Centre Stage +20 a Report on Youth Theatre in Ireland Youth Theatre Ireland Is the National Development in Support of Our Goals We: Organisation for Youth Theatre
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Centre Stage +20 A Report on Youth Theatre in Ireland Youth Theatre Ireland is the national development In support of our goals we: organisation for youth theatre. We represent a • produce national-level artistic programmes network of youth theatres that deliver year-round including festivals and the National Youth Theatre; programmes of drama workshops and performance opportunities to young people, aged 12+ from • provide training for youth theatre leaders and cities, towns and villages across Ireland. practitioners; Established for 40 years, Youth Theatre Ireland • develop new youth theatres in partnership with is unique in its commitment to youth-centred local groups and agencies; drama practice and promotes: • provide advice, guidance and support to existing • drama as a medium for learning and as a youth theatres; means of expression for young people; • advocate for youth theatres and champion the • the advancement of the artistic, personal and benefits of youth drama for all young people; social development of young people through drama and performance related skills; • operate a garda vetting consortium for youth Centre Stage +20 theatres; • youth theatre as a medium to extend and enhance young people’s understanding of • provide a range of practical and artistic resources A Report on theatre as an artform; for youth theatres; Youth Theatre in Ireland • the emergence and development of youth • push youth theatre practice forward through theatres in Ireland. research and debate. Centre Stage +20 is the third extensive research project undertaken by Youth Theatre Ireland that Written by Rhona Dunnett, examines all aspects of youth theatre from the Research and Development Officer, Youth Theatre Ireland artistic programme, funding and structures to the young people involved and the leaders who work with them. Ask Too Much of Me by Dylan Coburn Gray, National Youth Theatre 2019. Photo: Ros Kavanagh. 2 Centre Stage + 20 Centre Stage + 20 3 Table of Contents Foreword 5 Chapter 1: Chapter 4: Chapter 6: Executive Summary 7 Introduction 20 Youth Theatre Practice 114 Youth Theatre Leaders 202 Recommendations 17 1.1 Aim and Scope of Study 21 4.1 Youth Theatre Practice 116 6.1 Youth Theatre Leaders – Profile 204 1.2 Process and Methodology 22 4.1.1 How Does the Sector Describe 6.1.1 Age and Gender 204 1.3 Centre Stage +20 Participants 24 Youth Theatre Practice? 116 6.1.2 Ethnic/Cultural Background 207 1.4 Presentation of Data 27 4.1.2 Features and Values of 6.1.3 Why are Leaders Involved in Youth Theatre Practice 118 Youth Theatre? 208 Chapter 2: 4.2 Programming 123 6.1.4 Employment History and Youth Theatre Models and Structures 28 4.2.1 The Youth Theatre Year 123 Skills Acquisition 209 4.2.2 Levels of Activity 126 6.1.5 Skill Levels and Training 213 2.1 Youth Theatre Provision and Location 30 4.2.3 Planning and Programming 129 6.2 Youth Theatre Leaders – Participation 216 2.1.1 Current Youth Theatre Provision 30 4.3 Youth Theatre Activities 132 6.2.1 Leadership Experience 216 2.1.2 Areas with Low Youth Theatre Provision 33 4.3.1 Types of Youth Theatre Activity 132 6.2.2 Previous Membership 2.1.3 Location of Youth Theatres 34 4.3.2 Workshop Programmes 136 of a Youth Theatre 218 2.2 Youth Theatre Models 38 4.3.3 Productions and Projects 140 6.2.3 Work Patterns 220 2.2.1 Overview of Youth Theatre Models 38 4.3.4 Attending Youth Theatre and 6.2.4 Youth Theatre Roles 222 2.2.2 Autonomous Youth Theatres 39 Professional Theatre Productions 144 6.2.5 Voluntary Involvement and Commitment 226 2.2.3 Youth Theatres Run by 4.3.5 Festivals, Exchanges and 6.2.6 Terms of Paid Employment 228 Parent Organisations 42 International Work 147 6.2.7 Travel to Youth Theatre Activities 231 2.2.4 Partnership Models 48 4.4 Other Elements of Practice 152 6.3 Young Leaders 234 2.3 Youth Theatre Structures 50 4.4.1 Recruitment of Members 152 2.3.1 Membership Size 50 4.4.2 Evaluation and Documentation 154 Chapter 7: 2.3.2 Multiple Groups and Age Range 52 4.4.3 Communications 157 Outcomes of Participation in Youth Theatre 240 2.3.3 Multiple Centres 54 2.3.4 Company and Governance Structures 57 Chapter 5: 7.1 Outcomes of Participation 241 2.3.5 Young People’s Participation in Youth Theatre Members 162 7.2 Artistic and Creative Outcomes 246 Decision-Making 58 7.3 Social and Personal Outcomes 251 2.4 Policy and Regulatory Compliance 62 5.1 Youth Theatre Members – Profile 164 2.4.1 National Policy and Regulatory Context 62 5.1.1 Age Profile 164 Acknowledgements 258 2.4.2 Youth Theatre Policy and 5.1.2 Gender and LGBTI+ Profile 166 Regulatory Compliance 65 5.1.3 Nationality and Ethnic Background 169 Appendix 1 Bibliography 259 2.5 Local, National and 5.1.4 Disability and Long-term Illness 172 Appendix 2 Centre Stage +20 Questionnaire International Relationships 69 5.1.5 Socio-Economic Background 174 & Workshop Templates 262 2.5.1 Local Relationships and Supports 69 5.1.6 Geographic Distribution 177 Census Week Activity Log 263 2.5.2 National Relationships and Supports 72 5.1.7 Educational Background 178 Census Week Questionnaire 264 2.5.3 International Relationships and Supports 74 5.1.8 Work Background 180 2.6 Sustainability 76 5.2 Youth Theatre Members – Background 182 Member Questionnaire 270 2.6.1 Age of Participating Youth Theatres 5.2.1 Leisure and Creative Interests 182 Leader Questionnaire 272 and the Youth Theatre Sector 76 5.2.2 Future Involvement in the Arts 184 Youth Theatre Questionnaire 276 2.6.2 Sustainability 81 5.2.3 Family Background in the Arts 186 5.3 Youth Theatre Members – Participation 190 Members Workshop Plan 285 Chapter 3: 5.3.1 Length of Membership 190 Youth Theatre Funding and Resources 84 5.3.2 Reasons for Joining Youth Theatre 191 5.3.3 Reasons for Staying in Youth Theatre 193 3.1 Income 85 5.3.4 Barriers to Participation 195 3.1.1 Funding Priorities and Challenges 85 5.3.5 Travel to Youth Theatre Activities 198 3.1.2 Income Levels 88 3.1.3 Grants 91 3.1.4 Membership Fees 95 3.1.5 Other Income Sources 98 3.2 Expenditure 102 3.3 Venues 105 3.4 Human Resources 109 4 Centre Stage + 20 Centre Stage + 20 5 Foreword The publication of Centre Stage +20 is an important On the eve of Youth Theatre Ireland’s 40th anniversary moment for youth theatre in Ireland. Building on in 2020, it is encouraging to see the breadth of the first two Centre Stage reports in 1998 and 2009 youth theatre activity as described in Chapter 4 of respectively, we now have a detailed picture of the this report, and to reflect on how well established growth and development of youth theatre practice and rich youth theatre practice has become. Centre and structures across three decades in Ireland. Stage +20 provides a clear mandate for Youth Theatre Ireland. In the next decade we will continue to Across those three decades the lives of young support the development of youth theatre practice people have changed in many ways. It can be and the youth theatres that deliver it. We must also argued that young people in 2019 live in a freer advocate for resources to be prioritised at a national and more open society, but this is balanced with a level that acknowledge the existing and potential growth in anxiety and related challenges as social contribution that youth theatres can make to the interaction is increasingly conducted in the virtual lives of young people, their communities and to space. Against this backdrop, the Centre Stage +20 theatre in Ireland. research reveals that youth theatre members value the real interaction and active engagement in I would like to acknowledge the contribution of theatre-making and collaboration with their peers Rhona Dunnett. Not only for her hard work and that they get from youth theatre. commitment in conducting the Centre Stage +20 research and compiling this report, but also for her The kinds of wonderful, transformative experiences passionate dedication to the ongoing task of that young people describe in the research are supporting youth theatres in her role as Research only possible while skilled youth theatre leaders and Development Officer at Youth Theatre Ireland. are supported and valued. Critically, the research reveals significant challenges for youth theatre leaders Finally, I would like to thank the people that make who are experiencing the combined impacts of up the youth theatre sector: the members and lead- being underpaid and overworked in the context of a ers who come together to make theatre, to make marked increase in compliance and regulation over friends and to make a little magic along the way. the past decade. Michelle Carew Indeed, while there has been a welcome increase in Director understanding at government level of the wellbeing and educational benefits of the arts for young people, the primary need identified by youth theatres in 2009 remains: youth theatres still need sustained funding to support their core activities, and to pay regular facilitators. 6 Centre Stage + 20 Centre Stage + 20 7 Executive Summary Chapter 1 Introduction Aim and Scope of the Study Centre Stage +20 was undertaken by Youth Theatre Ireland to generate a detailed picture of current youth theatre activity in Ireland and to determine the key priorities for the future development of youth theatre.