I am a very passionate person and the driving force behind my inquiry is my belief that:
Theatre should be accessible to everyone!
I started to think about where this passion came from. It is in direct relation to my professional practice and experiences along the way:
Theatre visits as a child
I adored our yearly family trip to see a musical in London every Christmas. Coming from a small village in Sussex in opened my eyes to a new and exciting world. This is where I fell in love with theatre. Fully aware of how cheesy it sounds I really do believe theatre is magical. It has the power to transport us, inspire us, educate us, make us laugh or cry and see things including ourselves in a new light. These feelings I experienced as a child instilled a belief that everyone and anyone should be a part of this magic, why wouldn't they.
My training
It turned out I wanted to be a part of creating this magic so much that I committed endless hours of after-school, weekends and holidays to training to be an actress. Then eventually five years of full-time study at The Brit School and The Urdang Academy. Even then I remember that every application form I wrote started with 'I want to make a difference....' I wanted to be the one to stand on the stage and create magic for the audience and I suppose I still do. My experiences of working with inspirational teachers, practitioners and fellow students only increased my drive to be a part of this world for the rest of my life. I also began to understand that there was a certain 'snobbery' around the type of people that went to theatre. As I grew up grasping the concept of money I understood why, theatre can be so expensive! Yet in my naivety I just saw is as unfair that not everyone got to go to theatre even if it was only once a year. The 12 year old in me still thinks it's unfair.
Teaching performing arts
I taught performing arts in a variety of settings including after-school/weekend club ands workshops in schools. This is where I built my passion for creating the audiences of the future. I found it hard to understand that children were coming to theatre classes having never seen a piece of live theatre. Their associations came from television programmes and film. I worked in schools where children showed great interest and talent yet theatre was just not a part of their lives. Whether that be for financial, cultural or simple lack of exposure, the reasons made me want to know more and be a part of do something about it.
My jobs as an actress
Unintentionally most of my jobs as an actress have been in children's theatre. This allowed me to see the power of theatre for children and young people. I have always held a strong belief in letting children be children for as long as possible exploring their imagination and possibilities life has to offer. Theatre allows this possibility. I have been a part of audio-described performances for those hard of hearing, touch tours for the visually impaired and specific shows for those with learning disabilities. All of these experiences have built my passion and interest in learning how theatre can be accessible for everyone.
Visiting Africa
When volunteering in an educare centre in a township my eyes were opened to a world very different to my own. But I connected to the children here through song, dance and role play (acting) - the features of my experiences in theatre. A trip to the theatre is unlikely to ever be an option for these children but in creating theatre for them (I dressed up as a pirate for a day among many different roles) these children got to escape from the unimaginable realities of their daily lives. The got to be kids even just for an hour and be inspired, be transported, laugh uncontrollably and learn new things. Then as a 6 year old child they went and picked up their 6 month old baby sister for the long walk home to responsibility. It was life changing to be a part of allowing those children to be children through the power of theatre. The poverty of Africa exists on some levels underneath our noses in London. According to Kids Company 350,000 children in London are living in severe poverty. I want to let these children and all others be kids and escape just as adults need too through the power of theatre.
Working with children with autism
Working with children with autism is inspiring, rewarding and challenging on so many different levels. I learn something new about each child every day and the journey never ends. The children I work with are mostly non-verbal so find other means of communication. In my eyes theatre has always been a form of communication. It tells a story, conveys emotions, invites us into another world. I therefore felt myself always thinking theatre could be great for the students but it would need to be adapted and formulated in the right way. I didn't know what this way was, I couldn't comprehend how theatre could become accessible for them in a way that would be successful. This leads to to my inquiry!
My experiences have led me to my inquiry........
Monday 11 November 2013
Wednesday 6 November 2013
5,4,3,2,1 kissing has finished it's time for elephant!
Out of context the above statement is very random I know, but working with children with autism spectrum disorder I hear things like this everyday. Just incase your wondering, one of the children kept kissing another on the cheek while we tried to keep focus on an activity about animals being performed by the lead teacher.
As I begin to look at my key findings and start the scary task of writing my inquiry project it is important to remember what is driving my inquiry:
I was planning to tackle all my literature before embarking on starting to write my inquiry project but have had a change of heart. In having a tendancy of wanting to finish one aspect before starting another I am loosing time. I need to accept that different elements can work alongside each other and I can still be in control. I plan to approach my literature when I have time to read on London's transport (I spend a lot of time there) while also starting to write. Then write when I have assigned quiet study time. This allows me to feel a sense of progression as well as creating quality work that is not just rushed.
Are others using a similar approach too?
Thanks Hollie xx
As I begin to look at my key findings and start the scary task of writing my inquiry project it is important to remember what is driving my inquiry:
- Inspired by the amazing staff and students that I work with.
- Longing to build a deeper understanding of ASD.
- A desire to understand how the magic of theatre can be accessible to children with ASD.
- Literature.
- Interviews.
- Show visits/reviews.
- Conference visits/reviews.
- Personal experiences/diary extracts.
I was planning to tackle all my literature before embarking on starting to write my inquiry project but have had a change of heart. In having a tendancy of wanting to finish one aspect before starting another I am loosing time. I need to accept that different elements can work alongside each other and I can still be in control. I plan to approach my literature when I have time to read on London's transport (I spend a lot of time there) while also starting to write. Then write when I have assigned quiet study time. This allows me to feel a sense of progression as well as creating quality work that is not just rushed.
Are others using a similar approach too?
Thanks Hollie xx
Wednesday 30 October 2013
Summary of my inquiry
The purpose of my inquiry is to investigate and understand how autistic spectrum disorder can affect a child's experience of a live theatrical production. To investigate and understand what provisions are in place to formulate and adapt a theatrical experience for children with autistic spectrum disorder. To evaluate if there is sufficient provision out there for those new to the field to learn from and in turn develop their practice.
My main questions are as follows:
What are the key dimensions of a child's experience of a live theatrical performance?
How does autistic spectrum disorder effect a child's experience of a live theatrical performance?
What practices are in place to formulate and adapt a theatrical performance for children with autistic spectrum disorder?
Is there sufficient provisions available to those new to the field to learn from and develop their practice?
Please let me know if this summary and my questions are clear? It is easy to get caught up in my own work and processes and I would appreciate any outside opinion.
Thanks
Hollie x
My main questions are as follows:
What are the key dimensions of a child's experience of a live theatrical performance?
How does autistic spectrum disorder effect a child's experience of a live theatrical performance?
What practices are in place to formulate and adapt a theatrical performance for children with autistic spectrum disorder?
Is there sufficient provisions available to those new to the field to learn from and develop their practice?
Please let me know if this summary and my questions are clear? It is easy to get caught up in my own work and processes and I would appreciate any outside opinion.
Thanks
Hollie x
Here we go....
So here we go.....it's module 3 and I can't quite believe the end is in sight. I feel like I have been hibernating in the world of my inquiry project! The recent campus session I attended highlighted the need to come out of hibernation in order to see out of my own practises and workplace and enjoy this process.
I am enjoying this process but it's a little stressful too. I feel I am becoming an informed practitioner that is giving me a new found confidence in my professional and personal life. At the recent campus session we mentioned how our work had become a from of therapy helping us to understand ourselves and our work in a new light. I have discovered career paths that I didn't know existed that I plan to pursue - this is a huge for a girl who has been a 'drifter' the past few years, always unsure of a career path, craving a sense of direction.
My main worry is time there never seems to be enough of it. After talking to others on the campus session it became clear that this was a worry for us all and I soon realised that managing those worries is all part of the process. We can't beat ourselves up about the things we are struggling with, managing those struggles is how we learn. So I am trying to manage this by staying positive, believing in my work and not setting myself unobtainable goals. It is the worst feeling when I do not achieve what I set out to do in a day so while I have a plan I have learnt to make it realistic so the work I produce is of quality and not just squeezed into a self given time frame. I have also come to trust my judgements, I am not a great decision maker at the best of times and I feel this is a skill I have developed (and am still developing). With literature I have found it hard to STOP reading and make choices. I have come to terms with the fact I am never going to be able to encompass and read all the literature out there related to my topic it is about making informed choices otherwise there really will be no time.
How are other people managing time worries?
I am in the stage of analysing my research findings as well as collecting data. When tackling analysis I struggled with thinking was this the right way? I have come to terms with the fact that everyone has different ways and my way is the right way because it works for me! I have also found myself worrying about the quality of my notes but in realising they are only for me I have progressed at a faster and more productive pace. These are my current processes:
Before I go if you haven't used the library then do! It is amazing and well worth the trip, I also plan to have study days there ( it is pretty hard to concentrate sitting on my bed or the sofa in my tiny flat). It is amazing how much more work you get done.
Stay positive (telling myself that too)
Hollie xx
I am enjoying this process but it's a little stressful too. I feel I am becoming an informed practitioner that is giving me a new found confidence in my professional and personal life. At the recent campus session we mentioned how our work had become a from of therapy helping us to understand ourselves and our work in a new light. I have discovered career paths that I didn't know existed that I plan to pursue - this is a huge for a girl who has been a 'drifter' the past few years, always unsure of a career path, craving a sense of direction.
My main worry is time there never seems to be enough of it. After talking to others on the campus session it became clear that this was a worry for us all and I soon realised that managing those worries is all part of the process. We can't beat ourselves up about the things we are struggling with, managing those struggles is how we learn. So I am trying to manage this by staying positive, believing in my work and not setting myself unobtainable goals. It is the worst feeling when I do not achieve what I set out to do in a day so while I have a plan I have learnt to make it realistic so the work I produce is of quality and not just squeezed into a self given time frame. I have also come to trust my judgements, I am not a great decision maker at the best of times and I feel this is a skill I have developed (and am still developing). With literature I have found it hard to STOP reading and make choices. I have come to terms with the fact I am never going to be able to encompass and read all the literature out there related to my topic it is about making informed choices otherwise there really will be no time.
How are other people managing time worries?
I am in the stage of analysing my research findings as well as collecting data. When tackling analysis I struggled with thinking was this the right way? I have come to terms with the fact that everyone has different ways and my way is the right way because it works for me! I have also found myself worrying about the quality of my notes but in realising they are only for me I have progressed at a faster and more productive pace. These are my current processes:
- Working through my chosen literature focus pieces making bullet point notes on the computer.
- Colour coding my notes for myself in relation to each of my questions.
- Written my questions out on a large piece of paper as a constant reminder to stay focused on them.
- Kept a diary constantly in my bag to write notes and ideas formulated in a way that can be shared as evidence.
- Going back - looking at where I started from has given a new found focus to my work. I have a few key words on a large piece of paper as a constant reminder. Inspire, experience, access, engage, enhance.
Before I go if you haven't used the library then do! It is amazing and well worth the trip, I also plan to have study days there ( it is pretty hard to concentrate sitting on my bed or the sofa in my tiny flat). It is amazing how much more work you get done.
Stay positive (telling myself that too)
Hollie xx
Thursday 16 May 2013
Critical Reflection on Professional Practicioner Inquiry
This module has allowed me to examine and engage in social learning to formulate a holistic approach. It has provided me with inherent tools and principles to develop into an informed practitioner.
Developing lines of Professional Inquiry
In questioning the territory of my current practice (Smith, 2012) (1), deciphering uninhabited areas of interest and recognising my objectives (Smith, 2013) (2) (3), I was able to create a relevant topic base from which to build my inquiry. Actively engaging within my BAPP network SIG's allowed me to draw from informed opinion (Morall, 2012) (4) and discuss my ideas in a reflective manner (Smith, 2012) (5). In sharing lines of inquiry with professional associates I developed further scope for ideas (Smith, 2012) (6) as well as clarity and direction (Smith, 2012) (7). In collation, social learning tools gave me the knowledge and skills to evaluate and refine my ideas. This encouraged me to take ownership of my critical thinking and make informed decisions about my lines of inquiry.
Professional Ethics
I transformed my surface relationship with ethics (Smith, 2012) (8) to a place of deeper understanding and practice (Smith, 2012) (9), taking the important step from a personal to a professional perspective. This was achieved through looking at opinions and frameworks of academics, exploring my workplace codes of practice (Smith, 2012) (10) (11) and applying these findings to my inquiry proposal. Involvement in discussion surrounding ethical practice shaped and affirmed my new found knowledge application (Smith, 2012) (9). This development allowed me to identify potential areas of ethical concern and specify my approach in dealing with them.
Tools of Professional Inquiry
I developed my practice regarding tools from a generalised idea (Smith, 2013) (12) to a base of structure and definition. Academic framework and the pilots of fellow BAPP students (Ahmet, 2012) (13) provided an insight into the different approaches and methods. By piloting these theories in the tool of observation and drawing from extensive workplace experience of interview I gained confidence in the strength of my research tools. Literature provided an invaluable source for gaining direction in my inquiry. From the outset a recurring theme of inspiration arose that led me to look at what inspired me (Smith, 2013) (2). In exploring these publicly available ideas and information I began making decisions for my proposal. Three literature reviews (Smith, 2013) (14) (15) (16) developed key themes, questions and sources that my final inquiry will include.
In summary
the module has given me the skills and insight to move forward with my inquiry
and professional practice. Investigating a new field that draws from my
past experiences has initiated my move into pursuing a new career path.
The development of my knowledge and approach has allowed me to create
sufficient argument and confidence in applying to work that I previously had
little or no awareness of. I am moving into a place of informed practice with
the tools to conduct an effective inquiry in module 3.
Bibliography Middlesex University, Reader 4 (2012) BA (Hons) Professional Practice in Arts, WBS 3630, Reader 4: Developing Lines of Professional Inquiry, Print
(2) http://hollievictoriasmith.blogspot.co.uk/2013/04/i-want-to-inspire.html
(3) http://hollievictoriasmith.blogspot.co.uk/2013/04/inspiration-continued-further.html
(4) http://joelynm.blogspot.co.uk/2012/11/what-is-actually-is-inclusion.html
(5) http://hollievictoriasmith.blogspot.co.uk/2012/10/pyschology-lesson-in-campus-session.html
(6) http://hollievictoriasmith.blogspot.co.uk/2012/11/what-erica-thought.html
(7) http://hollievictoriasmith.blogspot.co.uk/2012/11/what-they-thought.html
(8) http://hollievictoriasmith.blogspot.co.uk/2012/11/ethics.html
(9) http://hollievictoriasmith.blogspot.co.uk/2012/11/more-ethics.html
(10) http://hollievictoriasmith.blogspot.co.uk/2012/11/ethics-in-workshop-facilitatingteaching.html
(11) http://hollievictoriasmith.blogspot.co.uk/2012/11/ethics-in-performing.html
(12) http://hollievictoriasmith.blogspot.co.uk/2013/04/so-now-to-how.html
(13) http://mrahmet.blogspot.co.uk/2012/11/task-6a-my-pilot-observation.html
(14) http://hollievictoriasmith.blogspot.co.uk/2013/04/literature-review-tim-webb.html
(15) http://hollievictoriasmith.blogspot.co.uk/2013/05/literature-review-matthew-reason.html
(16) http://hollievictoriasmith.blogspot.co.uk/2013/05/literature-review-unicorn-theatre.html
Friday 10 May 2013
Literature review - Unicorn Theatre Capturing Imaginations
I have started looking into the particular theatre companies that I would like to investigate. After being inspired by their work at the STEP conference I attended I have decided that the Unicorn Theatre will definitely be on my list! When looking at their website I came across an invaluable source of information - a project report on one of their programmes. This is exactly the sort of literature I am looking for so I got a bit excited upon finding it! This report and others like it are a source I intend to study at great depth for my inquiry. This review covers my initial thoughts and feelings.
Entitled 'Capturing Imaginations' the project report is an investigation into how the Unicorn Theatre's InterACT programme is beneficiary to a child's learning and the impact it has on participating teachers and their classroom practice. This report answers the how? that I am so keen to gain an understanding of. It outlines the content of the programme, how it is carried out and looks to understand the effects it is having. There is a focus on learning and participation within the report and these are words that I keep coming across as I research this area further. Having previously spoken to fellow students about the importance of the correct terminology I think this is one that I need to incorporate and understand as I move into this field. The job roles I have been looking at have this in the title so I feel the discovery of this recurring terminology will help me as I progress.
The InterACT programme focuses on the Unicorn's close partnership with schools. Catherine Greenwood the Learning and Participation Director at The Unicorn describes this relationship; 'The theatre's work with schools help us to reach children who may not otherwise get the opportunity to access theatre, and work with children from all across London and beyond. We believe that by working closely with teachers we can make the most of these children's live experience of theatre.' I have fore mentioned in my blogs about looking at where this form of work has come from and Greenwood has got me thinking about how it stems from relationship building. Although it is not my main inquiry focus in order to enforce tools that enhance a child's experience of theatre they have to have access to it and this does not lie within their control. So whether that be a teacher or a parent they are the gatekeepers to enhancing a child's experience of live theatre, InterACT is tapping into that and for me it has highlighted another factor to investigate in terms of where this work is stemming from.
The programme aims to go beyond looking at theatre in education to demonstrate the value of the actual theatre visit and engagement with it as an integral form of learning not just a 'treat or extra'. This is what the programme sets out to achieve and the project sets out to prove. InterACT works with over 25 schools in London with a lot of children who would have never visited the theatre before, it looks to support children and teachers through this process so that both parties get the most out of the experience. This is done through:
In terms of the project six schools were followed through the InterACT programme to gain a hold on the effects of it's work. Teacher's were integral in the research project with their expertise being made the most of. Led by Dr Charlotte Thompson teachers reported on child observations, they were a part of interviews, questionnaires and also provided samples of children's work. Key findings of the work were that the children were;
'When you use your imagination it makes you feel like you're in completely different world and for me it makes me dream - it makes me feel like I'm dancing in a blue dress.' InterACT participant, Year 5, St John's Primary. What beautiful words!
There is a wealth of information within this project report that has motivated me and given me the push I needed. It has got me thinking about the wealth of information out there to support my inquiry. It has affirmed my thoughts regarding how to look at the work of the theatre companies I wish to explore. I want to look at where their work originated from and the theories behind it in order to understand where they are and question where they are going - past, present, future. It has highlighted that I may need to choose particular programmes to explore in order to gain clarity in my inquiry and it will be important to look at the programme of events and picking carefully when taking the next step. I am also aware that on reading what the Unicorn do and the success stories I am very positive and maybe a little bias as I am enthusiastic about the field. I can see that actually being able to witness this work first hand would be of great benefit in creating informed opinions. I do not feel this is essential but it would be a bonus - I need to get through the gatekeepers! As well as being a great tool in terms of content it has been informative to see the format of the project report and its clarity that may be useful to relate to when formulating my own project.
The summary of the reports findings are a great testament to the work of the Unicorn:
'The findings in this report seem to point very strongly toward a case that drama can be powerful as a tool in communicating with children at a deeper level, creating new and imagined worlds in which a child can engage with meaning and debate on terms he or she is able to determine. Empowering children to learn, by teaching the whole person rather than the intellect alone, is clearly a tool that today's education system and it's children desperately need.'
Hollie xx
Entitled 'Capturing Imaginations' the project report is an investigation into how the Unicorn Theatre's InterACT programme is beneficiary to a child's learning and the impact it has on participating teachers and their classroom practice. This report answers the how? that I am so keen to gain an understanding of. It outlines the content of the programme, how it is carried out and looks to understand the effects it is having. There is a focus on learning and participation within the report and these are words that I keep coming across as I research this area further. Having previously spoken to fellow students about the importance of the correct terminology I think this is one that I need to incorporate and understand as I move into this field. The job roles I have been looking at have this in the title so I feel the discovery of this recurring terminology will help me as I progress.
The InterACT programme focuses on the Unicorn's close partnership with schools. Catherine Greenwood the Learning and Participation Director at The Unicorn describes this relationship; 'The theatre's work with schools help us to reach children who may not otherwise get the opportunity to access theatre, and work with children from all across London and beyond. We believe that by working closely with teachers we can make the most of these children's live experience of theatre.' I have fore mentioned in my blogs about looking at where this form of work has come from and Greenwood has got me thinking about how it stems from relationship building. Although it is not my main inquiry focus in order to enforce tools that enhance a child's experience of theatre they have to have access to it and this does not lie within their control. So whether that be a teacher or a parent they are the gatekeepers to enhancing a child's experience of live theatre, InterACT is tapping into that and for me it has highlighted another factor to investigate in terms of where this work is stemming from.
The programme aims to go beyond looking at theatre in education to demonstrate the value of the actual theatre visit and engagement with it as an integral form of learning not just a 'treat or extra'. This is what the programme sets out to achieve and the project sets out to prove. InterACT works with over 25 schools in London with a lot of children who would have never visited the theatre before, it looks to support children and teachers through this process so that both parties get the most out of the experience. This is done through:
- The theatre experience.
- Offering Continuing Professional Development sessions to teachers.
- Providing resources to teachers, which deepen and extend the theatre experience and create links to other curriculum areas.
- Schools based workshops which involve teachers and children.
In terms of the project six schools were followed through the InterACT programme to gain a hold on the effects of it's work. Teacher's were integral in the research project with their expertise being made the most of. Led by Dr Charlotte Thompson teachers reported on child observations, they were a part of interviews, questionnaires and also provided samples of children's work. Key findings of the work were that the children were;
- Highly able to access, discuss and comment on live theatre.
- Positive impact on children's learning and engagement.
- Improved writing ability.
- Speaking and listening skills improved.
- Improvement among under-achievers.
- Retained ideas and themes.
'When you use your imagination it makes you feel like you're in completely different world and for me it makes me dream - it makes me feel like I'm dancing in a blue dress.' InterACT participant, Year 5, St John's Primary. What beautiful words!
There is a wealth of information within this project report that has motivated me and given me the push I needed. It has got me thinking about the wealth of information out there to support my inquiry. It has affirmed my thoughts regarding how to look at the work of the theatre companies I wish to explore. I want to look at where their work originated from and the theories behind it in order to understand where they are and question where they are going - past, present, future. It has highlighted that I may need to choose particular programmes to explore in order to gain clarity in my inquiry and it will be important to look at the programme of events and picking carefully when taking the next step. I am also aware that on reading what the Unicorn do and the success stories I am very positive and maybe a little bias as I am enthusiastic about the field. I can see that actually being able to witness this work first hand would be of great benefit in creating informed opinions. I do not feel this is essential but it would be a bonus - I need to get through the gatekeepers! As well as being a great tool in terms of content it has been informative to see the format of the project report and its clarity that may be useful to relate to when formulating my own project.
The summary of the reports findings are a great testament to the work of the Unicorn:
'The findings in this report seem to point very strongly toward a case that drama can be powerful as a tool in communicating with children at a deeper level, creating new and imagined worlds in which a child can engage with meaning and debate on terms he or she is able to determine. Empowering children to learn, by teaching the whole person rather than the intellect alone, is clearly a tool that today's education system and it's children desperately need.'
Hollie xx
Tuesday 7 May 2013
Next step!
So my inquiry is going to based around London theatre companies and I need to start looking at those which I wish to explore! In order to get my head around this I have gone to my resources - paperwork from the conference I went to, twitter, my colleagues and friends and of coarse the Internet. I have a knowledge of a few companies but in order to get a simple but better understanding I have searched for mission statements or brief summaries of their work.
Unicorn Theatre The Unicorn Theatre is the UK’s leading theatre for audiences aged 2-21, serving over 70,000 children, young people and families every year through its professional performances, participation and other events. It is a central part of the Unicorn’s mission to commission new work, to tour, to be accessible to all and to encourage exchange and collaboration between theatre-makers from different countries and traditions, coming together to develop ideas and projects.
Polka Theatre Polka is devoted to work for and with children, presenting a year-round programme of theatre productions, other arts related events and a wide range of educational and participatory activities. Polka’s mission is to spark the imagination and fuel a sense of discovery in children from every background. We do this through thrilling world-class theatre and a creative programme of learning, in a welcoming and stimulating environment.
Little Angel Theatre Little Angel Theatre is one of only three building-based puppet theatres in England. The Little Angel Theatre is committed to working with children, young people, adults and families, both through schools, at the theatre and in the local community. We are developing innovative projects to improve access to our work, offer opportunities for participation, and stimulate learning and creativity for all using puppetry.
Oily Cart Since 1981 Oily Cart has been taking its unique blend of theatre to children and young people in schools and venues across the UK. Challenging accepted definitions of theatre and audience, we create innovative, multi-sensory and highly interactive productions for the very young and for young people with profound and multiple learning disabilities.
The Blue Elephant Theatre Aims to nurture new and emerging artists across all art-forms. The wide range education work caters for both in and out-of-school provision, with drama and forum theatre workshops in primary and secondary schools, after-school clubs, two young people's theatre groups and school holiday programmes.
Half moon Young People's Theatre Gives young people from birth to 18 an opportunity to experience the best in young people's theatre, as participants and audience members. The company places emphasis on engaging participants and artists often excluded from arts activity, such as those from BME communities, Deaf and disabled people, or those excluded due to socio-economic circumstance.
Chickenshed Theatre Company As an inclusive theatre their aim is to bring people together of all ages, backgrounds and abilities to produce outstanding theatre that inspires, challenges, entertains and educates both audiences and participants alike. Elsewhere difference divides, at Chickenshed the difference makes the art.
There are many more than this but I have picked out a few that are of particular interest to me and to be honest that I would love to work for! As I worked through I went back to my question and realised that I have not highlighted the fact that I am looking at children's theatre companies and by focusing on this I think I will find clarity in my inquiry. So it should be:
How are London based children's theatre companies using different tools to enhance and enrich a child's experience of live theatre?
In focusing on children (under 14) rather than young people (14 and above) I need to make sure the companies that I approach are focused on the same age group or at least have a wealth of work covering this field.
After looking at various literature I have also decided that studying 5 companies within my time frame may be slightly unrealistic and I would not be able to understand their work fully. I now plan to look at 3 and see it as a comparative study. It will be important to choose the right companies to explore but obviously this all depends on the access I am given - I have to get past the gatekeepers!
Hollie xx
Unicorn Theatre The Unicorn Theatre is the UK’s leading theatre for audiences aged 2-21, serving over 70,000 children, young people and families every year through its professional performances, participation and other events. It is a central part of the Unicorn’s mission to commission new work, to tour, to be accessible to all and to encourage exchange and collaboration between theatre-makers from different countries and traditions, coming together to develop ideas and projects.
Polka Theatre Polka is devoted to work for and with children, presenting a year-round programme of theatre productions, other arts related events and a wide range of educational and participatory activities. Polka’s mission is to spark the imagination and fuel a sense of discovery in children from every background. We do this through thrilling world-class theatre and a creative programme of learning, in a welcoming and stimulating environment.
Little Angel Theatre Little Angel Theatre is one of only three building-based puppet theatres in England. The Little Angel Theatre is committed to working with children, young people, adults and families, both through schools, at the theatre and in the local community. We are developing innovative projects to improve access to our work, offer opportunities for participation, and stimulate learning and creativity for all using puppetry.
Oily Cart Since 1981 Oily Cart has been taking its unique blend of theatre to children and young people in schools and venues across the UK. Challenging accepted definitions of theatre and audience, we create innovative, multi-sensory and highly interactive productions for the very young and for young people with profound and multiple learning disabilities.
The Blue Elephant Theatre Aims to nurture new and emerging artists across all art-forms. The wide range education work caters for both in and out-of-school provision, with drama and forum theatre workshops in primary and secondary schools, after-school clubs, two young people's theatre groups and school holiday programmes.
Half moon Young People's Theatre Gives young people from birth to 18 an opportunity to experience the best in young people's theatre, as participants and audience members. The company places emphasis on engaging participants and artists often excluded from arts activity, such as those from BME communities, Deaf and disabled people, or those excluded due to socio-economic circumstance.
Chickenshed Theatre Company As an inclusive theatre their aim is to bring people together of all ages, backgrounds and abilities to produce outstanding theatre that inspires, challenges, entertains and educates both audiences and participants alike. Elsewhere difference divides, at Chickenshed the difference makes the art.
There are many more than this but I have picked out a few that are of particular interest to me and to be honest that I would love to work for! As I worked through I went back to my question and realised that I have not highlighted the fact that I am looking at children's theatre companies and by focusing on this I think I will find clarity in my inquiry. So it should be:
How are London based children's theatre companies using different tools to enhance and enrich a child's experience of live theatre?
In focusing on children (under 14) rather than young people (14 and above) I need to make sure the companies that I approach are focused on the same age group or at least have a wealth of work covering this field.
After looking at various literature I have also decided that studying 5 companies within my time frame may be slightly unrealistic and I would not be able to understand their work fully. I now plan to look at 3 and see it as a comparative study. It will be important to choose the right companies to explore but obviously this all depends on the access I am given - I have to get past the gatekeepers!
Hollie xx
Saturday 4 May 2013
Literature review - Matthew Reason
The next book I invested in was The young audience exploring and enhancing children's experiences of theatre written by Matthew Reason. The book as a whole is provides a wealth of information surrounding my chosen field but I am have looking closely at and will review Part 3 - Enhancing engagement.
Reason's writing is of particular interest to me because of his passion for quality driven theatre for children that is enriching and engaging - a passion that is similar to my own. Within this part of his book he looks to explore different techniques surrounding how a child's engagement in theatre can be enhanced. Talking of how theatre can exist on an immediate level Reason says 'We could legitimately argue that this is fair enough. But that would neglect the richness and playfulness of the responses that emerged when people do take the narratives or characters or techniques forward for themselves. It would also be to neglect how such increased engagement makes a deepening and extending of the children's knowledge and ownership - creative, imaginative, emotional and technical - of the performance.' This a great summary of why I think it is important to go beyond the performance and offer more. Aptly Reason's words are the reasoning behind my inquiry. During the chapter Reason questions some techniques and tools in a way I had never thought of before. Talking of resource packs that are often given to teachers to extend the production into a classroom setting Reason says '- they can make watching resemble a decoding exercise of spotting themes and responding accordingly. Anecdotally, I find that such resources tend to flatten and homogenise the experiences and responses produced.' This will be an important factor to consider in my inquiry, where does the extension of a live performance have to stop so it does not take away from the magic of a theatrical performance? To be honest this also got me thinking about my own personal perceptions. As I am new to this area and very positive about any tools that set out to enhance and enrich a child's experience I am maybe a little naive and had not stopped to think that some of these tools may hinder their experience not help. This has highlighted where the critical analysis will come into my inquiry, it will be important for me to analyse my perception of the tools in question and draw from reports they have surrounding their success. Although Reason does not believe that resource packs are the way forward he does have a passion for other tools in this field.
Quoting Peter Brook 'theatre 'is an event for that moment in time, for that audience in that place - and it's gone. Gone without a trace' (cited in Melzer, 1995:148) like me Reason does not want the experience to be 'gone' and looks to explore how. I admire the way in which Reason does not look to assess memory or what a child has gained in his research he looks to see how we can 'develop reflection, play, transformation and knowledge.' Reason explores the tools of drawing and discussion in great detail. He concludes that the playful, reflective and creative nature of drawing can evolve a child's relationship with the performance. There is no right or wrong answer with drawing but it encourages taking time to stop and think, recalling thoughts and feelings that the production may or may not have set out to provoke. It is inspiring to see the power of drawing without the adult fear of 'I can't draw'. It is clear that this tool encourages a child's ever so precious imagination in a safe format.
Regarding talking about theatre Reason sees this as a fundamental tool as do I. Even as an adult we have the urge to talk about our perceptions and interpretations so I believe it is important to instill this thought process in children too encouraging expression and opinion formulating. Reason explores different techniques and models for discussion and then goes on to create his own resource for asking the right questions. It was enlightening to read about P4C - Philosophy for children that looks to 'enhance thinking skills, including the ability to think for oneself, weigh up evidence and challenge received opinions through scrutiny and reasoning' and how Reason has developed this into a model for post theatre discussion. 'Talking about Theatre' focuses on 'description, analysis, interpretation and evaluation'. These are resources that I did not know were out there and as I move forward with my inquiry I intend to really get my head around and grasp. It is invaluable information that will stand me in better stead for my inquiry and in turn my career development.
Reading back over this review I realise I have quoted Reason's work quite a lot, this is because the words he writes resound with me and inspire me! His writing has got me thinking about how much scope there is to take theatre further for young people, the positive effects it can have and the fact that there is so many resources and research out there to help me understand how. I can draw a lot from Reason's research and it will be interesting to see if theatre companies are putting his theories and others into practice and if the theory works in practice. One more!
'The way children use, play with and transform their cultural experiences in their imaginative lives reveals how the passive consumer is in reality an active participant. Acquiring knowledge, and skills of reflection and critically enables the powerless child to become enfranchised and empowered by their own cultural experiences. That is why the relationship between young audiences and theatre should never be conceptualised merely in terms of access, of getting bums on seats and of cultural rights equating simply to exposure to rich cultural experiences. Cultural rights must encompass art form knowledge and critically as essential elements in the empowerment of young audiences.'
Hollie xx
Also take a look at these photos of children watching theatre at the Unicorn they are really cool!
http://lisabarnard.co.uk/projects/unicorn-theatre/lookingattheatre/
Reason's writing is of particular interest to me because of his passion for quality driven theatre for children that is enriching and engaging - a passion that is similar to my own. Within this part of his book he looks to explore different techniques surrounding how a child's engagement in theatre can be enhanced. Talking of how theatre can exist on an immediate level Reason says 'We could legitimately argue that this is fair enough. But that would neglect the richness and playfulness of the responses that emerged when people do take the narratives or characters or techniques forward for themselves. It would also be to neglect how such increased engagement makes a deepening and extending of the children's knowledge and ownership - creative, imaginative, emotional and technical - of the performance.' This a great summary of why I think it is important to go beyond the performance and offer more. Aptly Reason's words are the reasoning behind my inquiry. During the chapter Reason questions some techniques and tools in a way I had never thought of before. Talking of resource packs that are often given to teachers to extend the production into a classroom setting Reason says '- they can make watching resemble a decoding exercise of spotting themes and responding accordingly. Anecdotally, I find that such resources tend to flatten and homogenise the experiences and responses produced.' This will be an important factor to consider in my inquiry, where does the extension of a live performance have to stop so it does not take away from the magic of a theatrical performance? To be honest this also got me thinking about my own personal perceptions. As I am new to this area and very positive about any tools that set out to enhance and enrich a child's experience I am maybe a little naive and had not stopped to think that some of these tools may hinder their experience not help. This has highlighted where the critical analysis will come into my inquiry, it will be important for me to analyse my perception of the tools in question and draw from reports they have surrounding their success. Although Reason does not believe that resource packs are the way forward he does have a passion for other tools in this field.
Quoting Peter Brook 'theatre 'is an event for that moment in time, for that audience in that place - and it's gone. Gone without a trace' (cited in Melzer, 1995:148) like me Reason does not want the experience to be 'gone' and looks to explore how. I admire the way in which Reason does not look to assess memory or what a child has gained in his research he looks to see how we can 'develop reflection, play, transformation and knowledge.' Reason explores the tools of drawing and discussion in great detail. He concludes that the playful, reflective and creative nature of drawing can evolve a child's relationship with the performance. There is no right or wrong answer with drawing but it encourages taking time to stop and think, recalling thoughts and feelings that the production may or may not have set out to provoke. It is inspiring to see the power of drawing without the adult fear of 'I can't draw'. It is clear that this tool encourages a child's ever so precious imagination in a safe format.
Regarding talking about theatre Reason sees this as a fundamental tool as do I. Even as an adult we have the urge to talk about our perceptions and interpretations so I believe it is important to instill this thought process in children too encouraging expression and opinion formulating. Reason explores different techniques and models for discussion and then goes on to create his own resource for asking the right questions. It was enlightening to read about P4C - Philosophy for children that looks to 'enhance thinking skills, including the ability to think for oneself, weigh up evidence and challenge received opinions through scrutiny and reasoning' and how Reason has developed this into a model for post theatre discussion. 'Talking about Theatre' focuses on 'description, analysis, interpretation and evaluation'. These are resources that I did not know were out there and as I move forward with my inquiry I intend to really get my head around and grasp. It is invaluable information that will stand me in better stead for my inquiry and in turn my career development.
Reading back over this review I realise I have quoted Reason's work quite a lot, this is because the words he writes resound with me and inspire me! His writing has got me thinking about how much scope there is to take theatre further for young people, the positive effects it can have and the fact that there is so many resources and research out there to help me understand how. I can draw a lot from Reason's research and it will be interesting to see if theatre companies are putting his theories and others into practice and if the theory works in practice. One more!
'The way children use, play with and transform their cultural experiences in their imaginative lives reveals how the passive consumer is in reality an active participant. Acquiring knowledge, and skills of reflection and critically enables the powerless child to become enfranchised and empowered by their own cultural experiences. That is why the relationship between young audiences and theatre should never be conceptualised merely in terms of access, of getting bums on seats and of cultural rights equating simply to exposure to rich cultural experiences. Cultural rights must encompass art form knowledge and critically as essential elements in the empowerment of young audiences.'
Hollie xx
Also take a look at these photos of children watching theatre at the Unicorn they are really cool!
http://lisabarnard.co.uk/projects/unicorn-theatre/lookingattheatre/
Tuesday 30 April 2013
Literature review - Tim Webb
In search for literature surrounding my inquiry topic I bought a couple of books - I am bit old-fashioned and like to be able to sit down with a cup of tea and turn the page rather than always looking at a screen! One of those books is Theatre for young audiences a critical handbook edited by Tom Maguire and Karian Schuitema. The book is made up of chapters each written by a different practitioner on their chosen field. After reading the contents one immediately struck a note of interest with me so that is the one I will review here and see how it relates to my inquiry.
Chapter 9 Impossible audiences: The Oily Cart's theatre for infants, people with complex disabilities and other young audiences who are primarily non-verbal Tim Webb
Tim Webb captures the work of the company he formed to create theatre for what he describes as 'impossible audiences'. These audiences consist of the really young 3-5 year old's and young audiences with a multitude of special needs. In relation to my enquiry Tim Webb and the work of Oily Cart highlight that the success of such work lies in really understanding the audience which in turn means that the audience experience goes beyond sitting in a theatre as an observer. Webb seems to capture a problem in it's simplest form and tackle it head on. Society and myself alike have a tendency to over complicate things. I know there is always a lot more to the process but I admire the process of break it down, listen to the specialists and tackle the problem. For example Webb talks of how children under the age of 5 seemed an 'impossible audience' in it's simplest form because of their limited attention span. Oily Cart resolves this by focusing on audience accessibility making themes, language and characters relate able. Also by using a variety of 'theatrical languages' like visual aids and music. The simplicity resounds as being extremely clever to me. They based a whole play 'Bedtime story' on the process of going to bed. So simple but it is a huge part of your well when you are 3 and this means the performance will stay with them longer than the time they are watching it, it will be remembered when they go to bed that night and hopefully for a few nights after too! This a different way at looking at how the content of a piece can enhance and enrich a child's experience - another tool to add to my research scope! Webb highlights that they are 'making theatre not therapy' which I can imagine can become slightly blurred when working with children with a multitude of learning disabilities. The companies dedication to really understanding and engaging their audience is truly humbling to me and is something I would love to know more about. When starting their work with children with special needs Webb highlights the importance of listening to the specialists. 'Firstly staff were clear that if we were really to connect with the young people in the school we should rethink our ideas about the duration and location of the performance.' 'Considerably more time was needed to give the young people the chance to get to know us and us, them.' This may seem common knowledge but drawing from my own experiences it does not always happen. It is so inspiring to see a company really working to understand in order to get it right! Webb talks of the productions they created after gaining this understanding and the constant development of getting a grasp on a variety of conditions and in turn how they could create theatre for these audiences. 'Box of Socks' for those with severe learning needs took place over a whole school day - with aliens crashing in assembly trying to understand life on earth walking around the school to fully engage the students. 'It was especially empowering for the group from the senior department who took an alien shopping for party ingredients and spent their time persuading the creature not to demand cake in the butchers and meat in the travel agents.' To me this project sounds great and it developed to create different modules suited to the different needs of the children 'Big splash' took place in hydrotherapy pools focusing on participants using a wider range of movement that they were used to. This led to 'Boing' which took place on a trampoline. Webb talks of many inspiring productions they have produced but in summary concludes that it comes down to really understanding your audience and like what I wish to explore the experience is enhanced and enriched by going beyond the statutory means of just being an observer. 'In conventional theatre, the audience's role is to sit and watch, but in an Oily Cart show it is the performers who must watch the audience with the greatest intention.'
I get really excited about work like this and it really inspires me! It stems from my work in special needs schools some of the most rewarding work I have ever done. I have worked with an extensive multitude of different needs and have always thought that with my skills in theatre I have a lot more to give but I have never known how. Seeing an unresponsive child light up when music is played or the television is on is amazing but to keep them engaged in theatre is another question all together. For a child who does not understand the concept of imagination or pretend. A child who does not use verbal language or who can not sit still for more than 10 minutes it does seem an 'impossible audience'. Oily cart seems to have an answer - participatory theatre techniques and really understanding the audience. This relates to my line of inquiry and my passion for this field highlighted by reading Tim Webb's writings is making me see this as a possible side line.
How are London theatre companies using different tools to enhance and enrich a child with special needs experience of live theatre?
This will satisfy my earlier thoughts of going down an inquiry line relating to disability and access to theatre. This response to my first literature review has made me want to get reading more! The chapter in this book mentions:
Oily Cart: all sorts of theatre for all sorts of kids edited by Mark Brown
This will be a great resource for my side line inquiry!
Hollie xx
Chapter 9 Impossible audiences: The Oily Cart's theatre for infants, people with complex disabilities and other young audiences who are primarily non-verbal Tim Webb
Tim Webb captures the work of the company he formed to create theatre for what he describes as 'impossible audiences'. These audiences consist of the really young 3-5 year old's and young audiences with a multitude of special needs. In relation to my enquiry Tim Webb and the work of Oily Cart highlight that the success of such work lies in really understanding the audience which in turn means that the audience experience goes beyond sitting in a theatre as an observer. Webb seems to capture a problem in it's simplest form and tackle it head on. Society and myself alike have a tendency to over complicate things. I know there is always a lot more to the process but I admire the process of break it down, listen to the specialists and tackle the problem. For example Webb talks of how children under the age of 5 seemed an 'impossible audience' in it's simplest form because of their limited attention span. Oily Cart resolves this by focusing on audience accessibility making themes, language and characters relate able. Also by using a variety of 'theatrical languages' like visual aids and music. The simplicity resounds as being extremely clever to me. They based a whole play 'Bedtime story' on the process of going to bed. So simple but it is a huge part of your well when you are 3 and this means the performance will stay with them longer than the time they are watching it, it will be remembered when they go to bed that night and hopefully for a few nights after too! This a different way at looking at how the content of a piece can enhance and enrich a child's experience - another tool to add to my research scope! Webb highlights that they are 'making theatre not therapy' which I can imagine can become slightly blurred when working with children with a multitude of learning disabilities. The companies dedication to really understanding and engaging their audience is truly humbling to me and is something I would love to know more about. When starting their work with children with special needs Webb highlights the importance of listening to the specialists. 'Firstly staff were clear that if we were really to connect with the young people in the school we should rethink our ideas about the duration and location of the performance.' 'Considerably more time was needed to give the young people the chance to get to know us and us, them.' This may seem common knowledge but drawing from my own experiences it does not always happen. It is so inspiring to see a company really working to understand in order to get it right! Webb talks of the productions they created after gaining this understanding and the constant development of getting a grasp on a variety of conditions and in turn how they could create theatre for these audiences. 'Box of Socks' for those with severe learning needs took place over a whole school day - with aliens crashing in assembly trying to understand life on earth walking around the school to fully engage the students. 'It was especially empowering for the group from the senior department who took an alien shopping for party ingredients and spent their time persuading the creature not to demand cake in the butchers and meat in the travel agents.' To me this project sounds great and it developed to create different modules suited to the different needs of the children 'Big splash' took place in hydrotherapy pools focusing on participants using a wider range of movement that they were used to. This led to 'Boing' which took place on a trampoline. Webb talks of many inspiring productions they have produced but in summary concludes that it comes down to really understanding your audience and like what I wish to explore the experience is enhanced and enriched by going beyond the statutory means of just being an observer. 'In conventional theatre, the audience's role is to sit and watch, but in an Oily Cart show it is the performers who must watch the audience with the greatest intention.'
I get really excited about work like this and it really inspires me! It stems from my work in special needs schools some of the most rewarding work I have ever done. I have worked with an extensive multitude of different needs and have always thought that with my skills in theatre I have a lot more to give but I have never known how. Seeing an unresponsive child light up when music is played or the television is on is amazing but to keep them engaged in theatre is another question all together. For a child who does not understand the concept of imagination or pretend. A child who does not use verbal language or who can not sit still for more than 10 minutes it does seem an 'impossible audience'. Oily cart seems to have an answer - participatory theatre techniques and really understanding the audience. This relates to my line of inquiry and my passion for this field highlighted by reading Tim Webb's writings is making me see this as a possible side line.
How are London theatre companies using different tools to enhance and enrich a child with special needs experience of live theatre?
This will satisfy my earlier thoughts of going down an inquiry line relating to disability and access to theatre. This response to my first literature review has made me want to get reading more! The chapter in this book mentions:
Oily Cart: all sorts of theatre for all sorts of kids edited by Mark Brown
This will be a great resource for my side line inquiry!
Hollie xx
So now to the how!!
How are London theatre companies using workshop/outreach to enhance and enrich a child's experience of live theatre?
After attending the campus session surrounding tools of professional inquiry and discussing each others questions it became evident that in order to start looking at what our tools will be we need look at where our answers lie! The answer to my question lies in the theatre companies focusing on knowledge gathering therefore the basis of my inquiry will be qualitative research.
I plan to pick roughly five companies to focus on and I will thoroughly research their work and compare what that are doing in terms of enriching and enhancing a child's experience of theatre. This research will lie within the company websites and literature. I think five is a good number as it gives me scope to compare but is also realistic within the time frame that I have. Once I have chosen the companies I would like to explore I plan to contact them and hope to get access to the programmes that they have in place in order to see them in action and not just in written format. The level of access I am given will affect my inquiry but I am hopeful that those opportunities will be there in my current workplace and networks that I have operated within throughout my career. Although this is a new field for me to explore the inspiration stems from my experience and I hope this will help me in gaining the information that I need. However some of the companies I would love to gain an understanding of are completely out of my network. I am being hopeful that this does not mean that they are unobtainable but I am also realistic about how important the way in which I contact them can be. Every company will have a gatekeeper that I need to address in the correct way in order to talk to the right people. Drawing from experience I have from working as a recruitment resourcer, events organiser and workshop bookings coordinator I feel I have a good knowledge to work from. I was responsible for talking to schools, universities and companies to secure booking and opportunities stemming from cold calls. These are a few points I need to consider:
Observations
This will be the primary tool for my inquiry. I will be observing the work of the companies in question and analysing the tools that they are using to enhance and enrich a child's experience of theatre. I will need to consider if I will be an observer on the outside looking in or a participant reflecting after the experience. I think both formats would be beneficial to understand their work and it's effects. These observations may lie in actor workshops, teacher CPD sessions and facilitator led discussion. I am hoping that I will come across other avenues to observe that I do not know know of. The answer as to whether a companies work is in fact enhancing and enriching a child's experience will in theory lie with asking the children. However I do not feel that gathering information from children will be feasible in my inquiry so the answer will be in my observations and speaking to those involved in the work because my emphasis is on what the companies are doing. As my inquiry develops this may affect my question wording but only slightly.
Interviews
I feel that I will use this tool alongside my observations to gain a better understanding of the companies and their work. It would be great to interview a programme leader or actor involved in a workshop to ask their opinion on how their work is enriching and enhancing the child's experience. I think I will need to be careful not to ask questions that I could find by taking the time to research as this could be deemed as annoying. The interview would be based around getting a personal view to work alongside my paper research asking mainly why? and how? questions. Having worked in a recruitment role where I interviewed lots of people every day I feel that with careful planning I could put together the right questions to find the answers I wanted.
Focus Groups
I do not feel that this tool will help in my inquiry. Although I plan to conduct an interview if possible I am not trying to gain mass opinions I am trying to gain a detailed understanding. The only way I can see this working is if I am talking to a group of workshop leaders about their experiences but I feel I would gain more from asking that in a one-to-one scenario.
Surveys and Questionnaires
I do not feel that this tool will be beneficial to my inquiry. As my focus is on what London theatre companies are doing and in turn the effect it is having a survey or a questionnaire is not going to further my knowledge. I am not looking to collate mass information I am trying to look closely at work that is going on.
Hollie xx
After attending the campus session surrounding tools of professional inquiry and discussing each others questions it became evident that in order to start looking at what our tools will be we need look at where our answers lie! The answer to my question lies in the theatre companies focusing on knowledge gathering therefore the basis of my inquiry will be qualitative research.
I plan to pick roughly five companies to focus on and I will thoroughly research their work and compare what that are doing in terms of enriching and enhancing a child's experience of theatre. This research will lie within the company websites and literature. I think five is a good number as it gives me scope to compare but is also realistic within the time frame that I have. Once I have chosen the companies I would like to explore I plan to contact them and hope to get access to the programmes that they have in place in order to see them in action and not just in written format. The level of access I am given will affect my inquiry but I am hopeful that those opportunities will be there in my current workplace and networks that I have operated within throughout my career. Although this is a new field for me to explore the inspiration stems from my experience and I hope this will help me in gaining the information that I need. However some of the companies I would love to gain an understanding of are completely out of my network. I am being hopeful that this does not mean that they are unobtainable but I am also realistic about how important the way in which I contact them can be. Every company will have a gatekeeper that I need to address in the correct way in order to talk to the right people. Drawing from experience I have from working as a recruitment resourcer, events organiser and workshop bookings coordinator I feel I have a good knowledge to work from. I was responsible for talking to schools, universities and companies to secure booking and opportunities stemming from cold calls. These are a few points I need to consider:
- Be 100% clear on what I am asking for before making any form of contact.
- Extensively research the company and the work they do.
- Find the names of the people I need to talk to.
- Really think about my form of contact. Email - spend time on the writing. Call - have notes in front of me regarding what to say.
- Think about any benefits the company may gain.
- Formulate an understanding of the ethics behind exploring a companies work in a research project.
Observations
This will be the primary tool for my inquiry. I will be observing the work of the companies in question and analysing the tools that they are using to enhance and enrich a child's experience of theatre. I will need to consider if I will be an observer on the outside looking in or a participant reflecting after the experience. I think both formats would be beneficial to understand their work and it's effects. These observations may lie in actor workshops, teacher CPD sessions and facilitator led discussion. I am hoping that I will come across other avenues to observe that I do not know know of. The answer as to whether a companies work is in fact enhancing and enriching a child's experience will in theory lie with asking the children. However I do not feel that gathering information from children will be feasible in my inquiry so the answer will be in my observations and speaking to those involved in the work because my emphasis is on what the companies are doing. As my inquiry develops this may affect my question wording but only slightly.
Interviews
I feel that I will use this tool alongside my observations to gain a better understanding of the companies and their work. It would be great to interview a programme leader or actor involved in a workshop to ask their opinion on how their work is enriching and enhancing the child's experience. I think I will need to be careful not to ask questions that I could find by taking the time to research as this could be deemed as annoying. The interview would be based around getting a personal view to work alongside my paper research asking mainly why? and how? questions. Having worked in a recruitment role where I interviewed lots of people every day I feel that with careful planning I could put together the right questions to find the answers I wanted.
Focus Groups
I do not feel that this tool will help in my inquiry. Although I plan to conduct an interview if possible I am not trying to gain mass opinions I am trying to gain a detailed understanding. The only way I can see this working is if I am talking to a group of workshop leaders about their experiences but I feel I would gain more from asking that in a one-to-one scenario.
Surveys and Questionnaires
I do not feel that this tool will be beneficial to my inquiry. As my focus is on what London theatre companies are doing and in turn the effect it is having a survey or a questionnaire is not going to further my knowledge. I am not looking to collate mass information I am trying to look closely at work that is going on.
Hollie xx
Monday 29 April 2013
The big question!!
In order to formulate my question I have looked back through all my blogs and picked out some key words that recur:
1. Due to my desire to gather knowledge the focus will be on how questions.
2. I have decided I want to focus on theatre for children and young people but I need to choose one age group to focus on. Because my experience and current practice lies in working with primary aged children this is where it will lie.
3. I need to focus on an area because scope for children's theatre varies so much across the country. I live and work in London so this is where I will base it.
Here goes the questions:
Observing and participation - does one work without the other in terms of a child's engagement in theatre?
Firstly I found myself explaining what I meant by this question and what I wanted to know. That was not a good sign as the question should explain that! Basically I think that in order for a child to fully engage in a live theatre production their experience needs to go beyond the couple of hours in theatre with actor workshops, teacher involvement, discussion and reflection before and after. I want to know what companies in London are currently doing to enhance a child's engagement in live theatre as this is something I would love to be a part of and a field I am interested in going into. Everyone sat round the table said 'oooo that sounds interesting but that is not what your question portrays'. I lost sight of all the specifics that I spoke of in my previous blog and earlier in this one too. But that's ok sometimes you need to loose clarity in order to be free with your thoughts and then you can find it again. So after talking it through with my colleagues and analysing what I want to know this is my question:
How are London theatre companies using workshops/outreach to enhance and enrich a child's experience of live theatre?
The only thing I am unsure of is my terminology surrounding 'workshops/outreach' I am not sure if this is right? Maybe it should be 'participatory techniques' but then then avenues they are using might not be participatory. Actually maybe that is it 'different avenues'? Any one who has any advice on this it would be greatly appreciated! I am hoping I might hit on the correct terminology as I start to explore literature too.
I feel excited and inspired about this question! Time to get to work on realising how I will answer it!
Hollie xx
- Inspire
- Access
- Enhance
- Engage
- Learning
- Participation
- Outreach
- Community
- Experience
1. Due to my desire to gather knowledge the focus will be on how questions.
2. I have decided I want to focus on theatre for children and young people but I need to choose one age group to focus on. Because my experience and current practice lies in working with primary aged children this is where it will lie.
3. I need to focus on an area because scope for children's theatre varies so much across the country. I live and work in London so this is where I will base it.
Here goes the questions:
- How can theatre for primary aged children be more accessible in London?
- How can primary aged children's experience of theatre engage, educate and inspire?
- How can a child's experience of theatre be enhanced?
- How can theatre be made more accessible to children from all walks of life across London boroughs?
- How can more children in London get access to live theatre?
- How do current profit and non profit children's theatre organisations compare in terms of outreach work and access to children across London?
- How can theatre inspire a generation?
- Observing and participation - does one work without the other in terms of a child's engagement in theatre?
Observing and participation - does one work without the other in terms of a child's engagement in theatre?
Firstly I found myself explaining what I meant by this question and what I wanted to know. That was not a good sign as the question should explain that! Basically I think that in order for a child to fully engage in a live theatre production their experience needs to go beyond the couple of hours in theatre with actor workshops, teacher involvement, discussion and reflection before and after. I want to know what companies in London are currently doing to enhance a child's engagement in live theatre as this is something I would love to be a part of and a field I am interested in going into. Everyone sat round the table said 'oooo that sounds interesting but that is not what your question portrays'. I lost sight of all the specifics that I spoke of in my previous blog and earlier in this one too. But that's ok sometimes you need to loose clarity in order to be free with your thoughts and then you can find it again. So after talking it through with my colleagues and analysing what I want to know this is my question:
How are London theatre companies using workshops/outreach to enhance and enrich a child's experience of live theatre?
The only thing I am unsure of is my terminology surrounding 'workshops/outreach' I am not sure if this is right? Maybe it should be 'participatory techniques' but then then avenues they are using might not be participatory. Actually maybe that is it 'different avenues'? Any one who has any advice on this it would be greatly appreciated! I am hoping I might hit on the correct terminology as I start to explore literature too.
I feel excited and inspired about this question! Time to get to work on realising how I will answer it!
Hollie xx
Thursday 25 April 2013
Soooo to my inquiry....
Sooooo to my inquiry. First things first what am I trying to achieve?
I started by looking at the importance of the what? and why? surrounding question asking. Here is a link to that particular blog:
What is a question? Why do we ask certain questions?
In breaking down my thinking to it's simplest form in this way it allowed me to gain insight and understand that I needed to get my head around what I want to gain from my inquiry before I start throwing out questions that bear no relevance to my current or future practice. This is something I feel I can begin to clarify further now.
So I began to analyse what I wanted to gain from my question:
Pyschology lesson in campus session
Back to the reader
Inspire....
In summary of these three blogs the following comments stood out and still ring true:
What Erica thought
What Tara thought
What they thought
From doing this the main points I gained were:
May have hit my idea.....maybe
What is the social drive behind inclusive theatre?
In reflection I have decided that I do not want to narrow my inquiry to that of just inclusive theatre and I want to make it more applicable to my current practice. With my recurring theme of the desire to inspire I want the focus to be on theatre for children and young people. Also looking at what has inspired me recently and the career path I now want to go down focusing on just inclusive theatre would limit me. I want to work within community, outreach and young people so this is where I want my question to lie. I want to be able to use the resources I do have not just new ones. There is lots of I wants in this paragraph but now I need to formulate it into a question. I may have decided not to follow this line of inquiry but still believe the steps I took to get there have further my development and thinking.
To quote myself 'I want to gain knowledge about a new field, I want to understand what is going on out there and where it has stemmed from, I want to know how I can get involved. This doesn't mean I am ignoring what I currently do and enjoy I am simply adding to it.' This is still the key factor as I move forward.
Hollie xx
- Take ownership of my critical thinking process.
- Create questions that make me look at my practice.
- Identify issues from my professional context that are important to me.
- Find an inquiry that can clarify and provide solutions.
- Find an inquiry that sustains successful practice or defines more personal issues.
I started by looking at the importance of the what? and why? surrounding question asking. Here is a link to that particular blog:
What is a question? Why do we ask certain questions?
In breaking down my thinking to it's simplest form in this way it allowed me to gain insight and understand that I needed to get my head around what I want to gain from my inquiry before I start throwing out questions that bear no relevance to my current or future practice. This is something I feel I can begin to clarify further now.
So I began to analyse what I wanted to gain from my question:
Pyschology lesson in campus session
Back to the reader
Inspire....
In summary of these three blogs the following comments stood out and still ring true:
- I want to make a difference.
- Desire to do more with my skills.
- What can I do? How can I get involved?
- I want to gain knowledge on my subject area coupling it with my experience and current practice.
What Erica thought
What Tara thought
What they thought
From doing this the main points I gained were:
- Be more specific.
- Chose one line of inquiry don't try and cover too much.
- Importance of choosing a subject I am really interested in but not seeing it as a career choice.
May have hit my idea.....maybe
What is the social drive behind inclusive theatre?
In reflection I have decided that I do not want to narrow my inquiry to that of just inclusive theatre and I want to make it more applicable to my current practice. With my recurring theme of the desire to inspire I want the focus to be on theatre for children and young people. Also looking at what has inspired me recently and the career path I now want to go down focusing on just inclusive theatre would limit me. I want to work within community, outreach and young people so this is where I want my question to lie. I want to be able to use the resources I do have not just new ones. There is lots of I wants in this paragraph but now I need to formulate it into a question. I may have decided not to follow this line of inquiry but still believe the steps I took to get there have further my development and thinking.
To quote myself 'I want to gain knowledge about a new field, I want to understand what is going on out there and where it has stemmed from, I want to know how I can get involved. This doesn't mean I am ignoring what I currently do and enjoy I am simply adding to it.' This is still the key factor as I move forward.
Hollie xx
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