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