Working closely with children and teachers can refresh artistic practice for everyone involved, argues Michael Dalton.
When Pop-Up started producing theatre for children, people sometimes said, it was wonderful, lovely& how do you make a living? You explained that because you wanted adult quality but couldnt charge adult prices you were forever seeking different forms of subsidy. You got described as Theatre in Education (TIE). Why? How I hate that term. What about when plays are not in schools but in theatres: is that still TIE?
When Pop-Up was established, most of our shows were in schools and we were often asked to do workshops about some theme in the show. Good actors were often less-than-good facilitators, so in 1991 we stopped running workshops but, instead, offered schools our new Equal Voice programme, exploring self-esteem in situations of conflict, and run by professional facilitators. Developing Equal Voice was a remarkable journey for all involved. We were sent into hot spots of conflict, the problem class, the problem school and began to realise a lot about conflict. Learning to tie a shoelace or shape a letter is conflict, as is resolving an argument or dealing with a bad feeling. Failure to recognise this lowers self-esteem and the ability to take part.
Our team was drawn from many backgrounds child development, psychotherapy, drama therapy, teaching and theatre. In primary schools we began demonstrating behaviour types and issuing questionnaires to find the major problem areas. We started by making the group safe, physically and emotionally, and then developed empathic skills and group debate in order to discuss and practise chosen changes. We worked with teachers, looking at the difficulties of encouraging free expression without creating behavioural problems.
Were producing a new teachers handbook of our techniques, aimed at all ages, from nursery to job seekers. Some of our work is research and some tried and tested packages that encourage sustainable change. We work on the re-integration of the excluded and the prevention of exclusion, taking pride in yourself, and communication, interview and social skills. We help teachers use Equal Voice in lessons and as support to the recent SEAL (Social and Emotional Aspects of Learning) initiative.
We use drama-based techniques that introduce role-play and theatre to all pupils and teachers, and get pupils in schools and referral units to stand up and speak personally with safety, confidence and without scripts. It is often seen as completely separate from our touring theatre work, but is it? Every year we nationally tour two newly written plays with high production values that target particular age ranges. When touring we also offer an Equal Voice professional development training day for teachers, hosted by local theatres that are trying to attract a young audience.
In our direct work with young people, many on the fringes of society, we have the privilege of hearing many stories and experiences that deserve a bigger airing. Because of this we are now producing the first of our Soap Operas based in, around and about primary schools, involving young writers and contributors and in-school observation. Schools will be sent a whole range of scripts for young people to develop their own tales and characters, and explore conflicts with their peers. They will also be able to have our productions visit their schools or local theatre.
Its an exciting time; our theatre work inspired Equal Voice which in turn inspired new styles of theatre and both arms of our work are mutually supportive, focused on young people experiencing a modern childhood.
Michael Dalton is Artistic Director of Pop-Up Theatre.
w: http://www.pop-up.net;
w: http://www.equalvoice.net