Building Theatre Confidence

Abstract

Theatre confidence as a principle is not particular to any one group of young people, or theatre-going context, and the repeated appearance of theatre confidence as a catalyst for ‘successful’ attendance warrants further attention. This chapter proposes to explore the qualities and characteristics of theatre confidence, and the multiple ways in which it manifests itself in different social, educational and cultural contexts. In order to further understand the usefulness of the concept to sustained, independent theatre going, we consider the question of how theatre confidence is generated and built. Drawing on the TheatreSpace research, we identify and discuss a set of possible building blocks for theatre confidence.

INTERLUDE

9.1.1 Case Studies 17 and 18

CASE 17: The Threepenny Opera by Bertolt Brecht and Kurt Weill

COMPANY: Malthouse Theatre and the Victorian Opera

VENUE: Merlyn Theatre, CUB Malthouse

CASE STUDY PERFORMANCE: 8 pm, Thursday 10 June 2010

SEASON: 28 May–June 19 2010

KEY INFORMANTS:

Michael Kantor, Artistic Director, Malthouse Theatre and Production Director

Fiona James, Education Program Manager

Three Drama teachers from two of the attending schools

AUDIENCES DETAILS: In 2010 The Threepenny Opera was selected for the VCE Theatre Studies playlist, ensuring large student audiences throughout its season. The majority of the student audience members and all of those in the four schools interviewed for this case study were enrolled in VCE Theatre Studies. The Year 12 students (and many of the Year 11 students) were attending the production to meet compulsory assessment requirements. A small number of general public young people were also interviewed.

Pre-show audience surveys	95
Post-show interviewees	87
6 month interviewees	7

RESEARCH TEAM:

Chief Investigator: Kate Donelan

Lead Research Assistant: Richard Sallis

State Project Officer: Tim Stitz

Research Assistants: Ricci-Jane Adams, Georgina Capper, Sharon Davis, Clare Irvine, Petra Kalive, Paige Marshall, Meg Upton

• Students were highly engaged by this production by their sense of physical proximity to charismatic live performers; the elements of a large-scale mainstream musical with a ‘confronting’, ‘dark’, ‘edgy’ plot; the humour and exaggerated physicality of the performers; as a big, visually exciting and challenging multi-media production; the relationship between actors and audience and the performativity of the orchestra; and the provocation and shock of unexpected performance moments.

• As well as this, young people responded to the play’s contemporary relevance and the social/political content and themes.

CASE 18: Moth by Declan Greene

COMPANY: Arena Theatre Company

VENUE: The Studio, Sydney Opera House

CASE STUDY PRODUCTION: 10 am & 12.30 pm, Thursday 22 July 2010

SEASON: 20–23 July 2010

KEY INFORMANTS:

Chris Kohn, Director, Moth, and Artistic Director of Arena Theatre Company

Declan Greene, Writer

Sarah Ogden, Actor

3 teachers from attending schools

AUDIENCE DETAILS: This was a school season aimed at students from Years 10 to 12. Many of the students were studying the NSW HSC Drama syllabus. A large proportion of the participants in this case study came from Sydney’s outer suburbs. They were ethnically and linguistically diverse with over 57 % reporting that they spoke a language other than English at home.

Pre-show audience surveys	199
Post-show interviewees	67
6 month interviewees	8

RESEARCH TEAM:

Partner Chief Investigator: Michael Anderson

Chief Investigators: Robyn Ewing, John Hughes

State Project Officer: Josephine Fleming

Research Assistants: Stephanie Bohane, Linzy Brady, Josephine Fleming, Rebecca Kummerfeld, Casey-Ann Wainer

• One of the key themes that emerged was the way young people attending this performance valued interactivity. They recognised and were attracted to the uniqueness of the live experience. For some of the young people, a preference for interactive performance may reflect a desire for experiences that allow them more control and agency as audience members.

• Moth engaged most of the young audience members participating in this case study. They responded positively to the production’s engagement with issues that they cared about in a way they regarded as authentic and not patronising.