What is a director? What is his or her role? Where does s/he come from? This morning's session began with an open session to ask questions – a retrospective look on what we wished we had talked about in an ideal gathering, to open these points for discussion during the days to come. The idea of the Gathering is, at this point, to address some of these key issues with those who have made it to Abwrystwyth at this very point in time. This will be a recount of some views expressed in the plenary, though due to the unforeseen circumstances of a volcanic eruption in Iceland, our Scandinavian particpants Ralf Strøbech and Tore Vagn Lid had been forced to remain in their home countries. A reminder both of the unexpected nature of our work, and just how vulnerable we still are to the forces of nature around us. As technology has, however, taken a few steps further, they will be joining us by Skype.
The questions that were raised centred around the notion of roots, tradition, practice and training, as well as attempts at defining who and what we are. The solitary role of the director is a great contrast to this plenary discussion, and different practitioners answer it from very different perspectives and places in their lives. Nevertheless, participants showed great openness and willingness to discuss, which gives a reason to hope for a fruitful exchange of experiences as we progress. However, as so often is the case, parts of the talk drifted into the trouble of grants and funding – a topic that no one really wants to discuss, but that lies at the front of their minds as a necessity for survival as an artist – this “thing” that enables them to do work.
Related to this is the idea that seems to have taken hold of Britain, that an education is needed to become a director. The British Isles only recently started any form of director's training, and many of the greatest current personalities in theatre started without any formal schooling. Brook, for example, was fresh out of English at Oxford when he was handed the reigns of the Royal Shakespeare Company, and this is, perhaps, worth remembering. Armed with an ability to dissect language and bring out layers of meaning, as well as the independence that comes with an Oxford education, he proved himself well suited to take on this role. The present concern with schooling is, then, perhaps unfounded or simply a sign of our times' obsession with what can me measured and quantified? A formal education is more than anything else a series of hoops we need to jump through, whether these are at university or elsewhere. The piece of paper received at the end does not prove anything in itself, but confirms for whoever makes the decisions with regards to commissioning, funding and supporting, a minimal guarantee that you as a director is less of a risk than someone without that “proof”. But does it really prove anything, or is it just a construct? Why do we give it validity, and should we give it validity? As there are several theatre-makers from outside the UK, and even from outside Europe, with different traditions and views on what theatre and being a director is, the weekend should offer several opportunities to bring all these questions into new light, and address how best to enhance the development of this craft.
- Ragnhild Dale
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