THEATRE PAGES WHAT THEY DID NEXT One of the Questions We Often Hear from Students Is: ‘What Am I Going to Do ISSUE 16

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The Magazine for Drama, Dance & Theatre at York St John University

ISSUE 16. 2018. ALUMNI ISSUE: WHAT THEY DID NEXT. THEATRE PAGES WHAT THEY DID NEXT One of the questions we often hear from students is: ‘what am I going to do ISSUE 16. 2018. when I leave university?’ While we want students to invest themselves fully Contents into their university experience, and not constantly worry about what happens next, we are also aware that this concern for future careers is important and inevitable. During their course our students receive rich and diverse opportunities to Alexander Kaniewski BA 2017 expand their thinking, all informing their journey to discovering what they might Verity Brown BA 2016 want to do once they leave university. This includes work placements with the creative partnerships that the university has with regional and national arts Lauren Nadia Hall BA 2016 MA 2017 organisations, study abroad programmes, internships, and career development support. All this, we tell our students, will not only prepare them for careers Jamie Heelbeck BA 2016 after university, but sometimes even provide them with the first step, the first opportunity, that first vital contact. James Knight BA 2016 And it works. In the latest national survey of graduate destinations, 96.9% of students from York St John University are in employment or further study six Jessica Robson BA 2016 MA 2018 months after graduating. This outstanding result places the university 23rd out of 153 in the country for graduate outcomes, alongside being placed in the top Chance Marshall BA 2015 50 universities for student satisfaction with 85% for overall student satisfaction. Such statistics, however, do not reveal exactly what it is that our students Simon Bedwell BA 2014 MA 2016 do when they graduate. They do not reveal the myriad of stories that we hear from our graduates about what they have done and how they have grown and Lizzy Whynes BA 2014 developed as practitioners, educators, entrepreneurs, artists and performers. Nor do they reveal precisely how their university experiences prepared them for Lisa Thornton BA 2013 MA 2018 such adventures. This alumni edition of Theatre Pages hopes to do precisely that, giving Natalie Quatermass MA 2013 twelve of our graduates from the last ten years an opportunity to return and tell us what they did next. More than statistics, it is these graduate voices that speak Matt Harper-Hardcastle BA 2010 MA 2018 clearly of the experience of studying drama at York St John University and of how pivotal moments of learning provided transformational opportunities and informed their journey to employment or further study.

2 3 Cover and inside photos: Level 1 Ensemble 2018. Photography Jen Todman Cover and inside photos: Level 1 Ensemble 2018. Photography Jen ALEXANDER KANIEWSKI DIRECTOR AND THEATRE DESIGNER

York St John gave me a sense of Robert Wilson. The style, look and the vast breadth and diversity of concepts of Wilson would spark an work, life and art that can be labelled obsession with the performance and ‘theatre’. Most memorable for me was would lead to this amazingly rewarding discovering and learning about the experience that was the accumulation New York art scene of the 1960s and of the development of my practice 70s, a place and time that would come during my degree. to influence and develop my practice The success of A Very Pleasant the most. It became evident all the Pineapple would lead to me receiving artists that I admired – such as Merce the graduate prize from the York Cunningham, Lucinda Childs, Steve Theatre Royal and a year-long Reich, Laurie Anderson – were a part theatre artist in residence at York of this scene, influencing each other St John University. The prize and to collaboratively push the boundaries residency was part of the celebration of their art. It was all new to me, it of 50 years of theatre at York St John. filled me with a sense of ambition These opportunities have led to me and excitement, and made me want recently directing and designing my to be a part of the kind of work and first commissioned piece MEDEA concepts they were exploring. York St MARIA, a contemporary opera of John encouraged me and gave me the Euripides’s Medea retold through the environment and the freedom to do so. eyes of Maria Callas, performed at This freedom to chart your own York Theatre Royal as part of York’s path allowed me to create durational Literature Festival. Later this year I performance art works, outdoor will also be directing York St John’s environmental explorations and even contribution to the York Mystery plays, design and direct my own contemporary before hopefully traveling to New York opera. A Very Pleasant Pineapple, an to partake in Robert Wilson’s summer opera exploring the life and works of residency at the Watermill Centre. philosopher Ludwig Wittgenstein, was YSJ has made me hungry for new and my third year independent project, explorative work and has enriched my a collaboration with fellow student, practice as a theatre maker. composer Lauren Leigh. I was able lled ‘Theatre’. Most memorable for to work with a group of 30 people me was discovering the New York across the university departments of art scene of the 1960s and 70s, a theatre, music, dance and media. It place and time that would come to was greatly inspired by Einstein on the influence and develop my practice Beach the 1976 collaboration between the most. It became evident all the composer Phillip Glass and director artists that I admired – such as Merce

4 5 VERITY BROWN CHILDREN AND YOUNG PERSONS PRACTITIONER

I can honestly say that if I hadn’t risk and may have complex needs completed my degree in theatre at but my experiences at York St John York St John, I wouldn’t be in the job I had already enabled me to work with am in now. similar groups of people, so I felt After completing my degree, I took confident starting my job. a children and young person’s post at During my third year, the a local charity that supports victims of independent focus of the modules domestic abuse and sexual violence. I was something that prepared me for can remember when I applied for the working confidently in a professional job knowing that my learning at YSJ role. Part of my current job is to create had prepared me for every part of the and deliver outreach project in schools criteria that was needed. I had chosen and young settings. The work that I to pick applied theatre modules ont he was taught at YSJ and that I created degree precisely for that reason and during my degree is work that I have also because I knew this was where gone on to use in my career today. my interest and strengths were. The resources and creative know- During my second year I how that I gained throughout my completed the ‘schools’ and theatre time at York St John are things that I in social context modules which cherish and will be eternally grateful provided me with facilitation skills that for. An important aspect was that I I have taken forward into my current always felt supported by my tutors and role. The most impactful aspects of that they believed in my ability, pushed these modules for me was that the me and challenged me in my work. I drama practice was structured through will always say that studying at York classroom-based learning. Being able St John was the best decision I ever to put safe-guarding and creative made. I feel like my career path is full skills into practice is something that of potential opportunities because of has given me the confidence to know the professional and life skills I gained I can do my job safely and that I can and all of this is down to my own hard work creatively and provide the best work and the theatre staff for their resources for young people. Through passion, trust and care. these modules, and the direct contact with young peoples’ groups they provided, I learnt how to professionally facilitate a group and work with real world subject matters. In my job I work with young people who are vulnerable and at

6 7 LAUREN NADIA HALL THEATRE ENTREPRENEUR

During my 6th form college years I Theatre and Performance. The one studied music technology, theatre, year full time course allowed me to dance and English. As I began to think meet even more professional external about university I knew that I wanted artists as well as being commissioned to focus on my creativity and artistic by external organisations such as York potential, but definitely knew that I Art Gallery. The course also gave me didn’t want to be an ‘actress’. I was a deeper theoretical knowledge and pushed by careers advisors at college the opportunity to write more critically to look at drama schools, but through about theatre, performance and the audition process I quickly realised philosophy. they were not the place for me. Since then I have worked However through clearing I discovered with many theatre companies as the theatre degree at York St John. a freelance practitioner, but most The next day I visited the department recently I have set up my own business and was shown around by members with the York St John Grad2Director of staff who explained the ethos of the scheme. My company Impact Media course, and instantly I knew it was Productions uses theatre expertise where I wanted to be. In September to create unique visual content on 2013 I enrolled and started. PSHE (Personal, Social, Health and In the three years of my studies Education) which I deliver to schools I gained invaluable knowledge across the country. In July 2018 I won from my lecturers and guest artists the Duke of York Young Entrepreneur running workshops as well as bringing Award after founding my company just performances to the studios. I focused seven months before. my degree on autobiographical Not only is YSJ supportive, with performance and feminism, which an amazing community spirit across was supported by all members of staff the campus but they are known for and I was placed with tutors who were their academic excellence. Your specialists in these areas of practice. tutors spend time getting to know In my second year I chose to study you, enabling your professional Theatre of the Self, Artist as Witness development, and therefore supporting and Theatre in a Social Context, giving students in becoming more confident me the skills and knowledge needed both in yourself and in your practice. to not only achieve a first in my degree These multiple reasons have lead but also to become successful after me to decide to return to YSJ this university. October to start a PhD in collaboration In 2016 I decided to continue my with Mind the Gap Theatre Company, academic journey at York St John under the supervision of Professor by enrolling on a Masters degree in Matthew Reason.

8 9 JAMES KNIGHT ACTOR, PERFORMER, CLOWN

To be asked to write for Theatre but not precious; and invest in Pages, two years after I graduated, opportunities to make things happen. is an opportunity for me to reflect on All are important but in attempting to my theatre training at YSJU and think have a career as a theatre practitioner about where and how I encountered this last one is crucial. I said to myself the discoveries that catapulted me to early on that I am not just searching where I am now – which is as a theatre for work but keeping a lookout for practitioner running my own company potential relationships, looking to based in York, called Clown Space, connect with people with similar creating performances and teaching interests and goals on a human level. clowning and mask. Changing the way I have engaged with For me it began near the end of my people has meant no longer thinking degree, in my final year in 2016, whilst simply of opportunities to gain another studying on the Independent Practice role, but opportunities to connect with module. During this module my tutor, another person that may well continue Dr Claire Hind, had persistently tasked long after any particular project has me to find form in my work, to rummage completed. for a conceptual framework that would As I was leaving university David hold together the world I was trying to Richmond, another tutor, said always create. It was here that I discovered think six months ahead. What he clowning, although at first I resisted it, meant was as a theatre maker you seeing it as about gags and routines should always have the next project in and not much more. the pipeline whilst your working on the With guidance I found that current one. Be proactive, plan ahead, contemporary clowning is more than so that when the current project is that. Every week through trial and done you’ve already set the wheels error I would come with a new routine, in motion to begin the next, creating a and every week I worked hard on seamless transition. finding a framework that tied it all By seeing it this way work has together. Slowly I started to combine flowed, work that can grow and clowning with writing and as well as become something more in time. being a physical pleasure, the theatre So…get involved, be available and performance started to have context say YES! and purpose and a series of ‘NED’ talks was born. In my two years since graduating, I strived to do three things: be the nicest person in the room; be passionate

10 11 JESSICA ROBSON PRISON DRAMA PRACTITIONER

‘Everything became clear’ was show Through the Gap which is still

Photography Jen Todman the title of the first ever catalogue performed today to students and at document I submitted in my first year criminal justice conferences. The play of my undergraduate Theatre BA. pays homage to the stories shared in When I first embarked on the degree HMP Askham Grange by the women, I felt confused and wondered why commenting on the criminal justice everything was stripped back to the system. bare bones of ‘What is performing?’, Today I continue to work as a ‘When do we start performing?’ and Graduate Intern and drama facilitator ‘Do we ever stop performing?’. I was with the York St John Prison baffled, but my tutors assured us to Partnership Project working with a ‘trust the process’ and that’s exactly group of women on a weekly basis what I did. Everything slowly started exploring and creating performance to become clear and I learnt that even around identity and womanhood in if things don’t go perfectly - you often HMP New Hall. This process allowed make new discoveries from trusting me to build up a repertoire and make the process and allowing mistakes connections with other artists who to happen. It wasn’t until my second work in the criminal justice system and year in the Theatre in Social Context has opened up amazing opportunities module, where the penny dropped and to work with prestigious theatre I truly knew what I wanted to do; work companies such as the Donmar with different communities. My first Warehouse. Recognised by the work placement was with Converge, university myself and my co-facilitator a YSJ project run in collaboration and fellow YSJ alumni Casey Fox with the NHS that provides arts- will be employed on the York St John based education opportunities to Prison Partnership as of September people who access mental health as the project grows. The ability to services. Through this I gained some use theatre and empower groups is unbelievable experiences and skills something I am still passionate about in facilitation and thoroughly enjoyed and I have the theatre department’s volunteering there. work placement opportunities and the In third year, I decided I really York St John Prison Partnership to wanted to do a project in HMP Askham thank for this. Grange with Senior Lecturer Rachel Conlon and the York St John Prison Partnership Project and was very passionate about doing so. It allowed me and my company to create the

12 13 CHANCE MARSHALL DRAMATHERAPIST

My time at York St John was The course at York St John helped transformative, challenging and me to find my voice as an Artist, to stimulating. The Drama and Theatre find my passions and it gave me the course braided both embodied and confidence to apply for my Masters academic practices in order to help me training. develop my own creative performance Since graduating in 2015, I have practice and strengthen me as a completed my training on the Drama thinker and as a theatre maker. and Movement Therapy MA at The The outward facing nature of the Royal Central School of Speech and course and modules such as Artist Drama, University of London. I have as Witness, Auto/Biography Into worked with clients in settings ranging Performance, Practice as Research from the NHS; Adult Mental Health; and Intertext aided me in becoming Addiction Recovery; Refugee and more culturally attuned; to have an Migrant Day Centres; Mainstream awareness of, and an aliveness to, the Schools and schools specialising in world around me; and in understanding the provision of education for children the role theatre has to play in affecting with Autistic Spectrum Disorder and positive change, growth and insights social, emotional and behavioural – on an individual level and a societal difficulties. level. Each module provided rich I am currently based in London and fertile ground for me to test-out, working as a freelance Dramatherapist explore and to take risks. I was offered within Adult Mental Health services, opportunities to tour my performances an Addiction Recovery Centre, and at outside of the university at Drifting a Refugee and Migrant Centre. East Festival (East Riding Theatre, Beverley) and received publishing credits as a result of student-tutor collaboration (see Claire Hind and Clare Qualmann’s Ways to Wander, 2015). I still hold the words, guidance and advice I received from the course team and incredible visiting artists such as Adrian Howells and Karen Christopher (Goat Island) very closely.

14 15 SIMON BEDWELL LIGHTING DESIGNER

I graduated from York St John with a begun to directly inform my practice BA in Theatre in July 2014 followed by within taught modules, such as an MA in Theatre and Performance in using show control software, digital September 2016. Since graduating, networking, projection mapping I’ve lit theatre, dance, opera, music and alongside my continued appreciation festivals performances with designs and understanding of light. These sent out to international and national technologies became a staple of my touring companies. Most recently, I’ve work with peers and tutors cross- lit shows for York Theatre Royal and examining the role of technology The Arcola, in London. within performance. There is a healthy The intrinsic learning pedagogy, habitat for discussing work on the unique to York St John allowed my degree, that teases out questions and creative practice to integrate and provokes interesting collaborations interrogate many different art forms and ultimately, outcomes. and genres. I’m grateful to the degree Whilst completing my MA, I for allowing me to experience the became Production Manager for the core values of theatre, namely: hard newly formed East Riding Theatre work, long nights and to be learning in Beverley, East Yorkshire. When I by ‘doing’. I learnt how to focus a first walked into the building we had fresnel by exploring and watching no seats, stage or lighting rig, yet how I could manipulate light, by within four weeks, we had opened a closing shutters and detracting lamps professional run of A Christmas Carol. away from lenses. The freedom to 2018 will be our fifth year, and we’ve experiment has been crucial to my produced 15 large scale in-house learning practice when approaching productions, taken shows to London, new venues, technology and artists. hosted festivals and worked with YSJ’s theatre department is hundreds of artists, touring companies fast-paced and exciting, with many and young people to bring productions performances, festival and exhibitions and creativity to East Yorkshire. occupying the academic year. I soon All of my knowledge, of how to became involved, working alongside facilitate productions and bring ideas international artists and designers and artistic creations to realisation has to facilitate technical designs within stemmed from my time at YSJ. Being the university’s spaces. Through this, surrounded by such a supportive and I developed an interest for visual challenging environment has only just production and I began working started my learning process. for various venues and companies It is a place I am very fond of and through the city and country. always enjoy returning to, whether My external work expanded and touring work or as a visiting lecturer.

16 17 LIZZY WHYNES THEATRE EDUCATION OFFICER

I graduated in Theatre from YSJ Museum, York, and for the studio and

Photography Jen Todman in 2014, since then I’ve had a main stage at York Theatre Royal phenomenal few years working in a while being mentored by their Artistic variety of different jobs from directing, Director Damian Cruden. These were performing, choreographing, stage work placements on offer in the city. management, arts management and York is a brilliant city for many different education. I am currently the Theatre mediums of art and there is something Education Officer at Harrogate for everyone. Theatre. I would like to take this time My three years at YSJ were to thank the theatre lecturers, and challenging but extremely beneficial. It specifically David Richmond, as pushed me to my creative limits and I without his teaching, guidance and learnt a great deal about myself as an inspiration I would not have managed artist and the world we live in. I focused to complete my degree, especially not my degree on performance-based with a first class degree! modules. The ones that truly inspired My advice: I have learnt that things my practice where Performance of the take time, but success will happen. Self, Artist as Witness, Scenography You may need to do a part time job and Independent Practice as alongside your creative practice for Research. These modules really a few years straight after university spoke to me as they allowed my art and you might find yourself working to be vulnerable and also speak to with people who you are sometimes others. I continue to use the skills I challenged by but use that time to learnt in these modules all the time continuously develop your art and in my job. At the end of my degree I theatre making as every job will realized I love to tell stories and I love teach you something new and life is working with people and that is what I a good inspiration for art. You have a now do everyday. lifetime to tell stories and your stories Along side my degree I worked are your art; no one else can make with York Theatre Royal’s Creative your art like you can. Trust in it and Engagement department, starting most importantly trust and believe in as a volunteer at 18 and by the time yourself. I was 23 I was teaching a group of young people in youth theatre. In the year after my graduation, I was Artistic Director of the Culture Award Winning TakeOver Festival in 2015/16 making work at the National Railway

18 19 LISA THORNTON THEATRE IN EDUCATION FACILITATOR

During the third year of my theatre professional practice. Since then I classes in secondary schools across my MA, I am delivering exploratory degree I remember a lecturer saying have worked as a freelance Actor/ the country. Being employed on drama workshops in York College. I ‘when you go out in the real world Facilitator, Lead Facilitator and It’s Not OK has enabled me to gain use creativity to encourage dialogue remember to always call yourself Research Assistant on several YSJ valuable experience in TiE and is a around healthy and unhealthy an artist, if you do not believe that, partnership projects. In 2015 I was huge learning opportunity in my early behaviours in intimate partner no one else will.’ Holding onto this part of the team who collectively career. relationships. piece of advice since graduating in devised the Theatre in Education play This work sparked my interest YSJ has played a significant role 2013, bravely calling myself an artist It’s Not OK and accompanying drama in the topic of healthy/unhealthy in my education and early career. outside of the university bubble has workshop. Directed by Lecturers in relationships. Ready to contextualise Equipped with skills, support and enabled me to begin carving out a Theatre Rachel Conlon and Jules my practice, 2016 saw me enrol amazing opportunities YSJ gave me creative career. I have worked in arts Dorey Richmond, fellow YSJ Alumni onto the YSJU MA Applied Theatre confidence, to believe in myself as venues including the Baltic Centre for Sarah Rumfitt, Jamie Heelbeck and programme. Now I am working in an artist and facilitator, who is now Contemporary Art and Durham’s Gala James Aconley were also involved. It’s cooperation with YSJ’s All About carving out a space in the professional Theatre, alongside building a portfolio Not OK raises awareness and tackles Respect campaign, a partnership world. of freelance work as a Theatre Maker the issues of child sexual abuse and between YSJU, York College, IDAS and Facilitator. child sexual exploitation. As Lead and Survive. Taking a stand against After graduating I was fortunate Facilitator on the project I can proudly sexual violence, sexual harassment to be awarded a Graduate Internship say the national tours have reached and sexual abuse in the higher with York St John University’s Prison over 25,000 young people. Currently education sector, the project aims Partnership Project. This opportunity commissioned by the NSPCC, the to raise awareness and enhance was a fantastic stepping stone into project is being delivered to Year 7 /8 prevention methods. Integrated into

20 21 NATALIE QUATERMASS THEATRE DIRECTOR

In 2012 I arrived in York to take up friends who are willing to proof read an exciting dual opportunity: Creative anything at the drop of a hat. Engagement Intern at York Theatre After this role I spent time working Royal (YTR), a position that involved at The Freedom Theatre in Palestine. creating practical arts-based projects There I was responsible for training that extended the reach and scope staff members in youth facilitation, of the theatre; and a student on the as we worked towards successfully MA Applied Theatre programme at establishing the first ever youth York St John, where I would put my theatre in Jenin Refugee Camp on theatre practice into a critical research the West Bank. The Freedom Theatre context. epitomises theatre as a socio-political Up until this point I did not consider tool by providing a creative space for myself an academic; honestly I Palestinians to explore their individual thought doing a Masters was for and collective identities. people far cleverer than I. Dispelling Returning to the UK, in 2016 I this nonsense was the first lesson I became freelance with the intention learnt at YSJ. As soon as the research of developing my directorial voice was intertwined with my day job I could with professional artists. My time delight in articulating my creativity in at YSJ was essential at this stage different frameworks, putting it into a of my career as it had instilled the cultural context and becoming more importance of collaboration and critically reflective. Unquestionably this creative networks. I have worked with improved my practice and gave me a several YJS Alumni as well as directing myriad of essential skills, particularly Moira Buffinis’ Welcome to Thebes useful when applying for funding. the at the University of Cumbria, The For anyone reading this who Winter’s Tale with York Shakespeare maybe considering a MA but is worried Company and established my own about also working full time: it is theatre company: Vandal Factory. possible! Whilst I was still completing YSJ was integral in helping me my final module I became the Youth realise my artistic principles and Theatre Director (maternity cover) at helping me understand the importance YTR. I worked with the 300+ youth of working within institutions that theatre members, a large team of share those principles. I’m therefore practitioners and created a season of delighted to have recently become the ambitious and relevant theatre that put Youth Theatre Director at Freedom young people’s voices centre stage. Studios, Bradford, an organisation Top tip: make sure you have a decent that aims to create innovative arts sized desk, a lifetime supply of tea and activities for diverse communities.

22 23 JAMIE HEELBECK DRAMA TEACHER

The phrase I most often use to with Converge, a YSJ project providing

Photography Jen Todman describe what the BA theatre course arts education opportunities to mental at York St John University provided is: health service users. And, in another ‘endless opportunities’. example of the endless opportunities So much so, that by the time I’d I mentioned, volunteered with two finished my second year studies, I theatres in York where I worked with was employed and working alongside with artistic directors and children with theatre lecturers Rachel Conlon and special educational needs. This made Jules Dorey Richmond in touring the me realise that we need to actively Theatre in Education project It’s not strive to ensure that theatre is truly OK, a play and workshop created accessible for everyone. through a commission from the Working in such environments NSPCC. also helped me make connections My role was as an actor/facilitator, and amazing friends along the way. performing the play in secondary Not only did I tour around schools but schools and working with the I was offered a placement in a York young people in post-performance school with the best support from the workshops to investigate the topics it teaching staff there you could imagine! raised for them. The project explored Four years on and I’m in the job of issues of concern around the subject my dreams, working in a school for of sexual exploitation and social young people with special educational media, identified by the NSPCC as needs. I will teach drama up to GCSE, crucial and urgent themes that could a key stage 3 class and run the school be effectively explored with young allotment. people through the arts. The resilience and endless When I finished sixth form opportunities studying at York St John college I had never imagined that gave me has enabled me to reach out even before I finished my degree into the world and make build a vibrant I would be employed as an actor, and rewarding career. touring nationally to Yorkshire, Wales, Sheffield and Nottingham. Following the tour I was employed as an actor to help in the adaptation of the play into an online digital resource for the NSPCC website, a process that afforded me a rich ecology of experience and collaborations with other artists. During my degree I also worked

24 25 MATT HARPER-HARDCASTLE COMMUNITY THEATRE PRACTITIONER

Looking back to my graduation in theatre productions and participating 2010, I remember a few of my peers in Playback Theatre workshops, have were disappointed that their BA also influenced scripts I’ve written theatre course hadn’t turned them into and performances I’ve produced for one particular thing. ‘I thought I was theatres, festivals, tours and schools. going to be an actor’ a few of them This has not only given me great said. In contrast both at the time, and satisfaction personally, but also – also especially now looking back on especially in the early years of my my career, I am extremely grateful for career – made me confident in being the range of modules, contexts, styles able to take up different opportunities and techniques that I was engaged in theatre and explore avenues I might in whilst studying, allowing me and not have. Creating and sustaining my career to be unrestricted by never a professional practice within this sticking to just one thing. industry is hard work and can be I’ve never wanted to pigeonhole tough, but the more you can harness my practice, as I love so many aspects all of your skills and understand how of theatre and didn’t really want to let to apply them, the more resilient and anything go. To this end in my second successful you can become. year I discovered applied theatre I am now a youth theatre practice, which enabled me to use all practitioner for York Theatre Royal, the theatre skills I knew in making work artist for Connecting Youth Culture for, by and with different community (North Yorkshire), artistic director groups. for Once Seen Theatre Company It was the encouragement not to (a company of adults with learning look at the learning from modules in disabilities), theatre tutor for Converge isolation, but to understand how they (a YSJ arts-education project working can bolster one another, that has with mental health service users) and created a framework for my current actor for Playback Theatre York, as practice. Analysing Pinter in text well as a freelance director, writer and studies has transferred into workshops facilitator. If that sounds like a lot, it is; I have run with youth theatres; but I’d rather do all of that than settle or exploring Shakespeare and for just one thing Sophocles has been incorporated into devising processes with adults with learning disabilities. An amalgamation of researching for my dissertation, creating solo autobiographical work, investigating the aesthetics of making

26 27 BA Drama and Theatre BA Drama Education and Community BA Drama and Comedy BA Drama and Dance

MA Applied Theatre MA Theatre and Performance

@YSJTheatre www.yorksj.ac.uk/theatre 28