'Producing the Scene': the Evolution of the Director in British Theatre 1900-50

The role of the director as the individual who harnesses and controls resources to shape the theatrical product to a personal artistic vision, begins to emerge in British theatre in the early years of the twentieth century. What distinguishes the role from that of the actor-manager who had led the profession since the seventeenth century, is that it separates off from the leading actor in performance. The power and authority of the director (or producer as he or she tended to be known initially) is exercised in the pre-performance stage. In the first half of the century there were still old-style actor-managers—Donald Wolfit is a prime example—and many of the new directors had begun their careers as actors and some continued to act their in their own productions. But the perception of the function of the director began to change radically. In part this was linked to the early attempts to create a new model of producing company or ‘repertory’ theatre which required a different set of administrative as well as artistic skills to tackle the challenge of a short-run system of multiple play production. This became especially important in the developing network of regional repertory theatres which were established as autonomous, locally-specific institutions predicated on policies opposed to the dominant commercial ethos. The best-known of the early directors, most notably H.Granville Barker, confined their radical experiments to short-lived metropolitan experiments, or, as in the case of Terence Gray and J.B.Fagan, operated within the influential Oxbridge nexus. Others such as H.K.Ayliff, Herbert Prentice, William Armstrong and William Bridges-Adams remain comparatively obscure because of their long-term ‘provincial’ connections or, as in the case of Nugent Monck and Edy Craig because their creativity was largely channelled through amateur actors. This chapter will explore the evolving role of the director as both a necessary functionary and an artistic innovator within the changing structures of British theatre.

Exploring Intrinsic Gender Identity Using Second Life

Virtual Worlds (VWs) provide an environment to understand and explore notions of gender and identity, particularly given the ability for users to experiment with gender in online worlds. Our study analyses gender identity using the virtual space of Second Life (SL) to explore experiences and responses to gender in an avatar. We introduced 46 novice users to the VW of SL in order to see if real life gender influenced their choices of avatar. Participants selected the gender of their original avatar and once they were used to SL, they were then asked to change the gender of that avatar. We used mixed methods research consisting of paper based questionnaires (n=34) and focus groups (n=46) conducted in SL. Nearly all participants chose an initial avatar that reflected their real-life gender with females (n=22) reporting higher levels of identification with this initial avatar. Females were significantly more concerned with the gender-specific appearance of their initial avatar. On swapping gender, females reported higher levels of discomfort and many changed back before 7 minutes. Males (n=24) did not report significant discomfort with their changed-gender avatar and did not revert back to their original avatar as quickly. Our findings suggest that female participants in this study tended to reinforce gender binaries through such things as clothing, hairstyles and behaviors of their avatars. Male participants were less likely to experience discomfort through changing the gender of their avatar (with the males noting they still perceived an avatar with a female appearance as male).

The Silent Majority: an Exploration of the Integration of Voting Software within Theatre in Education programmes

I wanted to explore whether traditional Forum Theatre approaches can be enhanced by the use of integrated voting software to empower young people. My research is based on two of a series of widening participation interactive TiE programmes focused on the decisions young people make on educational progression. I worked as a director alongside students studying Drama and Performance at The University of Worcester and the programmes have toured widely to schools across Worcestershire and Herefordshire. ‘It’s Up to You!’ (2013 – 2014) was aimed at years 8 and 9 choosing their GCSE options and ‘Move on Up!’ (2014 - 2015) looked at the hopes and fears of year 6 pupils about to go up to secondary school. Finding a voice in Boal’s framework as a ‘specactor’ does not always appeal to a pupil who does not want to stand out from the crowd or is not familiar with a classroom where drama conventions are practised or understood. The anonymity of the voting software with results of decisions made appearing instantly on screen is certainly appealing to some pupils: ‘I also loved the keypads they gave us so that we could answer the questions without having to put our hand up and wait..’ This paper aims to interrogate the idea that empowering needs to not simply be about giving voice to a few confident group members but allowing the silent majority to be able to experiment with decision making in an educational and social context.