Why have a national theatre? What should it look like? How do you ensure that people feel involved enough to care? John McGrath is grappling with the problem in the most direct way possible.
The new National Theatre Wales is currently in full programming fury. With its first year of work beginning in March 2010, and the key staff in place since March, the organisation has until the end of the summer to put together a year of work that will say in clear, bold, invigorating terms what National Theatre Wales is going to be. Some projects are taking shape quickly, some remain terrifyingly abstract; new ideas and possibilities are arising just at the moment when the staff are... more
In the last of AP’s series looking how to tackle the recession, Hilary Gresty finds that it is the smaller galleries and projects which are really feeling the pinch in the world of visual arts.
Why have a national theatre? What should it look like? How do you ensure that people feel involved enough to care? John McGrath is grappling with the problem in the most direct way possible.
Theah Dix urges you to cast aside the coursebook and recognise that an arts-based approach can be a motivating new way to learn a language.
Losing more than half of its funding nearly destroyed London Bubble, says Jonathan Petherbridge, but thanks to its audience it has new focus and energy.
Incentives for volunteers and partners don’t have to be monetary, says Claire Eason-Bassett, but for small projects to be successful people must be rewarded and appreciated.
The arts can be deployed to reveal the broader attractions of studying science, as Trevelyan Wright shows.
The arts are constantly crossing over boundaries between subjects, sectors and organisations, and this exercise can be a catalyst for new experiences and ideas. In the first of three case studies showing different relationships forged between the arts and other disciplines, Caroline Graty finds that conversations can help both artists and psychoanalysts discover new depths to their work.
Hollywood spends £1m for every minute of a completed film. How can it be done for a mere £100 a minute? Elizabeth Jane Baldry has found that all things are possible with fun, friendship and fairy cakes.