My dissertation was an imagined youth theatre production of Abi Morgan's Fugee which was part of the National Theatre Connections Festival in 2008. Part of my study focussed on youth theatre provision and on methodology for directing a youth theatre production.
Here's an extract that sums up why I am so passionate about youth theatre provision in every postcode:
I have a specific interest in youth theatre and have found that often
youth theatre provision can be ghettoised to areas of high deprivation,
becoming the reserve of marginalised groups. While I do not contest the worth
of having drama and theatre projects available in these areas, I think it is equally
important to have similar provision in more affluent areas too. The argument
against this is often that more affluent families can afford to pay for arts provision
for their children. In these areas, however, arts provision tends to lean
towards graded exams, for example, Associated Board, LAMDA and RAD, or stage school-esque
performing arts schools that focus much more heavily on the performance as the
product and less on the impact of participation.
Chris Johnston
advocates that “none are excluded from
participating at a grass-roots level” (1998, P3) however, if we fail to
provide access to youth theatre provision in more affluent areas we are
excluding young people in those areas from taking part on the basis of their
economic background. Johnston also stipulates that:
There is no special qualification required
to participate in drama work. You do not need to have lived a particularly
vivid, difficult or disaster-strewn life to contribute; to have lived thus far
is sufficient.
(Johnston,
1998, P14)
As Johnston points out, there are no benchmarks for participation.
Neelands and Goode refer to theatre as “a
process for the interpretation of human behaviour and meanings as well as for
their expression” and suggest that it is born out of our response “to a basic human need to symbolize the
world through art-forms.” (2000, P3).
It is my belief that, in accordance with Neelands and Goode’s
assertions, young people from all backgrounds are engaged in the process of
trying to make sense of the world around them and that access to youth theatre
provision is essential across the spectrum of economic backgrounds. Clifford
and Herrmann breakdown the process of participation as follows:
Through bringing our mind, body and spirit
to the drama, we gain insight into ourselves (personal). Through working with
others to create a play within the discipline of theatre, we develop skills to
relate to people and build relationships based on trust, support, honesty and
understanding (social). Finally, as we take our performance out to the wider community,
we make ourselves heard in the public arena, allowing others to engage with our
views and concerns and impacting the world we live in (political). It is the
ability of theatre to transform the inner self, the group and society at large
that makes it so powerful and appropriate a medium for work with young people.
(Clifford
and Herrmann, 1999, P17)
Clifford and Hermann assert that participation in the community theatre
process leads to personal, social and political growth for those who take part.
In my opinion, the opportunity to develop on a personal, social and political
level should not be means-tested, but should be a right. This sentiment is
echoed by Neelands and Goode who suggest that “meaningful and personally useful theatre activity is the right and
prerogative of all people, enabling all to maximise the culture of their race,
class, gender, age or ability.” (2000, P3)
Clifford, S. & Herrmann, A. (1999) Making a Leap Theatre of Empowerment. London: Jessica Kingsley
Publishers.
Johnston, C. (1998) House of
Games. London: Nick Her Books Limited.
Neelands, J. & Goode, T. (2000) Structuring
Drama Work (2nd ed.) . Cambridge: Cambridge University Press.
