FESTIVALS FOR DEVELOPMENT

1
FESTIVALS FOR DEVELOPMENT???????? ??????????

• United Kingdom of Great Britain and Northern
  Ireland 
• Islands on the Edge of the World
• The Birthplace of Shakespeare
• A Hard Place to Make Theatre for Young Audiences
• PAUL HARMAN is Honorary Life President of ASSITEJ
  UK
• Member of the Executive Committee of ASSITEJ
  International 2008 - 2011
• Artistic Director of MYPT, Liverpool and CTC,
  Darlington 1978 2008
• Director of Takeoff Festival 1989 - 2008

??????????? ??????????? ?????????????? ? ????????
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??????? ??? ?????? ???????? ????????? ???????
(??????????????)? ???? ??????????????? ????????
????????????? ??????????? ??????? 2008 -
2011 ?????????????? ???????????? ??????? MYPT,
????????? ? CTC, ?????????? 1978 2008 ????????
????????? Takeoff 1989 - 2008
2
Islands on the Edge of the World ??????? ?? ????
?????

• Heart of a former Empire
• Three nations and a province
• Different histories, looking for a modern
  cultural identity
• Different approaches to education and the arts
• SCOTLAND has 5.5 million citizens - equal to
  Denmark
• ENGLAND has 60 million equal to France
• Regional differences in ENGLAND significant
  North, East, West
• LONDON dominates all cultural production
  especially theatre

• ?????? ?????? ???????
• ??? ????? ? ?????????
• ?????? ???????????? ?????, ?????? ???????????
  ???????????
• ?????? ??????? ? ??????? ??????????? ? ?????????
• ????????? ????????? 5,5 ???. ??????? ??? ?
  ?????
• ????????? ?????? 60 ???. ??????? ??? ?? ???????
• ? ?????? ??????? ???? ?????? ????????????
  ???????? ??????, ??????? ? ??????
• ?????? ????????? ???????? ??????? ?? ??????????
  ????? ???????? ???????? ? ??????? ??????

3
A Hard Place to Make Theatre for Young
Audiences?? ????? ??????? ????? ??? ?????? ?????
???????

• Low priority for Government Arts for children
  receive less than 5 total Arts expenditure
• Lack of academic interest no University
  research or training
• Drama schools prepare students for TV, film or
  West End not small scale touring theatre or
  work for children
• No official body monitors the quantity or
  regulates the quality of theatre for children
  free market pressures
• Larger scale producers, RNT, RSC etc, make
  little or no original work for young audiences
  adaptations of well-known books

• ?? ???????? ?????????????? ??????????? ???
  ????????????? ????????? ??? ????? ????????
  ????? 5 ?? ?????? ??????????????
• ?????????? ???????? ???????? ??????????
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• ??????????? ????? ??????? ????????? ???
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  ??? ????????? ??????????? ????? ? ??????? ???????
• ??? ???????????? ???????? ?? ??????????? ?
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• ?????????? ????????????? (RNT, RSC ? ?.?.) ?????
  ?? ????????? ???????????? ?????????? ??? ?????
  ??????? ?????? ????????? ????????? ????

4
Achievements and Success?????????? ? ??????

• Schools are open to the Arts - drama activity and
  theatre very popular.
• Schools pay reasonable fees
• accept innovative theatre experiences for young
  audiences
• trusting, long-term relationships can develop
•  
• 80 of all UK children see a play at school each
  year
• 166 independent theatre companies 2 shows each
  year 100s of performances
• 40 companies receive government support through
  the Arts Councils
• 50 puppet companies mostly small, one or two
  people
• 6 dance in education companies - most activity is
  workshops with young people to support dance
  education in schools
•  
• Theatre for Young Audiences can be commercially
  successful
• MM Productions annually employs 300 actors and
  an audience of over 1 million
• West Midlands Childrens Theatre has several
  teams, which play to at total of 140,000 children
  each week
• UK TYA companies do not need to tour abroad to
  make a living.

• ????? ??????? ????????? ????? ?????????
  ??????????? ??????.
• ????? ??????? ??????
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• ????? ????????? ????????????? ? ????????????
  ?????????
•  
• 80 ???? ?????????? ????? ?????? ??? ??????? ?
  ????? ???? ??????????
• 166 ??????????? ??????? 2 ?????????? ??????
  ???, ????? ?????????????
• 40 ??????? ???????? ??????????????? ?????????
• 50 ????????? ??????? ? ???????? ????????? (1-2
  ????????)?
• 6 ??????????????? ???????????? ??????? ????????
  ?????????? ? ?????? ??????-??????? ??? ???????? ?
  ????? ????????? ????????????? ??????????? ? ?????
•  
• ????? ????? ??????? ????? ????? ????????????
  ?????
• MM Productions ?????? ??? ???????? 300 ???????,
  ?????????? 1 ???. ????????
• ????? ??? ????? ?????? ??????????? ??????? ??????
  ????????? ????????, ??????? ??????????? ?????????
  ????? 140 000 ?????
• ?????????? ??????? ????? ??????? ???
  ????????????? ???????? ?? ?????, ?????
  ???????????? ???? ?????????????.

5
The Birthplace of Shakespeare?????? ????????

• Strong conventional theatre holds back
  development of contemporary theatre especially
  for new audiences
• UK theatre has been very little influenced by
  foreign styles or texts strength of UK writers
  and other English language playwrights Miller,
  Beckett, ONeill
• UK was a founder member of ASSITEJ in 1965, with
  France and Russia
• Berliner Ensemble came as a shock in 1966
  Brecht adopted as guru by younger, left-leaning
  theatre makers for a decade
• Grips Theater plays popular in 1980s
• Gradual discovery of other traditions from mid
  70s
• Denmark, Holland, Sweden and Italy set our
  standards today

• ??????? ???????? ????????????? ?????? ??????????
  ???????? ???????????? ?????? ???????? ?????
  ???? ? ????? ?????????
• ?????????? ????? ????? ?? ???????????? ???????
  ?????????? ?????? ? ??????? ???? ?????????? ?
  ???????????? ????????? ??????, ??????, ????
• ?????????????? ???? ?? ?????, ??????????
  ??????? ? 1965 ?. ?????? ? ???????? ? ???????
• ? 1966 ????? Berliner Ensemble ???? ?????????
  ????????? ??????? ????? ??????????? ???????
  ??????? ?????? ???? ??? ????? ???????????
• ?????????? ?????? Grips ???? ????????? ? 1980-?
• ??????????? ???????????? ?????? ???????? ???????
  ? 70-? ?????
• ??????? ???????? ?????? ?????, ?????????, ??????
  ? ??????

6
Unique Approach Lost Opportunity???????????
?????? ????????? ????????????

• Englands successful and pioneering Theatre in
  Education practice in the 1960s and 70s
  featured
• Strong local or regional identity
• Social and political themes
• Intensive participatory format change in
  relationship between stage and audience
• Permanent teams of actors
• Collectively devised programmes or events
  rather than plays.
• Under Thatcher Government, reductions in public
  funding and changes in education policy make
  Theatre in Education economically unviable need
  for change to survive
•  ASSITEJ GB organises the first Takeoff festival
  in 1987 to
• celebrate and promote Britains special
  achievement in TIE
• present new approaches and different perspectives
  from abroad

• ??????? ??????????? ???????? ?????? ? ???????????
  (Theatre in Education)? ?????? ? 1960-70-?
  ???????
• ??????? ??????? ??? ???????????? ???????????
• ?????????? ? ???????????? ????
• ??????????? ?????? ??????? ????????? ?????????
  ????? ???????? ? ?????????
• ??????????? ??????? ???????
• ???? ???????? ????????? ????????????? ?????????
  ? ??????, ? ?? ?????.
• ?? ??????? ???????? ?????? ??????????
  ?????????????? ? ????????? ???????????????
  ???????? ??????? ????? ? ??????????? ????????????
  ???????????????? ????? ??????, ???? ????
  ??????????
•  ??????? (??????????????) ? 1987 ?. ???????
  ?????????? ????????? Takeoff ? ?????
• ????????? ? ??????? ?????? ??????????
  ?????????????? ? ??????? ?????? ????? ???????
• ??????????? ????? ?????????? ??????? ? ???????????

7
UK Festivals Development since 1987??????????
????????? ???????? ? 1987

• ? ????????? ?????????? ????????? Imaginate
  ????????????, ??????? ????????? ?????????
  ?????????? ??????? ????? ???????
• ?????????? ????????????? ????????? ?
  ?????????????? ?????? 400,000 ????? ???????
  ?????, ????????? ?? ???? ????????? ???????????
  ???? ???????????
• ?????? ?? ??????????? ?????? ??????????? ???????
  ?????? ??????
• ????????, ???????????? ?? ???????, ?????
  ???????? ? ??????
• ? ?????? ?????????? ????????????? ?????????
  Opening Doors
• ???????????? 8 ???????? ??????? ? 8 ???????
  ?????? ???????? ????????????? ?????
• ??? ????????? ? ???????? ????????
• ??????????? ????????????? ?????????
• ????????? Sticky Fingers ? ????? ??? ????? ??
  5 ???
• ? ?????????? ???????? ?????????? ????????? Baboro
  ? ?????? ? Roola Boola
• ? ?????? ?????????? ??? ?????????? ?????????
• Ciao! ?? ???-??????? ????? ?????????? ?
  ?????????? ????????? ??? ???????? ? ????????
  ?????????
• Spark. ? ??????????? ????????? ??? ??????????
• Takeoff ?? ??????-??????? ? ???????? ???
  ?????????????? ? ???????? ?????????
• ???????????? ?????????? ?????? ????????????????
  ???????? ??? ?????????? ???????? ??????????
  ??????????
• ???????????? ???????? ??????????? ??????????
  ????????? ? ??????????? ??????????

• Scotland has Imaginate - Only development agency
  for TYA in the UK
• Largest UK international festival - 400,000
  budget - Large schools and public audience from
  whole of Scotland - full time staff
• Emphasis on promotion of best Scottish companies
  raising standards
• Workshops and overseas travel and exchange
  particularly with Denmark
• Wales has biennial International festival
  Opening Doors
• Presents 8 Welsh companies and 8 from Europe -
  encourages international exchange
• Northern Ireland two festivals
• Belfast International Festival
• Sticky Fingers in Newry - focus on Under-Fives
• Republic of Ireland has Baboro in Galway and
  Roola Boola
• England has three regular festivals
• Ciao! In South East mix of UK and overseas
  shows for family audiences and schools
• Spark. In the Midlands for schools
• Takeoff In the North East mainly for
  professionals and school audiences
• presents work of appropriate scale from abroad to
  challenge UK standards
• supports development through debate and peer
  review

8
Models for UK Festivals?????? ??????????
??????????????

• Vancouver tented family summer festival
• Bad idea for UK summers because it rains a lot.
  Popular taste dominates.
• RITEJ, Lyon Augenblickmal, Berlin promote a
  certain artistic style
• Brits dislike individual curator setting
  standards of taste and quality
• Stekelbees Den Bos avant garde experiment
• Inspired a few UK artists to risk new forms
• Annual Festivals Huy, Belgium and Denmark
• Strong appeal as work is similar in scale but
  varied in approaches. Democratic organisation.

• ???????? ?????????? ?????? ????????? ??? ????
  ?????
• ?? ????? ?????? ???? ??? ??????????? ????, ?????
  ???? ?????. ??????????? ???????????? ????.
• RITEJ, ???? ? Augenblickmal, ?????? ??????????
  ????????? ?????????????? ?????
• ???????? ?? ?????, ????? ????????? ????? ?
  ???????? ?????? ????-???????????? ???????
• Stekelbees Den Bos ??????????? ???????????
• ????????? ????????? ?????????? ???????? ?? ??????
  ????? ????
• ????????? ????????? ??, ??????? ? ?????
• ?????????? ??????? ?????? ?????? ?? ????????, ??
  ???????? ?? ???????. ????????????? ???????????.

9
Impact of UK Festivals ??????? ??????????
??????????

• ????????????? ?????
• ???????????????? ???????? ?????????? ? ??????
  ????????, ????? ??????
• ????? ???????????? ???????? ??? ?????????????
  ????????
• ??????????? ?? ????? ??? ????? ???????? ???????
  ????? CTC ?? 5 ??? ??????? ? 9 ???????
• ???????
• ?????????? ???????????? ????????? ? ???????
  ????????????? ???????? ? ?????????? ?????????
• ????? ?? ?????? ????????? ???????????? ???
  ?????????? ????????
• ????????? ? ????????? ??????????? ??????????
  ?????????? ???????
• ???? ???????? ?????????????? ????????????
  ???????? ? ??????????? ? ???????????? ?????????,
  ????? ?? ?????????, ???????? ? ?.?.
• ?????????? ??????? ?? ??????????? ???????,
  ??????? ????? ???????????? ???????????? ??? ??
  ???????? ?????????????? ?? ?????? ?? ??????????

• Positive Outcomes
• Professional development seeing other peoples
  work, sharing ideas
• Exchange no other forum for keenest artists
• Overseas invitations for top companies - CTC to 9
  countries in 5 years
• Failures
• No major improvement in public awareness or
  financial support
• Schools not significantly more or less willing to
  accept innovation or recognise quality
• Continuing difficulty in selling tours by
  overseas companies
• Small number of artistic directors committed to
  engaging with other UK and overseas producers,
  visiting festivals, seminars etc.
• No influence on majority of companies working
  commercially or outside the Arts Council funding
  system

10
Summary??????

• Since 1987 festivals have contributed to
• Improvement in artistic quality of UK TYA
  companies mainly those receiving government
  funding
• Increase in invitations abroad for certain UK
  companies
• UK writers now produced abroad Charles Way, Mike
  Kenny, Nick Wood
• UK participation in international projects, eg
  Small Size
• UK TYA can assert with confidence that
• UK can produce quality at small scale
• Excellent partnerships exist with schools
• Theatre reaches almost every child, regardless of
  parental income and interest
• UK TYA has a sustainable future because
  government subsidy is only a small proportion of
  total turnover

• ? 1987 ?. ????????? ??????????????
• ????????? ??????????????? ???????? ??????
  ?????????? ??????? ????? ??????? ? ???????? ??
  ??????????????? ??????????????
• ?????????? ?????? ???? ????? ?????????? ?? ?????
• ?????????? ?????? ???????? ??????????? ??
  ??????? ?????? ???, ???? ?????, ??? ???
• ?????????? ?????? ??????? ??????? ? ?????????????
  ???????? (???????? Small Size)?
• ?????????? ?????? ????? ??????? ????? ?
  ???????????? ?????????? ???
• ?????????????? ????? ??????????? ??
  ????????????????, ?? ???????????? ?????????
• ?????????? ?????????? ????????? ?? ???????
• ????? ??????????? ??????? ???????, ?????????? ??
  ?????? ? ?????????????????? ?????????
• ? ??????????? ?????? ????? ??????? ?????????
  ??????? ???? ??????????? ?? ???????????????
  ????? ?????????????? ??????????