The egg theatre has received funding from The Leverhulme Trust to develop a specialist Arts Scholarship programme over the next three years. The Leverhulme Trust are one of the largest all subject research funders in the UK.

Between 2013 and 2015 the egg theatre will offer up to 5 Arts Scholarships per annum to talented artists and theatre makers who are interested in developing their skills in making work for young audiences. Leverhulme Arts Scholars will be exposed to some of the best children’s theatre in the World, receive training from expert practitioners, and be supported and mentored to develop their own work.

The aim of the programme is to encourage more talented individuals to make original theatre for young people, and to further establish the egg as a centre of excellence and a source for some of the best new children’s theatre in the UK.

Please click on the link below for more information about the Arts Scholarship Scheme and how to apply. Deadline for applications is 2nd September 2013.

Leverhulme Arts Scholarship Application Pack

The post Leverhulme Arts Scholarships at the egg, Bath appeared first on house.

It’s the 1st anniversary of running house. These are some of the things I think now…..

We started with the ambition of getting better theatre to more people. We have had more than one conversation about what we mean by ‘better’ theatre. And haven’t really resolved it. We know that you can’t put theatre on a measurable scale and no one sets out to make rubbish theatre but we wanted to describe the ambition of the work we would tour. Can we just say we will know it when we see it?  The ‘more’ bit of the sentence is much simpler. We wanted to reach more people in a greater number of places. And we have done that. We were adamant that we should focus on things that couldn’t happen without us – for two reasons: We didn’t want to undermine the existing infrastructure and we wanted to focus on new ways of working.

One year on and we have a network of 115 venues from every part of the region and over 250 companies who are promoting their work through the house website. We have underwritten 10 tours of a range of new work, including two international pieces. We have taken over 30 promoters to Edinburgh for a week, run two regional network days and delivered a series of training days for programmers and theatre companies. Here are a few things we discovered on the way.

It’s always about the people. We knew this but it is always worth reminding ourselves of the truth that buildings are inanimate objects. It is people that make things happen, we have worked with tiny organisations with no resources and a seemingly, conservative audience who are managing to attract significant, engaged audiences. And we have worked with purpose built palaces for the arts with large marketing teams through which the wind blows.

Many venues don’t have a relationship with their audience. This partly relates to the above. The venue doesn’t have a relationship with its audience the people who work for it do. We were prepared, we thought, for the challenges that face many programmers. But we were still surprised by the number who couldn’t see a show when it was in their venue or who didn’t talk to their audiences. Long gone are the days when the theatre manager would see every audience in. This is surely about the changing nature of the job and the range of pressures many are under. But it used to be a much more regular pattern to see venue managers working 11.00 – 20.00, knowing their audience, etc. In many venues this role, and connection, has gone.

What we say and what we know are not the same. I think that one of the greatest achievements of this first year has been the spirit of honesty and generosity that has developed around house. If we are to succeed in changing the culture of programming and making work then all of us need be honest about what we know and the things we need support on. It is often hard to admit that you don’t know something to your peers, to admit vulnerability or doubt. And yet we are all making it up, all of the time. It quickly became clear that many people were either too busy or lacked the opportunity to rehearse ideas around what programming is. We decided to run a series of sub regional events that would bring groups of around 15 programmers together to share information, models of programming, contacts etc. We set out to run 6 one day sessions across the region and sent an invite out to the network. They were full within 24 hours.

Emboldened by the success of these days we ran 6 days for companies to explore how they develop relationships with venues. These were also quickly over subscribed.

All of which encouraged us. There is an appetite to engage and learn within the region’s venues and companies. Many, if not all, of these organisations are keen to connect. Perhaps this is one of those opportunities that comes from the challenge of our times.People are far more prepared to collaborate and share risk.

Working with others helps things make sense. It is true that when you start to work with others that share the same challenges things come into perspective. And it is hugely reassuring to discover that we are not uniquely inadequate. Lots of other people are struggling with the same concerns.

The more people you connect to the more able one is to move from reacting to shaping. I have been surprised at how much easier it is to think and shape the things we want to do as part of a bigger network. Things like the Creative Employment Programme – for which we are now providing 16 places – was easier as part of a conversation about how we open up the sector to a wider group of people than when we were thinking ‘can we provide some work experience’?

The digital thing is important. We planned to ‘create a digital platform for the region’. We had looked at Theatre Bristol and Cyber Paddock. And decided to go for a very simple model describing the region’s venues and create an opportunity for companies to say what they did. We added a resources section and a blog. It seemed such a simple idea. And yet it is one of the most useful resources we have created. We know of several companies who have booked complete tours using the information there. We hear, regularly, of programmers sifting for new contacts and work. The range of people contributing ideas, tips, templates continues to grows. I think we will need to work at ensuring the site stays useful and that there are lots of other opportunities here – we could put photos from the stage of every venue, get more news up, write our own editorials on current policy developments.

Commissioning. We said we would commission work if there were obvious gaps or if we wanted to test a new idea. Whilst we have done some of that – and I think we will continue to do so – we realised that, actually, there is almost an over production of theatre. Certainly there is more work that the available traditional marketplace can, or is prepared to, support. I am sure this is why many artists are exploring other ways of reaching an audience – through site specific, occasional and intimate work.   But much of this work relies heavily on subsidy and I am not sure how much of that is going to be around in the next few years.  We have decided to focus on ensuring the best work gets a longer life. Which has led us to only programme work that we have seen. To talk to companies and programmers about work they would like to see revived, often looking for a show that has had a short run or initial tour and then disappeared.

Middle scale. We started by saying we would also look at the middle scale. I don’t think we have done this yet. We have talked about it and understand better the challenges – companies wanting full weeks and two day get-ins, programmers needing split weeks and shorter get-ins. It may be that this is where work has to be commissioned but we lack the resources to make that happen. This is something to think properly about over the coming year. Because if we aren’t able to do it we should make sure people know we aren’t that solution.

The next year. We will definitely take a group of programmers to Edinburgh again – perhaps choosing to see more work together. Getting people to see work and to talk about it has been one of the most useful things we have done. As one of the programmers commented – ‘if you met the person in charge of buying tarmac for the country you would expect that they would go and look at tarmac’. Underwriting shows is a given. It works and theatre is happening in places where it wasn’t. But I think we will use a greater range of models. Not always paying the full fee and sometimes just recommending work we have seen and like. My real hope is that we can use the region’s venue’s generosity, untapped resources and knowledge of their audience to support companies to create better work – whatever that looks like.

The post house – one year on appeared first on house.

We are looking to select 15 young writers to help them develop their theatre writing skills, including playwriting, reviewing and interviewing.

The selected 15 writers will work with professional writer, Dinos Aristidou, over the course of 14 workshops to develop a well-rounded experience of what it is to write for, in and about theatre.

The course will run on alternate Saturdays for 14 sessions between September 2013 – May 2014 and will conclude with a celebration of different examples of written work as part of  Brighton Festival 2014.

TO APPLY
To apply, please send a maximum of two A4 sides of creative writing on a subject of your choice. This can be in script format, or could be a short story or poem.

Deadline for applications: Sunday 16 June

What we want to see is creative flair – no prior experience of writing is needed.
This is a subsidised programme and the fee is £75 for successful applicants.  A limited number of bursaries are available – to find out more, please contact Jackie Alexander jackiealexander@theambassadors.com

Please send your creative writing, along with a short extract as to why you would like to take part, to
New Writing South by email to debo@newwritingsouth.com

Or by post to

Debo Amon
New Writing South
9 Jew St
Brighton
BN1 1UT

There is no fee to apply for the scheme.

A selection workshop will take place on Saturday 29 June at Theatre Royal Brighton, so make sure you are available that day.

Course starts 28 September 2013 10am – 12.30pm, and alternative Saturdays until 26 April 2014.

The post Launch Of Theatre Royal Brighton Young Writers appeared first on house.

This support will be catered to the specific company and can include:

• Opportunity to perform at Bike Shed Theatre, and 50% of ticket sales
• Time spent with the Artistic Directors of Rhum and Clay to explore devising techniques and Lecoq methods
• Devising and directing support for the production the young company are developing to stage at Bike Shed Theatre
• Producing session with Rhum and Clay’s producer, to focus on company structure, funding applications, marketing and general administrative advice
• One session with the Artistic Director of Bike Shed Theatre, dedicated to communication and relationship building with venues for touring their production
• One session with the Bike Shed Technical Manager on practical realisation of creative ideas

This opportunity is ideal for a young company looking to develop their creative and producing ability. Rhum and Clay offer this opportunity in association with Bike Shed Theatre in Exeter.

Expressions of interest must be made in the form of a letter detailing why you are applying and information on the current production, alongside a company CV stating the experience of the ensemble.

Please send these to Sarah Wilson by email to sarah@rhumandclay.com no later than Friday 21st June. The decision making process will be alongside Bike Shed Theatre, and selected companies will be invited to interview in Exeter on Thursday 4th July.

To learn more about Rhum and Clay Theatre Company please visit our website –www.rhumandclay.com

The post Mentoring opportunity for emerging theatre company appeared first on house.

At the very centre of the show will be a large big top tent with a main stage hosting a range of entertainments including contemporary circus with Cirque Bijou, music and children’s theatre.  We are currently looking for work to include in the programme, however due to the nature of the event there are some restrictions.  The key specifics are below;

• Children and young people theatre, age range 3-12.
• Show length, a maximum of 1 hour.
• Innovative work which might range from storytelling to puppetry and new work.
• Very limited time for get-in and fit up as the event is within a festival/fringe environment, access to backstage from 7am however stage is being used by several different acts over 2 days.
• Budget: we have a reasonable budget to work with.

If you would like to suggest some work please email Andy Grays at andy.grays@portsmouthguildhall.org.uk for more information.

The post Contribute to this year’s Southsea Show appeared first on house.

Each month house sends out a newsletter detailing the latest updates from the team. If you would like to join our mailing list, please sign up through our website.

Welcome to the new house monthly newsletter. It’s been a busy few months for the team, and here’s an update of some of our forthcoming plans and projects.

house at Edinburgh
For the second time, house will be taking a group of 30 venue programmers from the East and South East region to this year’s Edinburgh Festival Fringe from Monday 19 – Friday 23 August.

If you know of, or are planning to have a production at the festival that will be looking to tour after, please get in touch with Katie at katie@housetheatre.org.uk with further information including:
- Production name and synopsis
- Venues
- Dates (including days off)
- Start & finish time

Upcoming house tours
We have some great productions on tour from August onwards. These include; Tea Time in the Pop-up Tent, and the visceral adaption of The Duchess of Malfi by Eyestrings, house commissioned As You Like It  by innovators Transport and the ever comical Kid Carpet with Blast off.  The best of French and British contemporary circus with K’boum and Oversees, and last but by no means least the renowned Mess by the Olivier Nominee Caroline Horton.

house resources
The resources section of our website continues to grow and is chockablock with advice, templates and general information that is useful for programmers, artists, and companies alike.

Our recently added resources include;

- Green Links & Resources document provided by Julie’s Bicycle. Learn more about how to make your production more environmentally friendly by downloading here.

- Marketing Advice for Captioned Performance. Tips and advice we learned about through our facilitation of eleven captioned performances for The Girl With the Iron Claws. Download here.

-How to Create Front of House Video Promotions, from The Old Market Theatre in Brighton. Download here.

-The Arts and People with Profound Learning Disabilities. Download here.

-Why Bother with Cinema Slides Advertising Live Shows? Courtesy of Hertford Theatre, and perfect for any venues looking to engage with their cinema audiences. Download here.

If you have any suggestions of other resources or useful documents please do get in touch.

Other news
Mark will be delivering a Venue Development Day at the Cornerstone in Didcot on 5th June. We have plenty more ideas for future training opportunities, which we will be launching in the coming months.

Our recently appointed Marketing Support Officer, Sarah Wilson, is giving a free workshop with IdeasTap on tour marketing for emerging companies this month. click here to book.

Another house commission is soon to be announced. If you’re a venue and would like to be a partner please get in touch. To learn more about the current house commission of As You Like It by Transport, click here.

Current house tours;

Bootworks’ enchanting The Incredible Book Eating Boy has its final few dates throughout June. Information here.

Laura Mugridge has charmed audiences throughout the South East & East, and will be ending her tour at the Corn Exchange in Newbury on 27^th June. Tickets here.

The post June news from house appeared first on house.

Marketing Blackpool is looking to commission three new instillations for the Showzam 2014 festival. These will take place in a variety of Grade listed building that are an integral part of Blackpool’s heritage as a centre for entertainment. The commissioning process is open to anyone who would like to apply but companies are advised that only the very best submissions will be considered. Marketing Blackpool welcomes applications from individuals, groups or collaborative approaches as long as they meet the requirements specified within the brief.

As the commissions will potentially be included in Marketing Blackpool’s Grants for the Arts application Artistic quality of the work is paramount; applicants are advised to provide detail of any previous work directly funded by ACE or programmed with ACE investment within their C.V. and application. Any contemporary, creative practice and experience in managing and delivering high quality commissions should be included and submitted to deadline. Commercial, traditional amateur or community based circus, magic and variety work practices may apply with a self-financing box office split model, as we are unable to include this type of work for Arts council funding.

These commissions are subject to funding from Arts Council England Grants for arts application this summer. Selection at submission stage does not guarantee work as the project is dependent on funding success. If the application is successful funding should not be used by artists or companies to match fund additional G4A for R&D work.

Commissioning Brief for 2014 Showzam! Festival  

http://www.showzam.co.uk/information/showcommission

3 commission opportunities ranging from £25-£44k . Expression of Interest via email no later than 10th June.  Full Proposal no later than 30th June.  Interview week commencing 15th July

The post SHOWZAM 2014! SHOW COMMISSIONS appeared first on house.

Both Amber and Lucy have been working in sensory performance for 6 years. They both completed a Masters in Applied Performance in which they developed their approach to sensory theatre whilst working alongside a theatre professionals, speech and language therapist and specialised learning disabilities professionals. Both have used this development as a basis for their work and built on this foundation.  Both Amber and Lucy have worked closely with schools and groups of people with PMLD and have become experts in the field of performance for people with PMLD.

In sensory performance every part of the show is created to meet the needs of the audience whilst still focussing on producing a high quality piece of entertaining theatre.  Multi-sensory performance is interactive: each part of the show has a sensory element to explore be that sound, taste, smell, touch or things to see. Each individual is given the time they need to explore the particular sensory element.  Therefore although a group performance the show becomes very much an individual experience.

Sensory performance is performed to small numbers of people; this is so that each individual audience member gets the most out of the performance.  Due to the sensory element of the work if there was a large audience the performers would not have enough time to dedicate to making sure that the person with PMLD has had the time they need to fully access each experience. Mencap state that in working with people with PMLD you need to “Allow time for the person to respond. If they do not seem to be engaged, leave a little more time before you move on – people may need quite a while to engage and respond.” (The Arts and People with Profound and Multiple Learning Disabilities)

The performance needs to take place in close proximity to the audience as many people with PMLD cannot process what is happening if it is too far away.  Mencap state in their document The Arts and People with Profound and Multiple Learning Disabilities:

“It is important that work with people with PMLD takes place at close proximity. Any event, no matter how awesome, is unlikely to have any relevance to most people with PMLD if it takes place some distance from them.”

 It would also get extremely loud if there was a large audience and this would make the performance difficult for some audience members to cope with and they would become totally overstimulated.

Many of the audiences that we work with would struggle to access mainstream performance.  People with PMLD have many additional needs to that of a mainstream theatre audience and would find it difficult to access mainstream theatre shows for many reasons: the stage is too far away; the text is complicated; the only senses that are really used are sight and sound (very difficult for blind or deaf people with PMLD) and you are expected to sit in one spot and stay silent.  All of this on top of large audiences and mobility needs makes mainstream theatre very difficult to access.

Our audiences often need to move around to find an area in the space that they feel comfortable with, or to find a quieter, less stimulating space. Our audiences can have very complex medical needs and due to this may need to come in and out of the performance space.  They may find being in a strange space quite daunting and may want to leave and enter at their own will. People with PMLD are often pre-verbal and therefore a very wordy piece of theatre is completely inappropriate, this makes the sensory element of the piece of theatre completely integral.  By using sensory experience the young people can explore the piece of theatre and the story in their own way.  The sensory elements can re-iterate the story or can be enjoyable in their own right and completely enhance the theatrical experience. Our audiences often need to be noisy and this is completely fine.  The show is put together so that the actors are aware of this.  The main purpose of sensory performance is that the audience come first.  The show is very much built around the audiences needs and everyone involved in the project is completely on-board with this.  Sitting quietly in the dark for an hour or two (as is the norm in conventional theatre) is completely inappropriate for this audience. So therefore this means that specific sensory theatre needs to be programmed for this audience group.

The post Sensory performance and accessibility appeared first on house.

For three weeks, Talawa’s studio will become a hub of activity where upcoming directors lead development workshops on the scripts of new and emerging writers followed by a series of play readings and discussions.

Fresh practitioners will explore and present new work through HotSpots, Talawa’s development programme for emerging writers and directors, and leading industry figures, David Lan, Nina Steiger and Michael Buffong, will host a series of Q&As for programmers, writers and directors.

Talawa Firsts will alert you to the wider range of diverse talent in the UK.

Thu 6 June, 7pm
Q&A with David Lan
The Success of Diverse Programming: the Young Vic Case Study

David Lan, Artistic Director at the Young Vic, presents a case study of the impact, difficulties and rewards of implementing one of the UK’s most diverse programmes. This is an evening for theatre programmers to explore and learn about the Young Vic experience.

Thu 13 June, 7pm
Q&A with Nina Steiger
Beyond the Pitch: How to tell the world about your work, find your voice as an artist and be empowered as a writer.

Nina Steiger is Associate Director at Soho Theatre and leads the Company’s work with writers. Alongside her work there she is also interested in the intersection of traditional theatre and digital media with a focus on interactive performance, game design, pervasive technologies and transmedia narratives.

Thu 20 June, 7pm
Q&A with Michael Buffong
On Directing: The journey from picking the play through to press night.

Using a couple of his past productions - Moon on a Rainbow Shawl and God’s Property - by way of illustration, Michael Buffong takes you through his approach to directing.

Michael Buffong is the Artistic Director of Talawa Theatre Company. His most recent credits include God’s Property(Talawa, Soho Theatre, the Albany), The Serpent’s Tooth(Talawa and Almeida Theatre) and Moon on a Rainbow Shawl (Royal National Theatre) and the multi award-winningA Raisin in the Sun (Royal Exchange).

Visit http://www.talawa.com/talawa_firsts_2013.php to see the full list of events.

The post Talawa Firsts – 3 – 21 June 2013 appeared first on house.

In this exciting new partnership LIFT and the Victoria and Albert Museum are offering an artist the opportunity to spend 5 weeks in residence at the V&A, supported by Museum staff to access all parts of the museum and its collections on both public display and in storage.

We wish to use this residency opportunity to encourage an artist to develop an ambitious proposal for a performance/theatre project that would take place at the V&A or for a digitally based project that can be fully produced for the LIFT festival in either 2014 or 2016.

The successful artist will be offered:

• A fee of £2500
• Five weeks based in one of the artist studios in the Sackler Centre at the V&A
• Desk space within the Theatre Department
• A full induction on the V&A and its collections
• Access to the V&A’s unique resources including the extensive collections; inspirational architecture and spaces; curatorial and conservation expertise; practical art, design and digital media workshops in the Sackler Centre and experienced educational staff.

For more information and to download the full Artist brief go to the LIFT website…

The post LIFT V&A residency: Call for artists proposals appeared first on house.