Federation of Scottish Theatres Emporium 2011: Catherine Paskell, NTW

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Catherine Paskell, Creative Associate for National Theatre Wales

Catherine Paskell, Creative Associate for National Theatre Wales

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  • NTW – 3 key founding principles. Find ways to implement that. Twitter.
  • Digital Geography, topography, history, culture, Three fields – anywhere, anyone, anytime. Exist for and by people.
  • Community – NING. Exist before website. Nearly 3,000 members. Audiences and artists. Debate, promote work. Plan 1 st year programme. Where, what, when? Connect with us and theatre ecology of wales Runs itself. Community (behaviour) OWNERSHIP
  • Online launch – bonfire night 2009 Rather than big event, have everyone attend. PLUS LIVE experience. Party and cake in partner venues. The Beach artists in cyberspace.
  • 3 new emerging artists – Bethan Marlow, Rhiannon Cousins & Carl Morris (what they do) Interactive pervasive gaming with Hide & Seek – missing generation On a beach (chalenges) Community – Curtain Twitchers Stories from local environment – inspired – heart. Sold out. Largely new audiences. (most of our shows)
  • Adventure began on FB. Online, before casting. Writers ran FB page. Audience backstory and engage.Be part of it. No longer centre v periphery. Take people on journey.
  • Daily video diaries – posted on FB page through You Tube. Back story – extra investment. For those who couldn’t attend. Feed into LIVE experience. Based on our experience. (young people leaving)
  • Embedded into community – oneminutewith – backstage creatives, TEAM. Time / process – not give anything away and encourage more to get involved. Want more – SHARE PRACTICE – SIMULCAST OF WEATHER FACTORY (9 th show) – people wanted to go more after seeing the simulcast – not true that it “gives too much away” Writing on sand – message home –low tech Photo TJ takes at end – put on community, people could download and print off (nod to beach family fun)
  • Website – nationaltheatrewales.org So people can go on, see all our past present and future work. Archive. Links to videos / electronic programmes.
  • Examples of other shows – Good Night out in the Valleys. More traditional play – still had digital elements – about connecting with people Live workshops – what is a good night out in the valleys and what stories do you think should be told Also online through community – gather stories and connect across valleys.
  • Boyd’s Blog – how encourage artists and community to use it in their own voice. Helps give backstage life, bring it alive.
  • Outdoors – will run every Tuesday for a year – so you can still experience a National Theatre Wales show. 1 st UK commission of Rimini Protokol, experts in real life theatre. Live experience overlaps with a digital walk through Aberystwyth on ipods.
  • Love Steals Us From Loneliness – new writing commission – Gary Owen. OUR BRIDGEND – active, live website where locals (particularly young people) eengaged with the work and their town – provide a space for their own voice to counteract media representation of Bridgend suicides)
  • TEAM – flipcam videos. Capture feedback from audiences and put on community.Central to our work. Groups stay in contact online through community. Then set up real world meetings, influence future programming etc. No outreach department, central to all our work.
  • Assembly – work with local people to debate and creatively respond to a local issue parallel with production. Online element, collect stories.
  • Twitter – personal accounts and main ntwtweets account. Show process, how we work, how the organisation operates. It’s a conversation, long term investment in people. Followers start marketing for you, don’t think of it as a marketing tool! Build a community through chat. Artists can pitch and get in touch. Our followers have tripled from 300 to over 1,000 in last couple of months because of chatty tone and creative content. EG anything from local knowledge (where to eat) to creative projects.
  • Photo taken from 10 th show The Soul Exchange. Community exist online, digitally and that’s reflected in real world.Reinforce community and ownership of the work and the community (people tag themselves). Online facilitates and enables greater and more indepth, meaningful real world connections. We still travel about meeting people. MY OWN EXPERIENCE – not technical, interested in people, community and real, proper engagement. Anyone can do it. Knowing how a technology works isn’timportant bit. Need to know how to build it into your culture, making it work for you and above all the audience. What is theatre without an audience – online or in the real world?

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