Literature review - Tim Webb

In search for literature surrounding my inquiry topic I bought a couple of books - I am bit old-fashioned and like to be able to sit down with a cup of tea and turn the page rather than always looking at a screen!  One of those books is Theatre for young audiences a critical handbook edited by Tom Maguire and Karian Schuitema.  The book is made up of chapters each written by a different practitioner on their chosen field.  After reading the contents one immediately struck a note of interest with me so that is the one I will review here and see how it relates to my inquiry.

Chapter 9 Impossible audiences: The Oily Cart's theatre for infants, people with complex disabilities and other young audiences who are primarily non-verbal Tim Webb

Tim Webb captures the work of the company he formed to create theatre for what he describes as 'impossible audiences'.  These audiences consist of the really young 3-5 year old's and young audiences with a multitude of special needs.  In relation to my enquiry Tim Webb and the work of Oily Cart highlight that the success of such work lies in really understanding the audience which in turn means that the audience experience goes beyond sitting in a theatre as an observer.  Webb seems to capture a problem in it's simplest form and tackle it head on.  Society and myself alike have a tendency to over complicate things.  I know there is always a lot more to the process but I admire the process of break it down, listen to the specialists and tackle the problem.  For example Webb talks of how children under the age of 5 seemed an 'impossible audience' in it's simplest form because of their limited attention span.  Oily Cart resolves this by focusing on audience accessibility making themes, language and characters relate able.  Also by using a variety of 'theatrical languages' like visual aids and music.  The simplicity resounds as being extremely clever to me.  They based a whole play 'Bedtime story' on the process of going to bed.  So simple but it is a huge part of your well when you are 3 and this means the performance will stay with them longer than the time they are watching it, it will be remembered when they go to bed that night and hopefully for a few nights after too! This a different way at looking at how the content of a piece can enhance and enrich a child's experience - another tool to add to my research scope! Webb highlights that they are 'making theatre not therapy' which I can imagine can become slightly blurred when working with children with a multitude of learning disabilities.  The companies dedication to really understanding and engaging their audience is truly humbling to me and is something I would love to know more about.  When starting their work with children with special needs Webb highlights the importance of listening to the specialists. 'Firstly staff were clear that if we were really to connect with the young people in the school we should rethink our ideas about the duration and location of the performance.' 'Considerably more time was needed to give the young people the chance to get to know us and us, them.' This may seem common knowledge but drawing from my own experiences it does not always happen.  It is so inspiring to see a company really working to understand in order to get it right! Webb talks of the productions they created after gaining this understanding and the constant development of getting a grasp on a variety of conditions and in turn how they could create theatre for these audiences. 'Box of Socks' for those with severe learning needs took place over a whole school day - with aliens crashing in assembly trying to understand life on earth walking around the school to fully engage the students.  'It was especially empowering for the group from the senior department who took an alien shopping for party ingredients and spent their time persuading the creature not to demand cake in the butchers and meat in the travel agents.' To me this project sounds great and it developed to create different modules suited to the different needs of the children   'Big splash' took place in hydrotherapy pools focusing on participants using a wider range of movement that they were used to.  This led to 'Boing' which took place on a trampoline.  Webb talks of many inspiring productions they have produced but in summary concludes that it comes down to really understanding your audience and like what I wish to explore the experience is enhanced and enriched by going beyond the statutory means of just being an observer.  'In conventional theatre, the audience's role is to sit and watch, but in an Oily Cart show it is the performers who must watch the audience with the greatest intention.'

I get really excited about work like this and it really inspires me! It stems from my work in special needs schools some of the most rewarding work I have ever done.  I have worked with an extensive multitude of different needs and have always thought that with my skills in theatre I have a lot more to give but I have never known how.  Seeing an unresponsive child light up when music is played or the television is on is amazing but to keep them engaged in theatre is another question all together.  For a child who does not understand the concept of imagination or pretend.  A child who does not use verbal language or who can not sit still for more than 10 minutes it does seem an 'impossible audience'.  Oily cart seems to have an answer - participatory theatre techniques and really understanding the audience.  This relates to my line of inquiry and my passion for this field highlighted by reading Tim Webb's writings is making me see this as a possible side line.

How are London theatre companies using different tools to enhance and enrich a child with special needs experience of live theatre?

This will satisfy my earlier thoughts of going down an inquiry line relating to disability and access to theatre.  This response to my first literature review has made me want to get reading more! The chapter in this book mentions:

Oily Cart: all sorts of theatre for all sorts of kids edited by Mark Brown

This will be a great resource for my side line inquiry!

Hollie xx