Take me by the Tongue: Reflection

Reviewing our recent production of Take me by the Tongue, I thought it was an excellent production with high energy and many humorous moments. The audience varied from students to older people, which was good because from the start of our company we have stated that our work is for a wide range of people.  It is important to have a range of people as it creates more money for the company as more people want to see it. The staging of this production worked extremely well as it was something different and allowed the audience to follow the performance and as a performer this gave more intensity due to having the audience so close the performance space.

‘Promenade theatre is extremely versatile. With no formal stage, and the audience and actors occupying the same space, it allows for experimentations with both new and old plays, and explores what the theatrical experience can entail for an audience. In moving the audience around throughout the performance, promenade theatre also pushes boundaries of setting in a way that can’t be achieved in regular theatre.’(Gouk, 2012, Online)

This staging really worked for this production and can be explored again for future performances, even challenging the location of where we perform, allowing Hand me down to explore various locations. Demi-paradise is a Lancaster theatre company who works a lot with promenade exploring the audience and performer relationship. This idea would be something that we can develop allowing a lot more audience participation. As a performer in Hand me Down it allowed me to become more aware of the audience and making sure the audience are involved as it makes the speeches become more powerful and  effective bringing across a powerful message particular in the ‘generation game’ scene.

The costumes in Take me by the Tongue worked smoothly and quickly this is because in every new scene there would be a transition with costume. The idea behind item of clothing for parts of a new scene was to also compliment the staging. This is because both costume and stage design needed to collide together making it a smooth production with no faffing. For example in Take me by the Tongue,The flowery, girly, innocent looking dress which was used in one scene, contradicts the personalities of the two characters as they talk about themselves being villains.  It’s completely suggestive and again shows the feminists intentions behind this scene, using one dress to show the feminity message.

(Taken by Jozey Wade: 2014)

Gouk.A. (2012) Behind the Scenes: Promenade Theatre. Available: http://www.ayoungertheatre.com/behind-the-scenes-promenade-theatre/ [Last Assessed: 1st June 2014]

Stick It On

“Marketing works with the big picture. It’s holistic. It’s the conduit of information about the art, who creates it, why, and who will be interested. It’s understanding the heat of the work and its relationship with audiences. It’s the network of blood vessels that provides the two way communication between arts practice and the public”  (Hill, 2003, p31)

With the ever popular social media making marketing a potentially easier task , we still felt that traditional types of marketing would aid our advertising and promotion of our show. For instance we decided to use stickers with our company logo on as a tool of creating a relationship with our audience members. By giving them a sticker with our logo on , not only gets them excited and intrigued about our performance, but it is also a way of doing outside marketing. When an audience member goes away wearing one of our stickers this enables others to comment and ask what the sticker is about, creating this outer network of marketing and advertising of our company. This social inclusion into our marketing strategy is something which we will intend to continue in the future, as we want to get people talking about our work. The use of stickers was also incorporated into interconnecting all of our social media pages as we told people to tweet us if they were wearing or saw one of our stickers. This built an acknowledgment of our Twitter and Facebook for the audience as we were asking them to get involved and show off their stickers.

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This original , versatile and economical marketing tool enables us to really build a relationship with our potential audience members, this little keepsake could possibly improve our audience base  by a small percentage but in this day and age everything counts. This isn’t a costly purchase and will be hopefully be something we continue to use for future marketing of shows and our company. Other things we hope to look into will be badges, fridge magnets and pens, these of which will all come with our company logo on.  Although other theatre companies use this type of advertising tool, we feel this adds a different level to our company relationship with the audience. Having such a varied target audience we feel this will attract a range of people to the work which our company aim to produce in the future.

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Works Cited

Hill, L (2003) Creative Arts Marketing, Oxford: Butterworth p-1-35

Impact of Social Media

By advertising and promoting our shows online through social media has had huge impact on our ticket sales. This is a massive improvement from what traditionally would have been a long winded process by having to flyer and goes out into the streets and speak to people. Although we may be loosing the connection with the real, social media has saved us money which for many theatre companies is something which we struggle with. Having such a tight budget our main way of promoting and advertising our theatre company was done through the use of social media.  Without the use of social media, I feel nowadays a lot of companies would be in trouble if we didn’t have all of these technological advances which have improved our marketing strategies by so much. “The emergence of Internet-based social media has made it possible for one person to communicate with hundreds or even thousands of other people about products and the companies that provide them.” (Glynn Mangold 2009, p357)

These popular sites are sites which society use on a day to day basis, they are becoming a necessity in daily life, and people are always checking their phones for updates. This is why we felt our main marketing strategies should be focused towards social media. We are forever searching for new innovative ideas to market out performance.

We have used a reoccuring colour scheme of cream and black throughout our social media platforms and sites so that they are all interconnected and attractive, this is a feature which we will continue to use for further projects as we feel it attracts our potential audiences.

PROFILE PICTURE

Like other theatre companies we want to promote our show in anyway we can because of the competition that theatre has nowadays. To engage our potential audience members we felt a promotional event would aid ticket sales. An acoustic night was put on and we delivered a great night but also were able to sell a number of tickets. Without social media such as Facebook we wouldn’t have been able to get the number of people to attend the event. Over half of the people that came to the event bought tickets for the show. Facebook made this very easy to promote as we were able to create an event which was sent out to numerous people and included details of both the acoustic evening and our show. “[R]ecently reported by Arts Professional, is that Facebook, Twitter and blogs are increasingly the means by which ticket sales are driven, rather than reviews or traditional forms of advertising.” (Gardener, 2010)

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But social media also is a free way of marketing and advertising our work to the public, it is a quick and efficient method and tool which delivers an easier solution to marketing your company.By using social media we are saving money which for many theatre companies is something which we struggle with. Without the use of social media, I feel nowadays a lot of companies would be in trouble if we didn’t have all of these technological advances which have improved our marketing strategies by so much.  These popular sites are sites which society use on a day to day basis, they are becoming a necessity in daily life, and people are always checking their phones for updates. This is why we feel our main marketing strategies should be focused towards social media. We are forever searching for new innovative ideas to market out performance.

One of the ways we have recently added a new exciting idea to our marketing was by creating a competition to win exclusive ‘Golden Tickets’ to our sold out show. By tweeting and face booking about this particular competition gains interest for those unfortunate people who didn’t manage to get a ticket. This particular competition linked with our show Take Me By the Tongue, the person who tweeted us with the most ridiculous song lyrics would win a ticket. This thrilling opportunity pushes us beyond your bog standard theatre company as it shows we have the modern eye to what a contemporary audience are looking for.

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Works Cited

Gardener, L. (2010) Theatre: Wake up to the digital age! [online] Available at: http://www.theguardian.com/stage/theatreblog/2010/apr/18/theatre-digital-twitter-facebook-social-media   [Accessed 22/05/2014]

Glynn Mangold, W. (2009) Social Media: The New Hybrid Element of the Social Mix, Business Horizons.  52(4) p357

To Be Social Is To Be Known

Hand Me Down Theatre is socially available on multiple types of social media. These include the ever popular Twitter, Facebook and Instagram. With the huge demand for social media on a day to day basis, we felt it compulsory to join in with the craze. “As of September 2013, 73% of online adults use social networking sites.” (pewinternet.org, 2013) We would be silly not to indulge into social media when such a high number of people use it. We wanted to connect with a wider scale of audience than what Lincoln had to offer, social media offers the opportunity to divulge into a broader range of people, business’s and theatre companies. With these ever changing digital platforms forming, we felt it a priority to offer our audience a look into our journey and process into the development of our show over the last few months. We regularly update our social media with little snippets from rehearsals, information about the show, and trailers and videos By posting on a day to day basis, helps our viewers and followers get a feel for the type of work that we do and help them to see into our performance for themselves. “In today’s world, social media is a must – a powerful tool for expanding your audience base” (Mitchell, Online)
Twitter offers us the opportunity to focus our posts and tweets to specific niche audiences, by hash tagging particular words or phrases for example #Shakespeare we open up our sites to those specific lovers of Shakespeare because they can search and will be able to find us and see that this is a topic we use in our performance of Take Me By The Tongue. “Twitter tracks phrases, words and hashtags that are most mentioned and posts them under the title of “trending topics” regularly.” (Kwak et al, 2010) It offers us a platform to gain followers which create a relationship between us and our cyber audience.

twitter feedAnd it isn’t just us, thousands of theatre companies have taken to social media, for example traditional theatre company The Royal Shakespeare Company (RSC) surprised us with their use of twitter. Not only do they promote and tweet on a regular basis but they have used Twitter as a platform for a performance. This is such an exciting way of connecting with the widespread audience which the RSC has. “The Royal Shakespeare Company today joined with the cross-platform production firm Mudlark and Channel 4’s digital investment fund, 4iP, to launch Such Tweet Sorrow, a drama in real time and 4,000 tweets, very roughly based on Shakespeare’s Romeo and Juliet” (Kennedy 2010) This style of performance connects both Shakespeare lovers with the modern users of social media.
Marketing over time has developed into a social media craze, with the triumph of the internet and improvement of technologies; we are now able to do so much more for so little.These sites have enabled us to post information quickly and efficiently to the wider audience, providing them with up to date and relevant information about our company. Facebook lets us create groups and events to publicize our performances, which helps with ticket sales as people will be able to know when and where the performance is, a good feature about Facebook is that it sends reminders about particular events. Instagram is a way in which we can show people the development and process of our piece through images, linking these images with Facebook Twitter and our blogs creates a circular marketing process. Hand Me Down uses Instagram to post pictures from rehearsals, trailer videos and posters and flyers. And to really capture the essence of what our company is about.

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YouTube has become a world wide sensation, which aids us to show off our companies ideas visually through sound and video. YouTube lets us look for music, films, and readings and shows us a variation. Millions of people use YouTube, so a wide variety of people can look at your work. And Instagram has led us to be able to show sneak peaks of scenes, trailers and photos of every day process enabling us to create a photo feed of our development which a lot of people are interested in.

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But what Hand Me Down wants to deliver to our audience is a new, exciting way of seeing what our company is about. We urge to offer some thing different than what other companies do.“The idea of the ever-growing toolbox and of diversifying ways of communicating with audiences is a trend echoed by a number of companies, ranging in budget size from multi-million dollars to nearly nothing. Even as social media has permeated theatre marketing, many theatres still struggle to understand how they can use social media most effectively.”(Peter, 2010, 9)This is something that we strive to do, use the varied range of social media to the best ability and to be the most effective when promoting and advertising our work.  All of our social media sites are interconnected in some way shape or form. For example Youtube videos and trailers are posted on Twitter and Facebook, this allowing the potential audience to travel freely through our sites. And in the future we will endeavour to use social media to our advantage, offering our audience as much as we possibly can through these digital platforms. As a company we aim to go with the times and seek to keep up with the ever changing technologies.

Here is all the information you will need to find us.

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Works Cited

Kennedy, M. (2010) Romeo and Juliet get Twitter Treatment. The Guardian, 12th April 2010. Also Available at: http://www.theguardian.com/culture/2010/apr/12/shakespeare-twitter-such-tweet-sorrow

Kwak, H et al (2010) What is Twitter, a social network or a news media?. International Conference of World Wide Web, 591-600.

Mitchell, A. (2014) Promoting Your Performance- In the News, and Social Media. [online] Available at: http://performingarts.about.com/od/Administration/a/Promoting-Your-Performances.htm [Accessed 22/05/2014]

Peter. R (2010) Social Media Marketing Takes Center Stage. Southern Theatre; Fall. 51 (4) 9-19

Pewinternet.org (2013) Social-networking-fact-sheet [online] Available at: http://www.pewinternet.org/fact-sheets/social-networking-fact-sheet/ [Accessed 22/05/2014]

Direction via Directing

Beginning our process as an ensemble of nine members, it was inevitable that devising a production would entail a collaborative process, much like the works of Forced Entertainment and the likes. Yet being the Director of Hand Me Down Theatre, it is my role to co-ordinate our developing productions into the direction we ultimately want it go in, gathering research from ourselves as performers yet ‘taking the reigns’ myself to mould our research and development processes into performance. I feel I can concur with Tim Etchells’ approach to directing when developing a project, as he writes that in the Forced Entertainment process they have

this unspoken agreement that no one would bring anything too completed to the process- a few scraps of fragments of text, an idea or two for action, a costume, an idea about space, a sketched-out piece of music- everything unfinished, distinctly incomplete- so there’d be more spaces for other things to fill in… more dots to join. (Etchells 1999, p. 51)

And so it is the literal bringing of ‘fragments of text’ to rehearsals that is the formation of our initial process as a company. It is starting each performance piece with this approach that I feel results in the most effective and imaginative development. Stephen Unwin states that ‘You shouldn’t try to work as a theatre director if you lack in instinct to entertain others… You’re creating a show, and self-expression lies at its heart.’ (2004, p. 16) This is not me referring to myself as a hilarious individual so to speak, but it is having the confidence to bring out the creative and expressive elements of my performers that enables our projects to come together. One of the elements of expressiveness I recently incorporated into my workshops was getting my performers to experiment with one liners from classic texts in a ‘stand up’ like style to experiment with comic timing and the fine line between satire and comedy. I drew inspiration from the ‘Mock the Week’ programme that deals with various topics and is delivered to the audience, as seen below:

Relating back to our Mission Statement as a company, it is my role to ensure that our development is in sync with our overall aim to ‘create culturally accessible theatre that looks closely at the meaning of text and the spoken word’. (Hand Me Down Theatre 2014) Thus it is using ‘text and the spoken word’ as a catalyst for our projects in our company that is the foundation of how we re-interpret, perceive and therefore perform. Although our process of piecing together selections of texts is arguably not a completely ‘devised’ performance starting from scratch, as we create a kind of ‘cut and paste’ approach to theatre, we are fundamentally devising re-interpretations of performance. In our debut production of ‘Take Me by the Tongue’ this is at the very heart of what we are portraying as we have analysed notorious speeches, monologues, lyrics and literature, and presented them with the underlining theme of feminism. However not every performance created will have the same underscoring message throughout as, relating back to our manifesto of creating ‘theatre that is relatable for a variety of audiences’ (Hand Me Down Theatre 2014), it is essential that our projects remain diverse in political messages conveyed, yet accessible to all.

To narrow down the texts looked at in our company it is dependent upon the theme of the performance we are creating, and therefore incorporating all of the texts together is ultimately my responsibility as I take on the role of Dramaturg. Bert Cardullo writes that the role of the Dramaturg is

(1)  to select and prepare play-texts for performance; (2) to advise directors and actors; and (3) to educate the audience. (Cardullo 1995, pp. 3-4)

Analysing the most notorious of texts entices me most as a Director; the most practiced being the works of William Shakespeare. And so it is re-contextualising Shakespeare’s works and making them adaptable and therefore relatable for a modern day audience that I find most challenging as an artist. This is achievable however, through finding modern issues within his work that may not at first be recognisable at face value, yet once heightened is apparent. For example Lady MacBeth’s monologue of ‘Come, you spirits/ That tend on mortal thoughts, unsex me here…’ (Shakespeare 1962, pp. 29-30) is referring to her wanting the capability to commit murder, however the overall tone of her speech can be interpreted as addressing feminist issues, apparent still 400 years from its publication. As Dramaturg I have experimented with Shakespeare’s monologues, finding themes relatable between female monologues especially, and then workshopping these scenes during rehearsals.

Sonnet 18 and Phoebe's monologue from 'As You Like It', 3/4/14, photo by Stephanie Alcock

Sonnet 18 and Phoebe’s monologue from ‘As You Like It’, 3/4/14, photo by Stephanie Alcock

I refer to this work of Shakespeare’s as it is present in our debut performance as a company, yet is an element I look to apply to most of our future productions as his themes are so universally applicable. It is the bricolage of all kinds of texts that is at the heart of my practice as a Dramaturg in this company. Cathy Turner and Synne K. Behrndt wrote that

In devised performances it is not uncommon to see a structure where different episodes or blocks of material have been loosely linked or collaged together. It is the ‘links’ or the ‘bridges’ between events that are, in fact, key to understanding the ‘inner logic’ of the piece. (2008, p. 33)

This description of the complexity of Dramaturgy that Synne and Behrndt refer to sums up our company’s intention as a whole as we hope to reflect within our performances ‘inner logics’ that include social, political or modern issues relatable to all audiences.

Works Cited:

Cardullo, Bert (1995) What is Dramaturgy? New York: American University Studies.

Etchells, Tim (1999) Certain Fragments, New York: Routledge.

Soldier, James (2008) Mock the Week Stand Up, Online: http://www.youtube.com/watch?v=-ZRKr85kABk&feature=youtu.be (accessed: 20 April 2014)

Shakespeare, William (1951) MacBeth, ed. Kenneth Muir, Surrey: Methuen & Co. Ltd.

Turner, Cathy and Synne K. Behrndt (2008) Dramaturgy and Performance, London: Palgrave MacMillan

Unwin, Stephen (2004) So You Want to be a Theatre Director? London: Nick Hern Books Ltd.