Improbable is about re-connecting performers to why they originally wanted to become performers. Taking them out of the traditional hierarchy and rules of the rehearsal room. It can be re-energising and empowering – but also challenging and frightening
➢ Similarly for participants, it can be invigorating to be placed in a situation outside of society’s normal rules and structures – that can be a very freeing and healthy thing
➢ Playing safely is not necessarily a linear thing. You may need to see someone play before you know it’s safe
➢ It’s about non-judgment. Everyone in the room has something to offer
➢ The logistics and practicalities of a programme/project should appear effortless for the participants
➢ How do you create an environment where people feel safe on their own terms?
➢ Often, a shared obstacle can be good. It can be unifiying and can create a sense of trust
➢ Is everyone present on the same basis? Some may have chosen to be there, others may not have – the rules of engagement may be different
➢ It can both. It can be for people with knowledge and experience, and for people without any experience/prior interest. It can be about enrichment for those who are engaged, and it can be about enlightenment for those who have never been engaged before
➢ The opportunity to subvert our usual expectations - for performers to learn from non-performers
➢ There has to be fluid boundaries – and the performers in the company need to be prepared to work within this kind of fluid framework. E.g. a community group coming in mid-way into rehearsal. It’s about being brave. Performers have to buy into the model.
➢ Long-term, sustained relationships with schools can help to avoid a hit and run situation
➢ WHAT’S THE WORST THING THAT COULD HAPPEN?!?
Recommendations:
o Third Thought, First Framework – Peter Avary
o The Big Chair Dance
o Spare Tire – just received funding. Worth TBAI registering interest
o Magic Me – a company that runs projects with very young people and very old people. Worth TBAI speaking to
Issue 7: Trust your/their imagination
Convener Steve Harper
Participants: Sebastian
Summary of discussion
I wanted to challenge myself by questioning the controlling nature of being in charge. Wanting to make things work rather than trusting participants to come up with stuff.
- asked myself how I could give participants confidence to come up with their own ideas
found TRUST being a word that constantly came up – trusting and being trusted
by trusting – one gives confidence
- also understanding that trusting yourself is vital.
The person who does the wigs at war horse is doing psychology degree so I feel I should credit Di at this point.
She told me about various degrees of competence
Unconcious incompetence – not knowing you are bad at something
Conscious incompetence – knowing you are bad at something
Conscious competence – knowing you are good at something
Unconscious competence – being so good at something that you are not aware that it is a skill
Not sure how this relates to the point exactly but from a personal level – when I have worked with the idiots I feel I am doing stuff that I feel confident in whilst at the same time doing things that I have never done before.
Perhaps this might be a way of working.
Participants: Sebastian
Summary of discussion
I wanted to challenge myself by questioning the controlling nature of being in charge. Wanting to make things work rather than trusting participants to come up with stuff.
- asked myself how I could give participants confidence to come up with their own ideas
found TRUST being a word that constantly came up – trusting and being trusted
by trusting – one gives confidence
- also understanding that trusting yourself is vital.
The person who does the wigs at war horse is doing psychology degree so I feel I should credit Di at this point.
She told me about various degrees of competence
Unconcious incompetence – not knowing you are bad at something
Conscious incompetence – knowing you are bad at something
Conscious competence – knowing you are good at something
Unconscious competence – being so good at something that you are not aware that it is a skill
Not sure how this relates to the point exactly but from a personal level – when I have worked with the idiots I feel I am doing stuff that I feel confident in whilst at the same time doing things that I have never done before.
Perhaps this might be a way of working.
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