There are times when we all lose inspiration. It can lead to disaffection in our lives, professionally, personally emotionally or creatively. I've been struggling recently with ideas for a new book. The planning is coming together, but slowly. Very slowly. Maybe that's how it should be - how it HAS to be - but as many writers/actors/musicians know it's so easy for that disaffection to take hold at such a stage of the creative process.
To help us get over that stage we all need a quick injection of inspiration from somewhere, or someone.
Occasionally it comes in the form of being gently reminded of why we are doing what we do, of what we are striving to create something for. And so, a lot of the time we can get that inspiration from our audience. An email from ASSITEJ about a forthcoming festival led me to this short video which I had somehow missed during the recent World Day of Theatre for Children. It's worth a couple of minutes of anyone's time, and might leave you feeling a bit better about the world. (If you work with children in any capacity, it might just bring a tear to your eye too.) It certainly came as a timely reminder of just how important, and how fulfilling, my field of work can be. It's also the kind of inspiration I need to get over the disaffection and get on with the work.
http://www.youtube.com/watch?feature=player_embedded&v=_LYD3sqGQeI
Who couldn't feel a little bit inspired by the children's faces, their smiles and simple eloquence as they describe what theatre means to them?
If you watch to the end, the final quote bears thinking about. 'Take a child to the theatre so they can see, hear, feel and think.' Theatre and the arts in general have a tremendous capacity to help us do all these things. They affect the whole person: professionally, personally, mentally, emotionally, creatively, spiritually.
Note that the video takes place during a break - not as part of a lesson. The children are doing this for fun, and that is key. They are learning and communicating through play. That sense of play is as valid and vital a part of education as any other. And it might be more effective than most, particularly within the primary school age range.
It also struck me that some of the references to characters and stories that the Russian children mention in the video would not be known by many British children of a similar age. Of course, cultures change and develop along different lines in different places around the world, and you could argue that some 'classics' are now dated or irrelevant to a modern child's experience. Even so, education needs to protect that sense of play, of fun and enjoyment, so children are able to discover a wider range of stories and cultural experiences; so they can develop a variety of ways of seeing, hearing, feeling and thinking.
We can't achieve this through an academic approach alone. Young people in turn need inspiration to get over their own disaffection and boredom. Theatre, literature and music remain some of the best ways to deliver it to them. If we can inspire them, they will continue to inspire us.
Find out more about the vital work of ASSITEJ here:
http://www.assitej-international.org/
and about my own small twig growing out of that mighty tree here:
www.intextperformance.com
Friday 10 May 2013
Friday 2 November 2012
No place for drama?
With regard to the new proposed English Primary Curriculum, the DfE woefully misses the mark once more.
No specific provision is made for drama in its own right as a subject in these proposals.
I know I’ve said it before, but it bears repeating. You can't teach an art as if it were a science. Losing drama in the primary curriculum would have a number of long term negative effects in a child's continuing education and development. Not only does it provide a safe platform for the expression of difficult ideas and develops confidence, it can be a springboard to creativity and self understanding for so many young people.
We now live in a world where conversation in many families is almost non-existent, where children's ideas about emotions, relationships and their place in the world are skewed by an often wholly inappropriate media influence. This leads to confusion, laying the foundations for future social problems and at the same time removing the skills young people need to deal with them. Keeping drama and the arts alive in schools is one way of restoring some of these skills.
This proposed new curriculum is short term thinking that once again reduces our children to statistics and mere grade-able commodities without thinking of them as complete human beings. It will inevitably lead to a further narrowing of experience for both children and teachers. It will increase the tick-box priority that is one of the reasons we have seen the recent debacle with GCSE marking.
The expectations in the curriculum are inappropriate and are placed too high for younger children. Too much emphasis is placed on phonics and decoding words without enough importance being placed on enjoyment in stories and reading. This enjoyment is of course where encouragement to read and love of language REALLY stems from.
Phonics is a useful tool for some children. It is NOT a fix-all solution for everyone. It even holds the danger of making able readers and confident young writers disinclined to read because the enjoyment element has been removed.
With these new proposals, no value is placed on drama and live storytelling as an important part of our culture, or in its essential role in helping to establish a young person's emotional understanding and personal development. Drama is a tool that can be used across the curriculum to help develop reading, writing, speaking, listening, and a host of PHSE issues, as well as being able to illustrate elements of other topic work. The new curriculum only short-changes teaching staff and students by not allowing them access to this invaluable resource.
Read more and join the debate here: http://www.culturallearningalliance.org.uk/news.aspx?id=88
Visit www.tya-uk.org for ideas on school visits and keeping drama alive in schools.
Friday 8 June 2012
First Ideas to First Performances
"There is nothing as exciting as an idea." So said a theatre director with whom I once worked at the beginning of our rehearsals.
In a sense he was right. There is nothing quite so thrilling as that first idea - the one that wakes up writers and artists of all kinds at three in the morning and has them running to their notebook, laptop, instrument or canvas because they know they just can't get back to sleep until it's been recorded in some way. The moment of inspiration somehow carries so much promise that it is hard - if not impossible - to ever re-create it fully in the finished work. Sometimes it seems to me as if the whole idea of the creative process is about getting that first moment of the idea back in a more concrete form.
It shouldn't stay the same though. Things change so much along the way and the creative process throws up many more facets than that one original idea ever contained. Yet in that first moment of a new idea there is the spark of life itself... That's what it can feel like anyway.
In rehearsals, that moment happens when suddenly all the elements come together for the first time, the actors are firing on all cylinders, communicating on an instinctive level with each other, and then you get that spark of life. That is very exciting. Much of the rest of rehearsal and into long runs of performances is then about trying to recreate and hold onto that first moment of truth as closely as you can, because in rehearsal, that moment is your inspirational idea.
When you do manage to hold on to that spark of quicksilver, it makes you feel as if you're the greatest actor - or writer, artist or musician - in the world.
All too often though, those moments and ideas are like balloons that pop when you try to grab hold of them too hard. They float away from you like dreams as you wake up. No matter how quickly you try to grab hold of the string, the balloon is already out of reach and disappearing into the clouds.
Right now I'm trying to maintain some of those 'first ideas' long enough to create a new play and workshop based on Treasure Island. As with my previous play about Robinson Crusoe, I want to find a personal hook, an emotional context and theme that interests me, to hang my version of the classic story onto. (Or tie the balloon string to.) In Robinson Crusoe the themes were how we fill our lives, how we discover what is most important to us, and that old favourite: 'Fathers and Sons'. For Treasure Island it's about memories and possessions, and how much those things come together to create who we are. What is truly ours? What has been pirated from other sources? (Just as I piratically steal ideas from classic stories to create my own plays.)
At the moment the process is the thing. I seem to have a lot of balloons of ideas in the air right now, and most of them have very slippery string. But nothing is ever wasted. The good ideas, the right ones, always float back to you again one way or another - even if they have changed into a different shape while they have been up there in the air.
And that change is quite exciting too.
In a sense he was right. There is nothing quite so thrilling as that first idea - the one that wakes up writers and artists of all kinds at three in the morning and has them running to their notebook, laptop, instrument or canvas because they know they just can't get back to sleep until it's been recorded in some way. The moment of inspiration somehow carries so much promise that it is hard - if not impossible - to ever re-create it fully in the finished work. Sometimes it seems to me as if the whole idea of the creative process is about getting that first moment of the idea back in a more concrete form.
It shouldn't stay the same though. Things change so much along the way and the creative process throws up many more facets than that one original idea ever contained. Yet in that first moment of a new idea there is the spark of life itself... That's what it can feel like anyway.
In rehearsals, that moment happens when suddenly all the elements come together for the first time, the actors are firing on all cylinders, communicating on an instinctive level with each other, and then you get that spark of life. That is very exciting. Much of the rest of rehearsal and into long runs of performances is then about trying to recreate and hold onto that first moment of truth as closely as you can, because in rehearsal, that moment is your inspirational idea.
When you do manage to hold on to that spark of quicksilver, it makes you feel as if you're the greatest actor - or writer, artist or musician - in the world.
All too often though, those moments and ideas are like balloons that pop when you try to grab hold of them too hard. They float away from you like dreams as you wake up. No matter how quickly you try to grab hold of the string, the balloon is already out of reach and disappearing into the clouds.
Right now I'm trying to maintain some of those 'first ideas' long enough to create a new play and workshop based on Treasure Island. As with my previous play about Robinson Crusoe, I want to find a personal hook, an emotional context and theme that interests me, to hang my version of the classic story onto. (Or tie the balloon string to.) In Robinson Crusoe the themes were how we fill our lives, how we discover what is most important to us, and that old favourite: 'Fathers and Sons'. For Treasure Island it's about memories and possessions, and how much those things come together to create who we are. What is truly ours? What has been pirated from other sources? (Just as I piratically steal ideas from classic stories to create my own plays.)
At the moment the process is the thing. I seem to have a lot of balloons of ideas in the air right now, and most of them have very slippery string. But nothing is ever wasted. The good ideas, the right ones, always float back to you again one way or another - even if they have changed into a different shape while they have been up there in the air.
And that change is quite exciting too.
Monday 4 June 2012
Book Festivals and Manchester Memories
I'm absolutely delighted to be taking part in the Lowdham Book Festival at the end of this month. http://www.lowdhambookfestival.co.uk/ I'll be appearing at a school in the morning of 28th June and giving a public performance with book signings in the afternoon. I have also just been invited to take part in the Family Fun Day at the Manchester Children's Book Festival http://www.mcbf.org.uk/index.php on Saturday 30th June, with the possibility of a short run of school workshops around Manchester in the following week. Both these events are a great opportunity for me to promote my Beltheron books and I'm hoping it may lead to more school workshops later in the year. I'm stalling and struggling a bit with ideas for various writing projects at the moment so maybe this will motivate and give my imagination a kick-in-the-head start.
My connections with Manchester go back a long way. Way back in the early 80s (seems impossible that it was thirty years ago) I was a member of the Manchester Youth Theatre. I ended up going back every summer for three years during the summer holidays while I was studying for A levels and until I went off to drama college in London. The experiences I had at youth theatre with other like-minded young actors, artists and musicians were definitely the starting point for me beginning to think about the acting profession as a real possibility.
The learning curve at Mancheter Youth Theatre was more or less perpendicular, and the leap off the top into public performances in great spaces like the Library Theatre and the Royal Northern College of Music's main stage was thrilling and terrifying for me at 17 years old. Manchester was full of firsts: the first time on a professional stage (although we were unpaid of course) the first time living away from home, first proper girlfriend, first broken heart (in rapid succession) first acting award (still the ONLY acting award!), and the first time I really saw the chances and lanscapes that life had to offer opening out in my imagination in the way it only can when you are 17.
There's no wonder that I still hold fond memories of the place or why I'm so looking forward to being there for the Festival. When I visited Manchester again for the first time in ages last summer, I found that a lot of my old haunts had (understandably) changed beyond recognition or disappeared completely. The spirit of the place remained though, and I was glad to see that the beautiful circular buildings of the Library and its adjoining theatre, surrounded by pale grey stone pillars, were still there just as I remembered.
Before the book festival though, I'll be making yet another visit to Manchester. Springsteen is playing the Man City football stadium in a couple of weeks, and the plan is to get to the front rail, in front of the centre mike stand! I'll be singing along so much that it's a good job I have a full week for the voice to recover before the first appearance at Lowdham.
If you can get to either event do come and say hello, have a chat, or just sit and listen to a story. In the meantime, check out the book details on http://www.thebeltheronpathway.com/
Next Week: First Ideas to First Performances
My connections with Manchester go back a long way. Way back in the early 80s (seems impossible that it was thirty years ago) I was a member of the Manchester Youth Theatre. I ended up going back every summer for three years during the summer holidays while I was studying for A levels and until I went off to drama college in London. The experiences I had at youth theatre with other like-minded young actors, artists and musicians were definitely the starting point for me beginning to think about the acting profession as a real possibility.
The learning curve at Mancheter Youth Theatre was more or less perpendicular, and the leap off the top into public performances in great spaces like the Library Theatre and the Royal Northern College of Music's main stage was thrilling and terrifying for me at 17 years old. Manchester was full of firsts: the first time on a professional stage (although we were unpaid of course) the first time living away from home, first proper girlfriend, first broken heart (in rapid succession) first acting award (still the ONLY acting award!), and the first time I really saw the chances and lanscapes that life had to offer opening out in my imagination in the way it only can when you are 17.
There's no wonder that I still hold fond memories of the place or why I'm so looking forward to being there for the Festival. When I visited Manchester again for the first time in ages last summer, I found that a lot of my old haunts had (understandably) changed beyond recognition or disappeared completely. The spirit of the place remained though, and I was glad to see that the beautiful circular buildings of the Library and its adjoining theatre, surrounded by pale grey stone pillars, were still there just as I remembered.
Before the book festival though, I'll be making yet another visit to Manchester. Springsteen is playing the Man City football stadium in a couple of weeks, and the plan is to get to the front rail, in front of the centre mike stand! I'll be singing along so much that it's a good job I have a full week for the voice to recover before the first appearance at Lowdham.
If you can get to either event do come and say hello, have a chat, or just sit and listen to a story. In the meantime, check out the book details on http://www.thebeltheronpathway.com/
Next Week: First Ideas to First Performances
Tuesday 15 May 2012
This is the first post on my new blogsite, which has been registered for some time now but had nowhere to go.
My posts here will be a variety of views, reviews and random thoughts on movies seen, books read, and music listened to as well as people met, and schools visited during my work as a storyteller and actor.
The blog will also serve as a more detailed update of what I'm getting up to in the world of Beltheron, with news of my fantasy thrillers for 9 year olds and upwards.
That's all for now, until this computer illiterate fool comes to terms with linking this to twitter, websites facebook etc.
My posts here will be a variety of views, reviews and random thoughts on movies seen, books read, and music listened to as well as people met, and schools visited during my work as a storyteller and actor.
The blog will also serve as a more detailed update of what I'm getting up to in the world of Beltheron, with news of my fantasy thrillers for 9 year olds and upwards.
That's all for now, until this computer illiterate fool comes to terms with linking this to twitter, websites facebook etc.
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