It’s been nearly two months since my last blog post, and during my hiatus, my designated placement time with the Theatre Collection has been spent developing my research skills, as well as learning more about archiving and museum curatorial practices with Jill Sullivan (Assistant Keeper: User Services) and Athene Bain (Archives Assistant). These conversations have brought up some important context and theory behind archiving, as well as thought-provoking considerations about the preservation and access strategies of archives and museums. Furthermore, my gained understanding has supported my artistic process as I’ve begun to synthesise connections between particular archive items of interest, leading towards the creative conceptualisation and design of my performance.
My research has been guided by my exploration into the presentations of memory in theatre, either in the content of the play itself or discovered within the memories of the people who made and enjoyed theatre. I’ve paid particular attention to the visual materials such as photographs of actors, costume designs and set models, but I’ve unexpectedly been thoroughly engaged –and at several moments, entertained– by the written archives, more specifically letters.
I was helpfully directed to the Jessie & Annie Bourke Collection of correspondence (Reference: BTC80), five boxes of letters detailing the professional careers and later lives of Jessie, her sister Annie, and their cousin Eva Watson, actresses of the 1860s and 1870s. In this unique collection, I found a single telegraph addressed to Annie Bourke to be particularly intriguing. Characteristically short, I spent quite some time trying to decipher this cryptic message, and its greater meaning between the lines of the faintly penciled cursive.
An uncatalogued item in BTC80 Box 1: a telegraph addressed to Annie Bourke that reads ‘Don’t come, I have to go away’
My mind instantly wandered; I began to wonder whether this message was a simple warning that Annie would be met with disappointment at a previously agreed upon meeting spot? Or was this note emotionally charged, with unwritten but potentially weighty cause behind the sender’s impulse that they had no other option than ‘to go away’? Alongside the manifold number of long letters addressed to Annie – some even addressed to the name of the character she was playing on stage at the time – these letters allude to the intense adoration male audience members had for their favourite actors and the discomforting tension between declarations of admiration and harassment. Did Annie keep the reason for this telegraph in her memory? Did she remember the letters from her many admirers? Did she have favourites? Were there admirers whom she genuinely admired back, or whom she charmed for her own pleasure as the subject of adoration? Without her own responses, documented in the letters she did or did not send, we can never know. Moreover, I had found this moment of wonder to be incredibly formative for the devising process of my performance.
In addition to the sector knowledge and skills I have acquired, I have also learnt a hard lesson that any researcher must accept: unfortunately, it is impossible to see or research everything. Whilst I allowed myself time to explore tangential archive items, given the time constraints of the duration of my placement and my own time management between my final year units, I had to decide what leads I wanted to pursue and which I regrettably had to leave behind.
My direction of research has not been linear these last few months, but despite the twists and turns, the journey has been productive and, most notably of all, joyfully absorbing. Supported by Jill’s knowledgeable suggestions, I feel I have a solid foundation of research to begin to build the design conceptualisation of my performance, which I will share with you in my next post.
In 2021, the Theatre Collection successfully applied for a Research Resources Award from the Wellcome Trust for the ‘Firestarters’ project to make available the archive of the arts organisation, Welfare State International (WSI). The project was developed in response to demand to explore WSI’s innovative methodologies from a broad spectrum of researchers and practitioners and the archive will provide evidence and inspiration for future research and practice.
Founded in 1968 by John Fox and Sue Gill, Roger Coleman and others, WSI was a loose association of freelance artists brought together by shared values and philosophy. WSI evolved from radical travelling performers to become embedded community artists and celebrants, working to weave art more fully into the fabric of life. Under the Welfare State umbrella, a remarkable group of engineers, musicians, sculptors, performers, poets and pyrotechnicians invented and developed site-specific theatre in landscape, lantern processions, spectacular fireshows, community carnivals and participatory festivals. The scale of the archive means that the project will take over three years to complete. A comprehensive archive catalogue will be published online, key material will be digitised for preservation and access, and conservation work will ensure the long-term survival of this important collection.
The ‘Firestarters’ project to catalogue and make accessible the archive of the arts organisation, Welfare State International (WSI) is now underway, so we thought we’d share a project update and highlight some of the work we’ve done so far. This first part of the project has focussed on establishing physical and intellectual control of the collection as well as safeguarding the long-term viability of the AV material through conservation and digitisation.
Cataloguing
As Project Archivist, I’ve undertaken background research and produced a full production list of more than 400 performances, events and projects for the period Welfare State International were operational to assist with the sorting process. The first sort of 245 boxes has been completed and the second, more detailed, sort is underway with all performance-related material from the original accession now sorted by production. I assigned temporary reference numbers to all the AV material enabling digitisation to begin.
Example of WSI film canister
AV digitisation
Since December 2022, Nigel Bryant, AV Digitisation Officer has digitised 146 magnetic and optical media items across 17 different formats including U-matic, VHS, Betacam, Hi8, Video 8, CD audio and DVD. Both preservation archival quality copies and viewing copies have been produced. Digital copies of duplicate material have been identified and discarded and summary content descriptions of all digitised AV have been recorded. Essential servicing of AV equipment also took place across several formats to ensure optimum quality of digital copies was maintained.
Video highlights have included a copy of the Barrow community film ‘King Real & The Hoodlums’ (1984) from 1” video tape, so very good quality. The film was made for TV and involved 150 local people; script by Adrian Mitchell based on King Lear. In addition to the film, there is also a recording of ‘King Real – making of’ feature from BBC Newsnight, which includes interviews with cast members from the local community. This year is the 40th anniversary of the making of ‘King Real’, an occasion which has been marked by some of those involved in the film from WSI and the local community with a celebratory singalong in Barrow.
There are also recordings of other TV programmes featuring the work of WSI including the BBC2 programme Open Space with footage of ‘A Midsummer Night’s Belfast’ from a community residency in Belfast, June 1983, and the Thames TV programme Afternoon Plus featuring preparations for ‘Parliament in Flames’, interviews with WSI members, as well as audience reactions to the large-scale spectacle. In addition to recordings of performances, there is extensive coverage of Ulverston Lantern Processions from the 1980s-1990s.
Footage of international projects includes rushes and an edit of a WSI performance ‘The Wasteland and the Wagtail’, a special commission for the 1st International Theatre Festival in Toga Village, Japan from July 1982, a complete set of high quality rushes from ‘False Creek: A Visual Symphony’ from World Expo ‘86, in Vancouver, Canada, footage of a performance of ‘The Dead Carpenter’ at Rotterdamse Kunststichting, The Netherlands in 1976, and rushes and edit of ‘Tempest on Snake Island’ for the Toronto Theatre Festival in May 1981.
Manual Film Inspections
In preparation for creating access copies for the cine film within the collection, Nigel and I have undertaken manual film inspections for all 152 16mm films, in addition to 7 Super 8mm films. Before undertaking manual film inspections, I tested all the film for acetate film base degradation (vinegar syndrome), using A-D strips. The small A-D strips are placed in the can and left for a specified amount of time depending on the storage conditions; the strips change colour to indicate the level of deterioration.
Manually inspecting each film is essential, so an assessment can be made about whether the film would be safe to run on a Steenbeck (flatbed film editing machine) to create access copies. The inspection included identifying the film type and any edge codes to date the film, as well as measuring the film and core diameter to ensure appropriate storage. A section of film was measured and compared to stock film to assess whether the storage conditions over the years had caused the film to stretch or shrink.
As the image below shows, the film was then manually wound onto a core, through a duration counter and viewer, so the film could be viewed, notes about the content recorded, and an estimated duration taken. The film was also lightly cleaned during this process. With manual film inspections, although possible to view the moving images, it is not possible to listen to any sound recordings, which makes the content more difficult to identify.
Nigel Bryant, AV Digitisation Officer manually winding film from a reel onto a core16mm film viewer and counter
The majority of the films within the collection were stored on 2” cores or projection reels, so during the inspections all the films were wound onto the larger 3” cores for optimum storage. Each film was assessed for physical damage including scratches, perforation damage, mould, dirt and oil, warpage and colour fading. Splices were also inspected and repaired or reinforced where required.
Within the collection there are a few 8mm and 35mm films, which will be inspected once additional equipment can be sourced. As can be the case with older formats, the equipment required to play or view them is often scarce and therefore can be expensive.
There’s been some great footage on the 16mm film, including some projects filmed for TV, one for the arts programme Aquarius with footage from a 3 week residency in Burnley in 1975 including the final show featuring a large procession and ice sculpture, a 1982 performance of ‘Doomsday Fair’ and an early performance from 1973 made in Rotterdam.
Still from 1972 WSI performance seen through 16mm film viewer
There is also some footage of a naming ceremony on Bodmin Moor from the early 1970s and the South West tour of ‘The Travels of Lancelot Quail’ from 1972, which was one month of processional theatre from Glastonbury through Somerset, Devon and Cornwall. The footage includes the finale of the performance, as the group of performers climb aboard a boat on the beach at Marazion and head out to sea and board a submarine. It’s been brilliant to see moving images of performances, having only seen a few photographic images whilst sorting the documentation.
We look forward to posting more project updates as we go!
In January 2023, Keith McLaren, the depositor of the Miniature Stage Lighting visited the Theatre Collection to show us how the Miniature Stage Lighting worked and to give an insight into how the equipment could be used.
The Miniature Stage Lighting was deposited in October 2022 and has been catalogued as BTC334 Miniature Stage Lighting. It is equipment designed and made by Robert Stanbury who taught stage lighting to theatre design students at the Wimbledon College of Art in the late 1950s until the mid-1960s. He also made equipment for people including the eminent lighting designers Michael Northen and Richard Pilbrow and companies such as the D’Oyly Carte Opera Company. This particular equipment was ordered by Rae Hammond who was General Manager of the Everyman Theatre, Cheltenham and is generally for use with 1:24 theatre design models although the equipment is larger for practical reasons. The lighting includes a control desk and several luminaires.
I worked with a colleague who took photographs of the individual parts and the process of setting them up for use. I took notes of the steps and advice, and I am creating a guide for future staff to use the equipment. We hope that our work will enable future generations to access and use the Miniature Stage Lighting in an informed way.
The process included building the stand, connecting the control desk to the mains, and connecting the luminaires to the control desk. Trial and error were needed such as to find out which lamp was connected to which dial on the control desk and the depositor gave us advice about common problems. Some of these included wires touching the body of the lamp and dirty contacts (the parts on the control desk used to assign a lamp to the left or right control dial).
I originally invited Keith to the session thinking that we would light a set model. However, he said he found this idea interesting because you don’t generally aim to light the set directly, apart from possibly motivating light (sunlight, moonlight etc.), rather relying on incidental “bounce light” from actor light. We ran out of time anyway!
The Theatre Collection also holds other items relating to lighting including collections such as BTC 155 Michael Northern Collection. Michael Northen (1921 – 2001) was the first credited Lighting Designer in the UK and his work on “The Mousetrap” can still be seen in the West End today. The JD Joe Davis Archive contains the archive of Lighting Designer Joe Davis (1912 – 1984). There is also a Mander & Mitchenson Collection reference box for lighting & sound. In addition, individual items such as lighting plots, plans and diagrams can be found within many of the other collections held at the Theatre Collection and there is a lighting section in the Theatre Collection library.
If you have archives relating to lighting (or any other aspect of professional British theatre or live art) that you would be interested in donating, please have a look at our ‘finding a home for your records’ page. You may also be interested in finding out more about caring for your records.
If you are interested in finding out more about theatre lighting, then please have a look at our catalogue and read more about visiting us.
Keith with the Miniature Stage Lighting. Copyright: University of Bristol Theatre Collection
Hello, my name is Violet, and I’m a third year student in the Theatre and Performance Department here at Bristol. One of the final year units is ‘Professional Development in Theatre and Performance’, for which students work in partnership with a professional or community organisation to develop their professional skills on a specific project. I chose to work with the Theatre Collection, as an Artist-in-Residence, to create a performance piece based on archives and archival research.
As a third-year Theatre & English student, I’ve been lucky enough to take several units that utilised the archives and knowledge of the Theatre Collections staff. During my degree course, I have looked into the set design for productions of Chekhov’s The Seagull and The Cherry Orchard in ‘Performance Histories’, statoscopes in ‘Immersive and Site-Specific Theatre’ and even a clown costume, believed to be worn by Harry Payne, in ‘Clowning through History’. I was mesmerised by the physical fragments from the past, and the exciting process of research-informed investigation into the greater context of the item and its relation to theatre. These items preserved the liveness and creativity of performance, which is inextricably linked to the theatre makers and the projects they were produced for. This sparked my interest in contacting the Theatre Collection to ask if I could have my placement with the team to learn about archiving, freelancing as an artist and exploring what creative and performative ideas could be inspired by materials in the Collection.
My own interest in theatre is rooted in design. I have experimented with designing set, costume, prop and makeup in theatre units, student productions and my own performance as a drag artist. Most of my previous work revolves around creating dynamic and intriguing performance spaces, experimenting with the bounds of absurdity and authenticity in costume and makeup artistry, and exploring the tension between exaggerated scale and practicality in props.
Photographer: Yamuna ShuklaPhotographer: Charley WilliamsPhoto by Moonshine Photographer
Before I pursue a postgraduate degree in performance design, I’m taking time to explore various avenues of artistry. As my interest was piqued by my previous encounters with the Collection’s archival materials, so I was intrigued to develop my own artistic practice, informed by researching designers and live art practitioners.
During the first month of my placement, I have taken my time to grasp the historical and contemporary works of live art, such as the work of Ian Smith, Nan Hoover and Crystal Theatre of the Saint. By investigating their creative process, promotional material, and recordings of their performances – with the support of the Theatre Collection team – I have built a foundation of archive research skills to begin my own process of producing a live art performance in early May. Please do look out for updates, as I will be posting regular blogs to show what archive items and artist influences have inspired me, the progression of my creative process and reflections on my placement with the Theatre Collection.
WhenIan’s Smith archive was donated to the Theatre Collection (TC) in 2020, it arrived with laser scans of his studio captured in 2018-19. Ian’s studio was much more than a place of work. It was like an artwork in itself that reflected Ian’s practices and artistic concerns, the interior including Ian’s collections of books, LPs, model toys and furniture, all carefully arranged and displayed. Ian died in 2014, but it had felt important to create a record of this space to put with his archive.
Ian Smith’s studio photographed by Malcolm Brown
It was the first accession at the TC to include these types of digital files and it really started us thinking about 3D data and asking questions about how we preserve and facilitate access to these files. Since then, we have also started to 3D capture objects within our collections, raising even more questions and queries about the data produced at the point of capture.
Thanks to The National ArchivesArchive Testbed Fund, we held a three day event using the ‘book sprint’ format to explore some of the questions that we have surrounding 3D data capture and preservation, using Ian’s studio as our case study. The idea of a ‘book sprint’ is to produce a collaborative piece of writing in a short period of time and in our case, we wanted to produce a basic in-house guidance document (Starting with 3D Data) that would help us develop principles, workflows and procedures for managing 3D data. We wanted to share this guidance with the wider archive community, as we hope it will provide a starting point for non-specialised archive services, who, like us at the TC, are meeting the challenges of managing 3D data for the first time.
We gathered a group of people together to take part with a variety of different expertise and experience in 3D data capture and preservation including:
Sam Brenton, Digital Archives Assistant, University of Bristol
Malcolm Brown, Deputy Photographer, Cultural Heritage Digitisation Service, University of Edinburgh (created the 3D scans of Ian Smith’s studio in a freelance capacity)
Sarah Bustamante-Brauning, Digitisation Officer, University of Bristol Theatre Collection
Catherine Dack, Research Support Librarian, University of Bristol
Angie Dight, Director and Co-founder of Mischief La-Bas, wife of the artist Ian Smith whose studio was scanned in 3D
Stephen Gray, Head of Research Support, Library Services University of Bristol
Emma Hancox, Digital Archivist, University of Bristol
Kieron Niven, Digital Archivist, Archaeology Data Service, University of York
Sean Rippington, Digital Archives and Copyright Manager, University of St Andrews
Julian Warren, Keeper: Digital and Live Art Archives University of Bristol Theatre Collection
Sian Williams, Project Archivist: Ian Smith Archive, University of Bristol Theatre Collection
This blog focuses on the three key discussion areas we addressed each of the three days of the sprint that helped us develop our 3D data guidance document, Starting with 3D Data.
Day 1: Data Creation
As Ian’s studio was our case study, we asked Angie to introduce us to his studio and guide us around the space with the photographs that were captured by Malcolm in 2018-19.
Angie talking us through Ian’s studio
Ian Smith (1959-2014) was an artist, performer and artistic director, founding the acclaimed Glasgow-based performance company,Mischief La-Bas, with his wife, Angie in 1992. As Angie explained, Ian, as a child of the 1950s and influenced by his older brother, loved 50s pop culture, was captivated by David Bowie and saw no divide between high art and low art. His studio, ‘The Den’ was his thinking and ideas place, and it really encapsulated his eclectic collecting and creativity. His artistic creations, known as ‘Pulptures’, described by Ian as ‘like sculptures but not as good’ adorn the walls and models of characters from film and TV, including his own bastardised creations, line the shelves.
Ian’s studio became the springboard for our all discussions, but in terms of data creation it helped us to address the fundamental questions:
Why capture in 3D? In terms of Ian’s studio, it was part of the WASP Artist Collective of studio spaces in Glasgow, so it would not have been possible to preserve his studio in situ in perpetuity. As described by Malcolm, the studio was like “stepping inside someone’s head”, as it really captured Ian’s personality and creativity. As Malcolm recognised at the time, there was a compelling case for not only capturing the space in 2D, but also to experiment with 3D capture. Although 2D can capture detail, laser scanning presents the possibility of capturing the space as a whole, its scale and relationships between objects.
As with Ian’s studio, Malcolm recognised the value of capturing the studio in 3D, but it was agreed there should always be a criteria for 3D capture. In terms of preservation, there is limited argument for scanning robust objects. Items should be prioritised for scanning based on a preservation need i.e. objects made inherently of material that degrades quickly and therefore require minimal handling or spaces/objects which may no longer exist. At the TC we hold many set models, which were only ever made with the intention of being temporary. The models are particularly vulnerable to damage with multiple and often fragile moving parts, but are high-use objects by researchers and teaching groups. In these cases, there is a clear need to 3D capture and create a digital surrogate, as 3D models can be manipulated in ways the original set model cannot be due to risk of damage.
How do you capture 3D? Ian’s studio was captured by LiDAR or laser scanning, which uses light waves to calculate distance and is often used for larger spaces. We explored other methods of 3D capture including photogrammetry, structured light and a hybrid version of both, as well as the challenges of each and different considerations depending on the method of capture, including cost implications and equipment requirements.
Day 2: File Formats and Metadata
To ascertain what file formats we should be requesting at the point of deposit and what metadata should be captured and recorded, we heard from those in the group with experience of 3D capture, so we could understand the process in more detail. Using worked examples, we looked at photogrammetry with 3D models of objects including set models. We explored the challenges at point of capture i.e. difficulties with using a green screen and white objects on white background, what files to keep (DNG, TIFF) and creating a mesh to produce a 3D model.
Book sprint discussions
Ian’s studio was LiDAR scanned to experiment capturing the space beyond 2D, but it was not processed at the time into a usable 3D model. In terms of future deposits, it would be more likely that the depositor would produce a 3D model as the final product, as this would be the primary aim of capturing the space/object. We are currently experimenting with the files of Ian’s studio to see if we can produce a workable model, and you can see how far we’ve got on Sketchfab.
What file formats and metadata should we have asked for at the point of deposit? In archival terms, we want to preserve the raw data with minimal intervention at the point of capture. But as our discussions highlighted, there is difficulty in this with 3D capture in terms of what is considered the raw data, as there is a lot of process involved in capturing and creating usable models. In order to access the data it requires a process to create a model by creating a mesh. This often requires the use of proprietary software. We would therefore want to ask the depositor for their raw files (whatever they might consider that to be), as well as an access copy of the finished 3D model that the depositor is happy with i.e. a meshed OBJ file.
In terms of metadata, it was helpful to hear about the Archaeology Data Service, and what we can learn from archaeologists, who regularly capture 3D data. The Archaeology Data Service already has a set of principles in terms of what metadata is requested from the depositor, which will help to develop our own set of principles. We started to consider what questions we should have asked for at the point of deposit of Ian’s studio scans, such as:
Reason for capture and additional context
What type of device was used
What software was used
Copyright holder information i.e. person who has made the decisions in the scanning process, as well as the objects that are included in the scans
Image of the equipment setup and colour capture
Accurate measurements of the space/object
Location where scan taken
Number of points of capture
Capture date
How many scans within the model
How the files are structured and arranged
Day 3: Audiences and Access
With such innovative potential for 3D data, we discussed our audiences and how we could make the 3D data accessible to them.
Currently the TC is introducing the digital preservation platform, Preservica, but due to early development and lack of demand for a 3D viewer on the platform, its viewer remains fairly rudimentary at the moment. We therefore discussed the need to use a temporary platform to access the 3D models in the meantime. However, in using these platforms such as Sketchfab and 3DHOP, there are of course cost implications, as well as considerations with ownership and licensing in addition to the increased amount of time and resources required for the processing to produce accessible 3D models. Using these platforms could potentially drive more traffic to our catalogue, but in using multiple platforms to making our digital models accessible this way we would need to ensure that the relationship with the catalogue is maintained. As always with archives, we are thinking about the future and whether these platforms will exist or be usable in the long term, reinforcing the archival reasons for preserving the raw data.
These discussions that took place over the book sprint event have fed into our guidance document for the TC. We will use this document as a reference point as we start to build our procedures and workflows for dealing with 3D data. Just as Ian’s studio encouraged us to start exploring 3D data, we hope our guidance document may be a useful starting point for any non-specialised archive service looking to explore 3D data capture and preservation.
