Author: theatrecollection

Forkbeard Fantasy – An Adventure in Opening Boxes

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By Rosie Smith, Project Archivist, Forkbeard Fantasy 

I have been tasked with cataloguing the Forkbeard Fantasy archive. Having learnt about the company, the next step was to find out what is actually in the archive.

Tim’s explanation of why he should not be allowed to play Alice

There are 77 boxes, all of which I have now opened and investigated. I did no sorting or cataloguing; just looked at what’s inside. Thankfully I had been provided with a box list, so I knew whether to expect ‘production material’, ‘photos’ or ‘Penny’s designs.’ While a very helpful starting point, those titles do not do justice to the array of funny, joyful, and sometimes downright bizarre contents of the archive. 

When starting a new production, the Forkbeards would each purchase an A4 black notebook. In these notebooks they would scribble their thoughts and ideas, sometimes in words, sometimes in cartoon form, until slowly but surely a script emerged. Not only are their notebooks a fantastic insight into how Forkbeard developed productions, but they are also filled with Tim and Chris’s humour. One contains a drawing by Tim of himself as Alice in Wonderland, drawn to convince Chris that having him play Alice was a bad idea. Another contains a to do list that reads: ‘work out what to do and do it’ (very helpful advice). My favourite so far is a paragraph complaining about how hard it is to write a play but never mind because a new notebook will fix all the problems!  

A hand painted set design from The Little Match Girl

The Forkbeards were all artists, meaning the archive is often very pretty. Penny’s hand painted set designs for The Little Match Girl are a particularly gorgeous example. Alongside Forkbeard Fantasy productions, Tim made animated videos, often about nature and history. These can be found on YouTube – just search Forkbeard Animations – but finding the original paintings brought me great joy. Again, it’s all infused with humour. Tim measures time in ‘grannies’ – 1 granny every 50 years – the only acceptable way to measure historical time in my mind.  

Liquid film

Rummaging through the Forkbeard archive revealed not only paper documents, but also some smaller objects. In one of the boxes was a small bottle of ‘fairy liquid,’ which I’m fairly certain was washing up liquid mixed with glitter. Currently sitting on my desk is a bottle of liquid film; a piece of film negative sitting in some sort of gloopy liquid. These were used as publicity for a production called The Fall of the House of the Usherettes, which revolved around a film hunter from the National Archives searching for the mysterious and illusive liquid film. Unlike the film hunter, I now have a bottle. Now to work out if it requires special storage conditions…

There’s been some less pleasant surprises too. The archive has been stored in a barn for the last few years, resulting in all sorts of odd bits of dirt making their way into the boxes. Coffee had been spilt on one notebook, which had then grown mouldy. We are pretty sure the mould is dead, but just to be sure, the notebook is having a little holiday in our quarantine room. 

A drawing from one of Tim’s animations. The creatures are coming to say “hello!”

I now have a very good overview of what is in the physical archive. But we live in a digital age, and the archive also contains 10 hard drives of various ages. Sadly, you can’t just take the lid off to open these. Cables must be sought, some of which haven’t been sold in years. Software must be downloaded so that old file formats can be opened.  I had to learn what a driver is. And that’s all before you get to the process of trying to create a system to let you open Mac files on a Windows computer…once I’ve managed all that, I’ll let you know what’s on the hard drives! 

Transcribing Oral history Interviews

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By Bria, Louis and Danna

 

Strengths and Weaknesses of Transcription in Oral History Research

 

Transcription is essential in oral history research, enabling researchers to systematically approach and analyze data in depth. Through transcripts, researchers can repeatedly review interview content, easily identifying key themes and patterns. Text data allows for keyword searches, making locating specific topics or statements quickly; this is especially useful when handling large amounts of data. Additionally, transcribed materials are less prone to technical damage, making them well-suited for long-term preservation. This ensures that data remains accessible and can be utilized for future research. Furthermore, transcripts are convenient for direct citation in research papers or reports, helping readers to better understand interview content. Thanks to these strengths, transcription enhances the quality of oral history research and plays a vital role in the effective utilization of interview data.

Regarding the oral history research for our project, there are potential weaknesses and challenges in using transcription. Firstly, when dealing with qualitative data as we are, the process of transcribing can be a time-consuming and potentially expensive process. Due to our interviewees’ conversational and anecdotal nature, capturing tone and character is integral to analyzing the personal impacts and experiences of youth theatre. It can be argued that preserving these nuances in written text is challenging and the downside is losing the potentially critical qualities of the interview. Additionally, the existence and archival preservation of a transcript may discourage future researchers from watching/listening to the original interview recording. In effect this could produce potentially misleading analysis of our data.

Transcribing the interviews from an oral to a written mode structures the interview conversations in a form amenable to closer analysis, and is in itself an initial analysis (Rapley, 2007). Transcription is a detailed process that goes beyond converting spoken words into text. Transcription is a critical interpretive step that requires researchers to make choices about what elements to capture, such as tone, pauses, and emotional nuances. These choices shape the final analysis and can alter how findings are understood. Steiner Kvale, in Doing Interviews outlines different transcription methods – like verbatim and summarized approaches – explaining how each serves specific research purposes. He also addresses ethical issues, like respecting participant confidentiality and balancing accuracy with practical constraints. He highlights the need to protect participants’ confidentiality carefully when transcribing sensitive information from interviews, and advises researchers to anonymize any identifiable details to maintain privacy. At the same time, Kvale notes the challenge of balancing the depth of transcription with the time and resources available. He suggests capturing essential details that reflect the meaning and nuances of responses while accepting practical constraints, ensuring the data remains useful without overwhelming researchers with excessive detail.

Sources: Rapley, Tim. (2007). Doing conversation, discourse and document analysis. Sage Publications Ltd.; Kvale, Steiner. (2007). Doing Interviews. Sage Publications Ltd.

 

Final Thoughts on the Transcription Process

by Callum and Issy

 

Throughout this research project, a key idea has been how we record and preserve information. Oral history is a method for researching personal histories and stories; stories that may not always feature in larger, published cultural histories. But to ensure that the stories are preserved, the process of transcribing the interviews needs to occur. However, when evaluating this, we did identify a variety of strengths and weaknesses with this practice.

A primary and positive feature is that it makes the interviews, and therefore the information, much more accessible. For example, VHS tapes were once a norm in every household and so videos in that format were accessible to everyone. But now, we can’t remember the last time we saw a video player and so for us, that information is lost. Similarly, whatever audio format the interviews are stored on will at some point in the future becomeoutdated and inaccessible. But paper and written words will always be there.

Another benefit of transcribing oral history is that it is quicker and easier to analyse. In order to be able to search for a specific point in the recording, it must be transcribed, be that by AI or a human. Furthermore, from our perspective, by transcribing the interviews it means that we, as researchers, are going back through the information we have gathered and analysing it in closer detail.

In addition to the benefits of transcription, it can also have restrictions as a data medium. As opposed to audio files, transcriptions can be misinterpreted due to a lack of expression, speech tones and emphasis within the document. Researchers and readers then rely on a transcriber to correctly interpret emotion into words, making it a more processed form of oral history. As well as this, transcriptions are time consuming to create however easy to research. This means that researchers are able to decide on what they believe to be important information instead of what the interviewee decided to put emphasis on.

To conclude, transcriptions both pose positive and negative effects to the interpretation of oral history. With them, research can be more efficient, yet possibly more unreliable. However, for our research project, with the limited amount of time available, transcriptions will be an efficacious tool to aid our research.

 

Recording and Archiving Interviews

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By Skye, Jess and Lily

 

Bristol Old Vic Young Company Research Unit: Recording and Archiving Interviews and the Ethics around Interviewing

In Week 8 of the course, we had a talk from Nigel Bryant, the Audio-visual Digitisation Officer at the University of Bristol Theatre Collection. Because we were due to start interviewing participants soon, we talked about how best to operate the equipment to record these. We learnt some basic tips about finding a location for recording such as, always try to record indoors, around soft furnishings and on a steady surface. We also discussed different ways of microphoning the participants and what the positives and negatives of each method can be. For example, if we hold the recorder near their mouth throughout the interview, slight movement by the interviewer can make additional noises that are picked up by the recorder, interfering with the interview. As well as this, the participant will need to stay still for the sound to be consistent, not allowing them range of movement. Further technical notes included that it’s not just what the interviewees say, it’s how they say it – using a ‘levelier’ clip mic allows interviewees to relax and speak naturally through expressions and movement without needing to hold or have the interviewer hold a larger mic, which, as mentioned, can inhibit movement. Headphones are also essential because you need to monitor the sound levels – check for microphone fault, crackles, and sound levels. Sound levels must be between -18 and -10 decibels, and each channel must be checked and adjusted independently for sound. Additionally, 24bit depth and 96k sampling frequency is necessary – these are the official British Library standards for oral history recordings. And finally, you must do test recordings ahead of your location and copy files into two separate locations for back ups!

We also talked to Lucy Powell who is Keeper (Theatre Archives) at the Theatre Collection. She talked to us about how the data we will produce from our interviews will be catalogued for the archives. As well as each individual recording description, a collection level description will enable researchers searching the catalogue to have an overview of the resources available.

We also considered the ethical implications of interviewing and how to create a secure environment for the interviewee to feel comfortable sharing their personal views. To ensure that the interviewee’s rights, autonomy and privacy are respected we discussed some of the crucial points that are vital to the interview process. These include: when conducting an interview it’s important to consider the ethical guidelines, particularly making sure you have informed consent before starting the process, and making the interviewee aware that their participation is completely voluntary. The interviewee should also be made aware that their privacy and confidentiality are prioritised, and anything shared will only be used with their permission. Additionally, you should explain the purpose and context of the interview maintaining an integral space that avoids exploiting the contribution of the interviewees. Furthermore, interviewers must maintain an impartial view on the interviewee’s contribution. These guidelines can be bracketed into an understanding of mutual respect between the interviewer and interviewee.

Forkbeard Fantasy – Where to Begin?

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By Rosie Smith

“The Theatre Collection has recently been given the archives of a theatre company called Forkbeard Fantasy. My job is to organize the archive, catalogue it, repackage it, and tell the world it exists.” 

This is how I have been describing my new job to family and friends. Most of the time, this is met with the response: “Gosh! Where do you even begin with a job like that?” 

You begin by getting to know the history of the company. One of the quirks of being an archivist is that as you move from project to project you quickly but briefly become an expert in a variety of niche topics. I have previously known a lot about Quaker boarding schools, Yorkshire parish magazines, and the Dutch National Ballet – not that I can remember much of it now. For the duration of this project, I will be an expert in all things Forkbeard Fantasy.

Preparing to perform The Great British Sqaure Dance on Dam Square in Amsterdam.

Forkbeard Fantasy was set up by brothers Chris and Tim Britton in 1974. Their first big show, “The Rubber Gods Show,” was performed in village halls across the country, and set the stage for their own brand of absurdist theatre dealing with serious topics. They were also advocates of using street theatre to reach a wider audience. The Great British Square Dance involved four performers (or sometimes three performers and one unsuspecting audience member) attaching their feet to long wooden poles and attempting to follow a serious of dance steps. Chaos inevitably ensued. Personally, I am intrigued by The Statue, which involved two ‘city officials’ placing a statue in a town square, only to have the statue move itself as soon as they were not looking. Again, chaos ensued.  

Forkbeard was also the home of Desmond and Dorothy Fairybreath, a pair of poets who travelled the country in a tiny car full of outlandish props. It took me far longer than it should have to realize that Desmond and Dorothy were Tim and Chris in costume. Later Chris and Tim adopted the personas of Chrissy and Timmy Brittonioni, two eccentric film producers accompanied by their long-suffering assistant, Mr. Jobling. Ed Jobling joined the group as a lighting technician but became a regular performer after being convinced to first appear onstage as a singing mushroom.  

Mammon, the God of Money, with his light up shoes.

Later in their work, Forkbeard became great advocates of what they called “Breaking the Celluloid Divide.” Characters on stage would interact with characters on film. Actors would “enter” the film by walking behind the screen and appearing on it. This required precise timing from the actors, who were often also playing multiple roles with multiple costume changes.  

Forkbeard were well-known for their use of elaborate props, most of which were created by Forkbeard’s third member, Penny Saunders. Notable props include: a seven-foot-high rabbit costume, an animatronic elderly lady who laughs manically when approached, and Mammon, the God of Money with light up shoes. Having previously lived at the Musuem of Forkbeard, these objects have now made their way to the Theatre Collection, where it falls to me to condition check, package and catalogue them. Wish me luck! 

The next step when approaching a new collection is to create a provisional cataloguing structure to decide how the archive will be arranged intellectually. Then the stage I am at now: opening every box to see what’s inside. If I find items that do not fit my catalogue, the catalogue structure gets amended. If I find things that are in the ‘wrong’ place physically, a note is made so they can be moved later. But mostly, as I go through the collection I laugh at long forgotten jokes and gape at the amazing cartoons and drawings. As I go through the collection in more detail, more stories will emerge and be shared here, so do come back soon to read about my progress! 

A drawing from the archive that made me laugh, despite the character’s directive not to. 

Critical Analysis of Oral History Practice Interviews

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By Unit students Naama, Nell and Lola

 

Critical Analysis of Interview by Jan Wozniak with Lucy Hunt, Director of Engagement at Bristol Old Vic

This blog recognises that most of these critical observations arose from the specific circumstances of classroom-based practice interviews and are unlikely to occur in typical oral history interviews.

The interview took place in our usual seminar room, a relatively large space that accommodates around 30 people. Under different circumstances, a smaller, more intimate setting would have been preferable for recording. Upon reviewing the recording, I noticed significant background noise, particularly the sound of passing police cars. Ideally, interviews should be conducted in a smaller, acoustically soft room without an audience, to minimise external sounds and distractions. The presence of laughter in the recording, for instance, may have influenced the interviewee’s responses or reactions. Furthermore, the recording was done on a basic camcorder without specialised audio equipment, which impacted the audio quality significantly. In retrospect, using microphones and high-quality recording devices would have enhanced clarity and reduced ambient noise interference.

Jan made a conscious effort to maintain strong eye contact with Lucy, which helped her feel engaged and listened to. He avoided crossing his arms – while a natural and comfortable position for many, it can sometimes convey a sense of closed-off body language. As an interviewer, it is important to remain mindful of one’s body language and how it might be perceived by the interviewee, as their perception can influence the openness of their reponses.

As the interview progressed, Jan noticed that Lucy appeared confident and secure in her responses, which allowed him to introduce more challenging questions. For example, when Lucy explained that the Young Company was divided by age groups, Jan questioned this and asked why the young people were separated into year groups as at school, when the goal is to distinguish this environment from traditional schooling. Lucy responded comfortably, demonstrating that she felt respected and that Jan’s questions were a product of active listening and critical engagement.

Finally, I observed that Jan began taking notes during the interview. This was likely a practical strategy to aid in post-interview debriefing, yet, as we are reflecting critically, it raised a potential issue. Note-taking during an interview could potentially affect the intervewee’s comfort, as they may become self-conscious about what is being noted versus what is not, leading them to question the perceived significance of their statements. This highlights the importance of considering how the interviewer’s actions may subtly influence the interviewee’s mindset and responses. As noted earlier, while the interviewer is actively perceiving and analysing the interviewee, the reverse is also true: the interviewee is reading and responding to the interviewer’s cues.

Personal Reflection of Student Interview with Lisa Gregan, Director of the Bristol Old Vic Young Company

After Jan completed the interview with Lucy, he opened up the next interview with Lisa Gregan to the rest of the class. I nervously raised my hand, thinking someone else would too. They didn’t of course, so 10 minutes later there I was with Lisa, conducting an interview. Scary stuff!

It helped that Jan had gone first; I was able to take inspiration from his style and questions, as I had none prepared. I tried to maintain open body language, show active listening through eye contact and verbal recognition, and asked follow-up questions where it seemed right.

I realised as I sat there panicking about what to ask next, that it didn’t actually matter. The point was never to be the most interesting interviewer, rather to help and facilitate the most interesting interviewee! This change in my understanding allowed me to relax and truly, deeply listen to Lisa, which resulted in far better questions and a more comfortable environment for Lisa.