COAST international community theatre festival
I volunteered through my professor Kerrie Shaffer to attend this festival. We were given free admission as our job was to document the festival. The following are my notes and documentation. Here is a link to the festival website:
http://www.acta.f2s.com/
COAST:ACTAInternational Festival of Community TheatreBristol,UK, March 26-29th, 2012MondayMarch 26th:
Uponarrival to the ACTA centre an hour early from the launch time of thefestival; We took the opportunity to walk the loop of each of the 5main festival venues. These included the ACTA centre, the BritishRoad Methodist Church, Southbank Arts Centre, Southville centre, andthe Brewery Theatre.
Wereturned to the ACTA centre and began with a session of tea andcoffee to start to get to know festival participants andfacilitators. During that time were several interested conversationsincluding one about the definition of ‘community theatre’. From anAmerican perspective what we call community theatre is what Britainwould understand as amateur performance by theatrical companieswithin the community. For this festival the general consensus wasthat community theatre is not easily defined but could be consideredtheatre and performance that works with community issues and orcelebrates aspects of community. There was also talk of whether bycalling it ‘Participatory Theatre’ would be a better definition. Butover all it seems that that title was not the preferred. So theconclusion was that the title of community theatre is appropriate tothe work this festival was doing but that in addition to the title ofcommunity theatre, that there should be explanation of intention andcontext of specific performances. Continuing time for mingling wasmade available by dinner at the spotted cow. By that time many ofthe festival participants had arrived and the dinner was a welcomeexperience to talk to many different people.
FestivalLaunch & Crossing Borders
Afterdinner was over everyone made their way back to the ACTA centre forthe evenings performances and official launch of the festival. Thestage was draped on either side with colourful cloth and raisedplatforms. The first performance was created by members of ACTA whoas an introduction to Bristol gave the audience what they called, “Awalk through of the history of Bristol” Four women dressed invarious costume items that ranged from contemporary to historic anddescribing various events that revolved around Bristol. Next thefour women gave the audience a lesson in Bristolian language whichincluded greetings, how to order in a pub, and how to manage publictransit. They finished with a tradition Bristolian song aboutblackbirds and then turned the festivities over to the CommunityChoir.
TheCommunity choir trouped onto the stage with the youngest membersfirst. The choir was intergenerational. They sang four songsincluding: My Poor Bird, To make you feel my love, in the summertime,and ain’t no mountain high enough.
Nextwas a performance by a group of Somali Women entitled CrossingBorders. It was composed of several scenes and followed the storiesof 4 Somali Women and 3 of their daughters. The production usedEnglish and Somali language, digital projection, and song. It dealtwith the gaps between the older and younger generation in terms ofvalues, culture, and family. The overall message of the productionwas the need for communication between generations. This productionconcluded the evenings performances and would be discussed firstthing in the morning with several of the actors and the director.
TuesdayMarch 27th:
CrossingBorders Post Show Discussion:
Tuesdaybegan promptly at 9:30 with a Post show discussion of CrossingBorders. The discussion panel included director Neil Beddow and twoof the actresses Fatoum Houssein and Muna Abdi Muhamud. Thediscussion was facilitated by Eugene van Erven. The first questionsasked were about how acta and the Somalian community had connected tomake this production. After seeing a performance in 2010 there was agained interest for ACTA to engage with the Somalian community. Onceinitial contact had been made it became clear that the Somaliancommunity wished to produce a show about generations. The Somaliancommunity in Bristol is very large. Over 20,000 alone are based inBristol and most have come in the last 15 years. Children who areborn and raised in Bristol struggle with their Somalian born parentsin several ways that include cultural differences and everydayparent/teenager battles. Family is extremely important in Somalianculture, the older generation often miss Somalia and wish to returnwhile the youth have grown into their own cultural experience ofbeing Somalian and British.
Interms of performance framework the director and cast used a lot ofimprovisation to create dialogue. They said that since they weretalking about things that came from the heart that it wasn’t hard toimprovise. Neil (the director) felt that this process ofimprovisation makes a performance more natural. Much of theperformance content came from the experiences of the performersthemselves but to ensure that cast members would be protectedemotionally it was decided that no one would play their own stories.
Thequestion was asked in the discussion as to why there were no malestories represented in this production. The actresses explained thatin reality it is rare to have problems with the female teenagers. More often it is the male teenagers that are more challenging but theactors didn’t want to confront their community and alienate them. They didn’t want to seem like they were attacking the male populationbecause many of the young Somali men feel lost in this country andthe lack of discipline in British culture is affecting themnegatively. So the choice was made to focus on women of the culture.
Theperformance was very important for everyone involved. It gave theSomalian actresses a means to express their experiences to anaudience. Additionally it gave the actresses a deeper sense ofunderstanding of the relationship dynamics of Somalian generations inBristol. Both actresses expresses gratitude of a listening audience.
Workshop1: Physical Theatre: Southbank Arts Centre
AmyRose facilitating
Thegroup formed a circle and each person were asked to give their name,where they were from, and something they had seen in Bristol sincethey’d been there.
Thenfrom what each had seen in Bristol, each participant was asked tocreate a small movement attached to that experience.
Nextthe group went around the circle and created a movement and soundthat then the entire group would repeat.
Thenthe group was led in physical excersise where they were directed toclump, to scatter, and then experiment with spacial relationship. Participants walked around the space and played with differenttempos, stopping, starting, placing a hand on a shoulder and walkingwith a person, and finally after placing a hand on the shoulderparticipants would give a small stroke down the back which would thensignal the participant to melt to the floor.
Thefinal event for the physical theatre workshop was when theparticipants broke into 3 groups of 4. Using newspaper and scotchtape the participants were given 10 minutes to “Create anentrance”
Groupone created a large blanket of newspaper that they crawled under andthen taped to the floor. Starting slowly and then speeding up theparticipants broke out of the newspaper blanket much like hatchingout of an egg.
Grouptwo created a chain out of newspaper held at either end by aparticipant. Then the other two participants ran through it as iffinishing a race.
GroupThree created a small scene which in which different ages wererepresented through the idea of “play”
Aftereach group performed there was time for discussion and response.
Downwith the Dictator: Southville Centre
Downwith the Dictator was written by Cameroonian playwright Lydia Besong. Besong is currently fighting to stay in the UK with her husband. The play focuses on themes of political power, corruption, and theexperiences of those who flee from their own countries only to becomerefugees and experience another kind of struggle.
Thestage set up was simple. 7 actors, 7 boxes, and 7 stools were theonly elements used on stage. Scenes combined solo performance groupscenes. All actors play a variety of roles. Actors eitherrepresented those in suffering or the political powers behind thesuffering.
Afterthe performance there was a question and answer session. Whatfollows is a series of questions and the responses:
CatherineRoger facilitated the discussion and before the questioning begangave a bit of background information about the play. Community ArtsNorthwest wanted to produce a play about Cameroon and the politicalsituation there. The production at the COAST festival was the play’s2nd performance after a 3 month rehearsal period. Its aim was toraise awareness of asylum seekers in Britain. The Entire cast waspresent for response as well as Lydia Besong.
To read more about Lydia’s story visit her website: http://lydiaandbernard.wordpress.com/
Q:Who is the piece made for? Which audience?
A:The play was made by and for Lydia and every audience on the beliefthat everyone should be aware of what is happening with Lydia andother asylum seekers experiences.
Q:What do you hope to achieve?
A:To raise awareness. Someone is going through this experience and ifnot everyone is affected by this play it is ok, as long as someoneleaves engaged with the material.
Q:Was the play just a direct script or created through improvisation?
A:It was written and then responded to through improvisation to buildit. The most important thing was to stay true to Lydia’s story. Thecast was against trying to evoke a response and preferred to focus onraising awareness.
Q:Is there a way as a company that you’ve thought of using social mediato support your show?
A: I think the audience for this show is the people who have the powerto do something. Funding is a key issue.
Q:Is this production calling for foreign intervention?
A:Its not. Its just the power of admitting what is happening inCameroon. We hope to make people care and help other refugees andasylum seekers.
ThisQ&A session was extremely interesting. Many comments I heard didnot enjoy the play as a theatrical piece. I believe this was due tothe structuring of the piece, particularly with the politicalelements that were unclear to the audience. When questioned abouttheatrical devices and writing structure the cast reacted defensivelywith addressing that they did not want to evoke a response but justto raise awareness of Lydia’s story (although awareness is a responseof sorts..) The play is still in a developmental stage and this wasonly the second performance. In speaking to one of the actorsafterward she said she really appreciated the feedback from theaudience. She said that she felt that the reason why the castreacted so defensively at certain questions is because they feltprotective of Lydia and her story, and that perhaps that protectivenature failed to help them see the points in the play that were weakfrom a performative point of view. They had mentioned during the Q&Awhat an act of courage it was simply for Lydia to write this pieceand have it performed. I suggested to an actor that seeing thatprocess of struggling to say the words or write the play could beused in the play itself in a kind of brectian way. I think it wouldbe wonderful to see that process dramatised. I also spoke with theactors about how although it is an unfortunate truth, that most of usare desensitised to violence in foreign countries. It is so constantin our media that it has almost become normalised background noise. This is not to say that people don’t care, they do, but we as theatrepractitioners are familiarised and perhaps desensitised to the typeof testimony theatre where an actor stands and directly delivers amonologue. Perhaps it would be worth investigating new theatricalmethods of testimony (if there are any) that would spark engagementwith an audience that they haven’t seen before. What those might beI’m not sure. But its an interesting thing to think about.
Zhong:Brewery Theatre
Zhongis an original show by the Chinese community of Rotterdam. Itfollows the intergenerational stories of a Chinese family living inthe Netherlands. The families main source of income has been aChinese restaurant. The parents, away on a cruise, skype they’rethree daughters and inform them that they are relinquishing ownershipof the restaurant to them. The daughters then must work with eachother on deciding whether to keep or sell the restaurant and in theprocess discover more about they’re family history.
Uponentering the brewery theatre audience members were given three cards. Each card had a Chinese word that was then translated into Dutch andEnglish on the other side.
Thethree cards were:
Zhong:Middern: Middle
Nihao ma: Hoe gaat het: How are you?
Chi:Eten: Food
Thesethree phrases were important because Zhong set the tone for thecharacters life context. They are in the middle, not Chinese, notquite Dutch. Ni hao ma because introduction and connection was apowerful theme in the play. Finally Chi because food is a huge partof Chinese culture and family ties.
Thesetting was in a Chinese restaurant and at the end of the play theaudience was given spring roles.
Theplay also incorporated use of digital media in the form of theparents skyping the daughters and clips of a Chinese cooking show inwhich the character Magic Lee was making Won-tons.
WednesdayMarch 28th:
Postshow discussions:
Wednesdaybegan with two post show discussion for Rotterdam’s Wijktheater’sZhong and Teatr Grodzki’s Our Dream Journey.
Idid not get a chance to see Our Dream Journey but I did observe thepanel discussion. However for sake of continuity I will give the Q&Afor Zhong first.
Zhong:
NeilBeddow Facilitated the discussion with directors Stefan van Hees andDramaturge Kees Deenik, as well as the cast.
InRotterdam this show had been site specific. It was a 5 showprocession in a Chinese neighbourhood.
Q:Was the story fictional or was there personal narrative?
A:A mixture
Q:How did you get involved with the production [to the actors]?
A;Yuen was a designer and the directors approached her and offered herinvolvement. Both Chinese actors got involvement through theChinese communities
Q:Where did the family photos used in the production come from?
A:Communication with Chinese elders was difficult so the directorsasked to see photos to help understand the stories. There had been aproduction in the procession that was set at a Chinese restaurant. Audience members came in and received a menu which contained photos. They were select a photo and then receive the story.
Q:what was the time frame of the show creation?
A:1 year
Q:What form of Chinese is spoken in Rotterdam?
A:Currently its 50% Cantonese and 50% Mandarin
Q:Was the circus story personal narrative?
A:Yes
Q:What were the other site specific locations in the originalproductions:
A:Several places including restaurants, a foyer, and behind a Moroccanrestaurant. Audience members were given umbrellas to progress toeach venue. Leaders would stand at the front of the group with andragon head and one at the back with a tail. Thus the audiencemembers became part of this giant dragon and part of the performance.
OurDream Journey: Theatre Grodzki
Facilitatedby Neil Beddow with Director Maria Schejbal and Cast
Thediscussion was being translated from English to Polish and then toPolish Sign Language.
AudienceComment about the production: “It was a pearl of simplicity inthe best sense of theatre work”
Q:Do you always work with puppets? If so why?
A:Yes, we use puppet because we want to make visually engaging theatre.
Q:Do you usually use the life size puppets?
A:We use all possible materials, this was the first time using thehuman sized figures. Each figure was operated by 3 people.
Q:Did this group work together a lot or just for this show?
A:We drew in two groups for this show, polish community members anddeaf community members
Q:How did participants find working with each other?
A:It was ok, there were problems at the start with communication.
Q:Were the puppet operators a mixture of Deaf and non Deaf people?
A:We tried that at first but it didn’t work well.
Q:Where did the story come from? Is it personal experience?
A: We wanted to make something simple for the international festival. The theme was home sickness.
Q:Is the process for this project similar to past projects?
A:Wetry to do stores that are important to us. This show we useddifferent means and technologies.
Q:Did you design the puppets collaboratively?
A:we had a designer and then we experimented with them.
Q:How did you create this production?
A:We wanted to show people working. We found simple movements to showthe audience dreams and then put them in reality.
Q:Did you find it difficult to take the character of the puppet andleave yourself behind? Which do you prefer?
A:A mixture, some found it easy and others didn’t. Some prefertraditional acting and some prefer puppets.
Q:What were the pieces of music that were used?
A:they were composed. The music was conveyed through sign language bya actor with white gloves.
Q:How has the experience of the performance been? What is its future?
A:The play is just starting to perform. It is going on tour at variousfestivals and conferences.
Weshall overcome: Southville Arts Centre
Performedby the Malcom X elders
Theset consisted of a costume rack, 2 long benches, and a large collagebackdrop of pictures, letters, recipes, with border the colours ofthe Jamaican flag.
Thewomen entered dressed in basic blacks and with a floral pattern shawlwrapped around them, each with a flower in their hair. All the womenentered dancing. The scenes that followed were based on personalnarrative and included scenes of the journey to England, the firstexperiences in England, Going to School, and working.
Onememorable scene was that of a woman who takes a job in a hospital. While working in a ward for the elderly she is assigned to clean thepatients dentures. Instead of cleaning them individually she putthem all in a large bowl to clean them, thus causing a hugekerfuffle. All of the scenes included laughter and humour as well asemotionally powerful narratives. Two women in the front row wereclapping a long and talking to the actors throughout the production. It seemed a cultural expression that these women felt comfortableenough talking to the actors and interacting throughout theperformance. In a society that usually the audience member is apassive spectator these two women in the front a long with theactresses really encouraged us to be a part of their journey
Workshop2: Theatre Grodzki: Southbank Arts Centre
Facilitatedby Maria Schejbal
Whenpeople came in they were greeted by the puppets as well aspuppeteers. Before the workshop started the puppeteers wereoperating the puppets doing a variety of activities. They swept thefloor, read the palms of participants, and greeted.
Thisworkshop was instructed in English, Polish, and Sign Language. Itconsisted of puppet making. Based on theatre Grodzki’s fascinationwith animation everyone was asked to break into groups and created abrief scene with object made puppets with the theme of crossingborders.
TheGrodzki workers showed us a demonstration of basic puppet mechanics. Then participants were left to create their scenes.
Somegroups created scenes about love using the life sized puppets. Others made puppets out of cloth or newspaper. One participantcreated a puppet by wrapping the lower parts of his legs withnewspaper and then attaching an upper body that he then animated withhis hands.
Afterthe presentation of scenes there were two chairs placed in the middleof the group. One chair was to express what you had learned duringthe workshop. The other was for general comments about the processand workshop.
Workshop3: Finland: Southbank Arts Centre
Thisworkshop was also translated from English to Polish to Sign Language
Facilitatedby Sarah (last name unknown)
Nameof the place she is from has the 2nd largest refugeecentre in Finland. Sarah talked about the difficulties of refugeesbecause there is a divide between Finnish and Swedish languages. Also Finnish culture is very introverted and it make it difficult forsome refugees to integrate.
StrawberryLand/Blueberry Land
Thestrawberry/blueberry metaphor is used to express the how good part oflife (strawberry) and the bad (blueberry). Sarah had a series ofcards where she read of elements of Finnish life. She also had twotables with pictures of strawberries on one and blueberries on theother. If we were agreeable to an element we would pick up astrawberry and if we found it disagreeable we pick up a blueberry. At the end we counted up how many we had and compared.
Thegroups then divided into small groups: It ended up being groupsseparated by culture where we did improvisation of what our culutrewas. We were asked to create a statue about a good part of ourculture, and a statue about something bad. We continued usingimprovisation to explore elements of Finnish life facilitated bySarah.
InBetween Places- One of Many
Thestory was that of a young man who leaves Egypt in 1973 to find a newlife in Europe. 37 years have passed and in Berlin he has not yetfound a home.
Theplay began outside in the garden. A group sat on a bench and over aperiod of time began to sway and embrace each other. Finally one byone the performers broke apart and then encouraged the audience toenter the theatre. Once seated the performers gave a performancethat consisted of physical performance, song, and projected imagery.
Theperformance was based on the performers personal experiences ofmigration.
