Bristol Old Vic Young Company and Interviewing BOV Staff

Posted on by theatrecollection

By Unit students Natasha, Cerys and Honor

 

Bristol Old Vic Young Company

As part of the project, we spent time at the Bristol Old Vic, working with Lucy Hunt, Director of Engagement at the theatre, and we were able to explore their boxes of archival educational material dating from 1960 – 2012. The items ranged from scripts and programmes of shows the Young Company put on, as well as other educational resources and projects the BOV did before the Young Company was created. As the Young Company is a much newer element of the engagement programme, it was interesting to delve into its history of the performances they did and also learn about the types of productions they put on, ranging from Shakespeare to more contemporary devised work.

As well as this, there were a variety of digital archives of all of the Young Company shows dating back to the 1990s. We were able to identify a gap in information from the years 2001 – 2007. Lucy Hunt was able to provide us with the names of three additional productions which we were able to find through digital pictures from CD photo albums. The gap in information about the Young Company in those 6 years remains a mystery, but through interviews with past Young Company members, we could potentially be able to find out further information.
Overall, this task was very beneficial as it allowed us to gain more context into the history of the Young Company and its impact on the Bristol Old Vic. Its engagement with the rest of the companies performing at the BOV appears vital due to the vast amount of archival material.

Interviews with Lucy Hunt and Lisa Gregan

We conducted two interviews with people that work with the Bristol Old Vic Young Company. The first was with Lucy Hunt who produces and occasionally directs plays for the Young Company. She informed us of her role and how working with youth theatre groups and young people had impacted on her. After the interview finished we assessed the effectiveness of the questions we’d asked, the way they were asked, and the rapport that was created between the interviewer and the interviewee so that we could build from this in the second interview with the Young Company Director, Lisa Gregan. Lisa told us more about her work with the youth theatre and was also able to explain how her own experience in youth theatre as a child had impacted on her and her theatre peers positively. From both these interviews we gained positive qualitative data to add to our research project and now will also have a more informed and confident approach to the interview process in future.

Academic Readings on Interviewing Techniques 

Along with watching Jan and Naama conduct interviews with Lisa Gregan and Lucy Hunt, we also read scholarly articles on interviewing practice, specifically oral history techniques. Cerys and Honor read chapter 7 of The Voice of the Past: Oral History by Paul Thompson which looked at the multiple ways to manage an oral history interview.

Thompson argues that the most important element of interviewing is: ‘an interest and respect for people as individuals, and flexibility in response to them; an ability to show understanding and sympathy for their point of view; and above all, a willingness to sit quietly and listen’.

Thompson looks at oral history specifically as a practice, claiming ‘one of the greatest strengths of oral history evidence is its potential to connect up different spheres of life, the life-story approach, while more time-consuming, is more likely to bring new insights. It also makes a fuller use of the opportunity in recording the memories of someone who may never have been previously recorded, nor will be recorded again.’ (p.222)

The reading also gave examples of what to avoid, such as asking questions which make informants think in your way rather than theirs. At the end of the week 5 seminar, we discussed these interviewing techniques, and the reading really helped me understand what works and what doesn’t, alongside the practical examples of Jan and Naama’s interviews.

Bristol Old Vic Young Company Research Unit – Defining Youth Theatre and Oral History

Posted on by theatrecollection

By Unit students Isabel, Seb and Keir 

Youth Theatre

There are many ways we can define youth theatre. With each different research topic, a new definition is created and developed, and while the definitions are endless and always relative, there are also general themes that appear throughout them all.

Youth theatre is the creation of a community in which young people can thrive, make friends and learn valuable life skills. It is so much more than devising and performing theatre, providing an inclusive environment where members can gain confidence, the ability to effectively communicate and creative thinking skills.

The term ‘youth’ remains ambiguous and can be assigned according to different research pathways and ideas. Essentially, however, ‘youth’ in a youth theatre context are young people who are brought together simply because of their passion for the arts. This united interest is what sparks creativity and innovation in these environments, ensuring successful personal and social development.

Youth theatre plays a significant role in building emotional intelligence by creating a safe and collaborative space for young people to explore their emotions and those of others. Through acting, participants embody different characters and experience a range of feelings, allowing them to develop empathy and a deeper understanding of human behaviour. By interpreting scripts and improvising, they learn to recognise and manage emotions, both on stage and in real life.

Group work in theatre fosters strong communication skills, teaching young performers to listen actively, respond thoughtfully, and work harmoniously with others. It also helps them develop resilience as they navigate constructive criticism and performance challenges, building self-awareness and confidence. Moreover, youth theatre encourages emotional expression in a supportive environment, promoting self-regulation and the ability to manage stress. This unique creative outlet enables young people to cultivate emotional intelligence, a skill crucial for success in relationships, education, and personal development.

What is Oral History?

“All history was at first oral” was a comment made by Samuel Johnson in the 18th century. It refers to how oral history predates the written word as the oldest type of historical enquiry. But oral history as a research methodology was initiated in the 20th century, becoming established in the 1940s with the use of tape recorders. It has now further evolved in the 21st century with the help of digital technologies.

Oral history can be defined as a method of gathering and preserving the spoken memories of people, communities and participants in past events. The potential to then interpret and analyse those voices is available but is not always a necessity. However, for anyone conducting research into a chosen topic, analysis of the oral history they have conducted will be crucial in contributing to their findings.

We will be taking this into account for when we begin to create an oral history of our own for the Bristol Old Vic’s Young Company in the coming weeks.

New Theatre Department course – Researching the Bristol Old Vic Young Company

Posted on by theatrecollection

By Dr Jan Wozniak, Senior Lecturer, Department of Theatre, University of Bristol.

 

What do you remember about Youth Theatre?

Did you attend theatre sessions at Bristol Old Vic when you were younger? Or did you run sessions as a practitioner? Do you know anyone who did?

Bristol Old Vic Young Company is 30 years old this year! As part of the celebrations, we want to hear from anyone who has had any involvement with the Young Company since 1994.

This autumn, I will be working with around 25 final year undergraduate students, Lucy Hunt from the Bristol Old Vic and colleagues in the Theatre Collection to build an oral history of the Young Company. We’ll be exploring the Young Company holdings in the Bristol Old Vic Archive at the Theatre Collection and sharing our findings here.

Third year students in the Theatre Collection at the start of the unit, 25 September 2024.

We’ll then be interviewing former participants of the Young Company to hear what they remember about their time at Bristol Old Vic and whether this experience still plays a part in their lives today. We’ll make an initial analysis of these interviews, which will then be made available in the Theatre Collection for future researchers.

“All art is quite useless” Oscar Wilde

Do you agree with Wilde? Or do you think that art is important for all?

Theatre for and by young people is rightly valued by those involved. But it’s difficult to prove! And how long does that value last? With a renewed interest in the value of art and culture in the new government, this is a great time to conduct research I have wanted to do for a long time.

I became aware of the great work done by the Young Company through my daughter’s involvement around 2010-2012. And the Young Company has a great track record in producing a great range of theatre makers, not least the Wardrobe Ensemble.

Not just luvvies!

We’ll be hoping to interview the Wardrobe Ensemble, and other theatre makers, to find out how their time in the Young Company has influenced their work. But it’s not just those who have gone on to work in theatre or the arts that we are interested in – we want to hear from YOU!

We’re really keen to hear from anyone who was in the Young Company and to find out what effect it had for you in the long-term. Do you remember particular productions? Did it give you the confidence to try things later in life? Did you hate it so much, you swore never to inflict extra-curricular theatre activities on your own kids!? We want to hear from anyone, whatever their memories.

If you’re interested, you could fill out this form

It’s not ALL hard work

Students will be working hard exploring the archives, interviewing and writing blog posts over the coming weeks to chart the project, so do check back in!

But we’re hoping they will also have fun at a couple of events we’re planning.

Firstly, there will be a public access event in the Theatre Collection where you’ll be able to see some of the Young Company records, that we’ve been exploring.

There will also be a celebration event at the Bristol Old Vic. We will confirm dates of both of these soon, so keep your eyes peeled

And do get in touch with us if you have your own memorabilia you’d like to share – we’d love to hear from you!

The Liberation of France: 80 Years of objets de mémoire

Posted on by theatrecollection

With thanks to Arts Matter for their consent to republish piece first posted in August 2024.

By Damien McManus, Professor Martin Hurcombe, Dr Charlotte Faucher, Dr Federico Testa, Louisiane Bigot 

August 2024 marks 80 years since the liberation of Paris from Nazi occupation in the summer of 1944, a decisive and highly symbolic moment in World War II. In celebration, the School of Modern Languages and Library Services, with support from the University’s Theatre Collection, the French Government’s Mission Libération, and AUPHF+, held an event in June to commemorate the D-Day landings and the importance of objets de mémoire (objects of memory) as powerful reminders of the struggle against oppression.

French Forces of the Interior (FFI) barricade, the liberation of Paris, World War II, 1944.
French Forces of the Interior (FFI) barricade, the liberation of Paris, World War II, 1944.

This event was held to mark the 80th anniversary of Operation Overlord, the landings in Normandy which took place in June 1944, and the subsequent liberation of France that year. Supported by the French Government’s Mission Libération, it comprised an exhibition of photographic images and original documents selected from the University Library and the Theatre Collection; and a series of short presentations and discussions around the intellectual and cultural context and legacy of resistance to the Nazi occupation of France 1940-44. Material for the exhibition was chosen from two areas of the collections: the University of Westminster War and Culture Studies Archive which is now housed at the University’s Library Services, and the Irving Family Archive, located in the Theatre Collection, also at Bristol.

A number of themes provided the focus of the exhibition and traced aspects of the French experience of the war. The first of these reflected attempts to bolster morale during the early days of the Occupation and included representations of life for French people in exile in the UK. Others reflected how keenly the French in exile in the UK anticipated Liberation, before the exhibition moved on to the aftermath of the Normandy landings, and the gradual lifting of the Nazi Occupation.

A major source for texts and images around these themes was La France libre [Free France], which was published first in London, then Paris, from November 1940 to December 1946, and which sought to fight against the acceptance of defeat, and advocate resistance and the restoration of freedom to France. Among the writings and images selected were satirical pieces depicting occupying forces as brutal simpletons in contrast to the more erudite French population; and intriguing adverts for a range of products from quintessentially French brands such as Michelin tyres to less well known and possibly more controversial items, to the French at least, such as Marmite. Photographs taken on the day of the liberation of Paris and of celebrating civilians in Normandy and the capital served to remind viewers of the relief felt at the end of the Occupation.

Image courtesy of the Irving Family Archive. Courseulles-sur-Mer is a coastal town in Normandy, known for its proximity to Juno Beach, one of the D-Day landing sites during World War II.
Image courtesy of the Irving Family Archive. Courseulles-sur-Mer is a coastal town in Normandy, known for its proximity to Juno Beach, one of the D-Day landing sites during World War II.

The Irving Family Archive provided some fascinating images of the planning and execution of the landings at Normandy. Laurence Irving, a prominent Hollywood set designer and Intelligence Officer with the Royal Air Force, specialised in the analysis of low-level reconnaissance photographs, some of which were displayed, marked up with vital information about coastal defences. Other images provided impressions of the destructiveness of war and powerful portraits of captured German equipment and vehicles.

Presentations and a panel discussion rounded off the day’s proceedings. Dr Federico Testa provided an account of the tensions between the ideas of pacifism and justice, and in particular the moral and ethical dilemmas facing the French during World War II. Professor Martin Hurcombe spoke about Les Amants d’Avignon (The Lovers of Avignon] written by Elsa Triolet and published clandestinely under the pseudonym of Laurent Daniel, and focused on the roles of women in the Resistance, which have very often been overlooked. Dr Charlotte Faucher framed her talk around a photograph of Résistantes from the BBC Yearbook 1945, taken when the impression among some British people was of well-fed French civilians at a time of rationing in the UK, and outlined her interviews with former female resistance fighters who firmly countered that view. Lastly, Professor Debra Kelly (emerita, University of Westminster, who kindly organised the donation of the War and Culture Studies Archive) discussed the 1946 novel, Siege of London written by (Mrs)Robert Henrey (sic), real name Madeleine Gall, a member of the French community in London.

Professor Martin Hurcombe provides historical context to visitors at the exhibition.
Professor Martin Hurcombe provides historical context to visitors at the exhibition.

This was a hugely enjoyable exhibition to organise, and the presentations and discussions were fascinating, enlightening and full of debate. Perhaps the most rewarding aspect was the range of people who came to see the exhibition and to attend the discussions, from members of the public to groups of sixth formers from Bristol and Cardiff who were evidently very engaged with the collections, especially as they were directly connected to their A-Level studies.

With thanks to Damien McManus, Library Services, Professor Martin Hurcombe, Dr Charlotte Faucher and Dr Federico Testa in the Department of French, and PhD candidate Louisiane Bigot in the School of Modern Languages. To find out more about the University of Westminster War and Culture Studies Archive, visit Library Services. To find out more about the Irving Family Archive, visit the Theatre Collection.

Performing the Constitution: 19th Century Productions of Shakespeare’s King John, by Ruth Houghton (Newcastle Law School)

Posted on by theatrecollection

Researcher Ruth Houghton visited the Theatre Collection in 2023 to examine the Herbert Beerbohm Tree Business Archive. This blog highlights her reading room discoveries around Tree’s 1899-1900 production of King John, which have led to her 2024 article, published in the journal Law and Humanities (full details below).

 

King John is probably best known for sealing Magna Carta in 1215. Yet, this significant event in the constitutional history of Great Britain does not feature in Shakespeare’s play The Life and Death of King John; a fact that has preoccupied both literary and historical scholars. In contrast, 19th century productions of the play were littered with references to the Charter. From discussions in the programmes of the events at Runnymede to insertions into the very text of the play about the rights and liberties protected by Magna Carta, theatre producers across the century were reimagining the role of the Charter within the play.

No-one does this more spectacularly than Herbert Beerbohm Tree. In his 1899 production of King John at Her Majesty’s Theatre in London (which incidentally would go on to be the first filmed recording of a Shakespeare production), Beerbohm Tree staged a magnificent tableau – or living picture – depicting ‘The Granting of Magna Charta’.

HBT/40/1 Souvenir programme for King John at Her Majesty’s Theatre, 20 September 1899.

The tableau is often assumed to be silent, a ‘dumb-show’, which scholars have argued facilitated an a-political representation of Magna Carta as it allowed Beerbohm Tree to display the historical moment of the sealing of the Charter without praise or blame. (source: J. M. Lander and J. J. M. Tobin (eds) The Arden Shakespeare: King John (3rd edn, Bloomsbury 2018), p.102.)

However, documents in the Herbert Beerbohm Tree Business Archive give insight into the specific sounds and movements that accompanied the scene.

In the Stage [rehearsal] Notes of the tableau from the 13th September 1899, it states:

‘Super is holding document, puts it on table in front of JOHN, points to it for JOHN’S signature. After John has put his hand to the seal – inspiring music – then shout from everyone onstage.’

HBT/40/44 Stage Notes for King John at Her Majesty’s Theatre 1899-1900.

However, the Property Plot (undated but presumably created separately on a different day), details minor alterations that give an alternative approach to the scene:

‘Document is on table – Mr Tree [as King John] enters, goes towards table, man takes up document, gives it to Mr Tree, who reads it, looks round at Nobles, puts down the document, looks around again, then puts finger on paper – Music changes to ‘joyous rainbow’ strain – Mr Tree gives paper back to man – Loud cheers.’

HBT/40/13 Property Plot for King John at Her Majesty’s Theatre, 1899-1900.

The archive here uncovers a more complicated representation of the constitutional significance of the Charter. On 13th September, the pointing for a signature could be constructed as a visual representation of John being asked to submit, reluctantly, to the demand of the barons. In contrast, the longer stage direction of HBT/40/13 has the additional ‘gives paper back’, which is evocative of the idea that John gives the charter (almost magnanimously) to the people. Indeed, the ‘cheers’ in this rehearsal happen when the people are in possession of the Charter.

These two versions of the tableau found in the archives present distinct constitutional readings. Whilst one exaggerates the symbolism of the Charter as an act of holding a sovereign to account, the other places emphasis on the idea that the people now possess rights and liberties. These notes therefore offer a fascinating insight into how representations of Magna Carta in 19th century productions of King John can shed light on the perception and development of the Charter’s constitutional status during this period.

The Herbert Beerbohm Tree Business Archive is housed in the University of Bristol Theatre Collection.

This research has been published in Houghton, R. (2024). ‘Performing a constitution: a history of Magna Carta in Shakespeare’s King John’. Law and Humanities, 1–30. https://doi.org/10.1080/17521483.2024.2370673.