The collaboration between experimental theatre company People Show and Swedish company Teatermaskinen is a good example of how international partnerships can work on a small-scale and informal basis, says Johanna Damm.
Searching for new experiences to fuel future work with fresh input has made theatre practitioners the world over look beyond their own shores for many years. Connections with like-minded artists/theatre companies/ audiences, however, are not the first step along the way. Often, for small- to medium-scale theatre organisations, international collaboration begins with an invitation from a festival/venue or with support from an organisation such as the British Council. With festival opportunities limited, when it comes to considering a trip abroad, one must first investigate risks versus gains.
High costs can often only be partly covered by available funding, but even leaving aside possible financial strains, the success rate of international partnerships remains unpredictable. Knowledge of the foreign country prior to a trip abroad is vital, but cultural idiosyncrasies are difficult to research from afar. Additionally, promotion and marketing require local expertise, which presents risks on the flipside such as controlling the campaign and extra costs. Addressing some of these issues, the Informal European Theatre Meeting (IETM) a membership organisation that exists to stimulate the quality, development and contexts of contemporary performing arts in a global environment provides a context for theatre companies to get to know one another, by initiating and facilitating professional networking and communication.
People Show, an East London-based experimental theatre company, with a well-established interdisciplinary approach to making theatre, made contact with the Swedish company Teatermaskinen at the IETM and formalised an exchange based on initial interest in each others work ethos. Discussions about the influence of working environments on creative processes and vice versa, formed the stepping stone to an exchange. This was developed despite distinct differences in outlook: People Show is based in and thrives on the vibrancy of London, whilst Teatermaskinen works in a deserted mining district in the Swedish countryside.
Both companies were interested in showing their work abroad but were encountering difficulties in securing funding and suitable frameworks to make this happen. Led by the idea of circumventing blockades in bureaucracy and formalities, the producers decided to invite the guest company over. Not wishing to collaborate creatively immediately, yet keen to explore each others practice further, People Show approached the International Workshop Festival 2005 to give Teatermaskinen the opportunity to reach practising artists as well as premièring their current show Logosfält in the UK. In return, People Show is to run a performance workshop at Teatermaskinens space based on the trademark building shows, in Sweden in 2007 with a similar level of support.
By helping to provide a safer landing on unfamiliar shores, this exchange offered assistance to Teatermaskinen in finding appropriate platforms to showcase work and in gathering information at pre-touring stage. During the visit, People Show freed up PR/marketing expertise and offered access to its network of producers and promoters. On an artistic level, rehearsal and performance space was available in People Show Studios and the company tapped into their audience base to advertise the UK première. Three performances in the People Show Studios attracted audiences of 50 people each. Some local online and national press was achieved. Swedish correspondents in London, promoters and producers attended the show and reception. A three-day workshop was run as part of the International Workshop Festival, initiating relationships between Teatermaskinen and London performers.
Stepping into a dynamic network with some guaranteed exposure, Teatermaskinen accessed a theatre space in London embedded in the UK theatre landscape. Visiting another culture like this, unlike a concentrated appearance at a festival, presents in-depth first insight into working across borders. In retrospect, the exchange needed more specific allocation of resources, and funding problems were not entirely circumvented. Although there are no large individual budgetary requirements, costs such as transport, last-minute expenses or marketing materials add up. Also, difficulties in marketing an unknown, small, foreign company to disparate target audiences were encountered. Advertising a UK première without a tour attached failed to pique critics interests, so realistic objectives when moving beyond ones own shores are important in this context.
On evaluation, an informal exchange allows for a personal choice of framework without pressures from official bodies to meet certain goals. Where flexible planning is possible, both companies retain control over the impact of the exchange. Teatermaskinens first visit to People Show was felt to be a success, enabling the company to find a home away from home, and the producers to informally learn and try out for future exposure.
Johanna Damm works on publicity for People Show.
t: 020 7729 1841;
e: people@peopleshow.co.uk;
w: http://www.peopleshow.co.uk;
w: http://www.teatermaskinen.com;
w: http://www.ietm.org;
w: http://www.workshopfestival.co.uk