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By Christopher Martin Ford THE 'THEATRE-IN-MUSEUM' MOVEMENT IN THE BRITISH ISLES by Christopher Martin Ford Submittedin accordancewith the requirements for the degreeof Doctor of Philosophy The University of Leeds WorkshopT'heatre Schoolof English June1998 The candidateconfirms that the work submittedis his own and that appropriatecredit hasbeen given where referencehas been made to the work of others. This paper is dedicated to my father, Martin, who has always given up his opportunities so that we might have ours. His life was gentle; and the elements So mix'd in him, that Nature might stand up And say to all the world, 'This was a man! ' William Shakespeare Julius Caesar V. v. 73-75 Abstract Throughoutthe 1980'sand early 1990's,it becameincreasingly apparent to interested observersthat there was a growing trend towards using theatre in museumsettings. The work was varied, ranging from single costumedcharacters worldng on galleries to help interpret for visitors items in the collection, to literally hundredsof re-enactors creatingentire battle scenarioswatched by thousandsof visitors. This study considersthe ideasand methodsbehind the various stylesof theatrewhich have emerged in British museumsand questions what it is that both theatre and museum professions think they will achieve by enlivening the traditionally silent enclavesof our museumsin sucha way. The study proposesthat we are, in fact, witnessing the emergenceof a new form of educational theatre which is context-specific and which embraces the needs of museumsand their visitors rather than being concernedsolely with theatreas an art form. 'rbeatre-in-museum',as it has become known, is a synthesisof theatre as a learning medium and the educationaland cultural mission of museums.This kind of theatre echoes, to some extent, aspects of other educational theatre movements including thoseassociated with Brecht, Littlewood, Cheeseman,Heathcote, and Boal. Like many movements,'theatre-in-museum' has emergedout of a period of rapid change and instability, this time in the shifting world of museums which are themselves re-defining their role at the end of the twentieth century. ChapterOne presentsa thesisabout 'theatre-in-museum' and will include: an analysisof contemporarymuseology; an analysisof the characteristicsof 'theatre-in-museum'as a theatre form; and, the resultsof a nationalresearch project aimed at establishingthe extent to which theatreis usedin contemporarymuseums. ChaptersTwo to Six will feature five casestudies explaining contemporarypractice in this field. The critical attributes of five styles of theatre-in-museurnwill be exploredalong with the principal aims and methodologiesassociated with eachone. A concluding chapter will consider the current state of 'theatre-in-museum' and will propose further action if the work is to flourish in future years. CONTENTS Foreword PART ONE AN INTRODUCTION TO'THEATRE-IN-MUSEUM' CHAPTER ONE: "A new kind of museum professionaL" p.2 A thesison thenature of theatre-in-muscurn activityin contemporaryBritain. PART TWO CASE STUDIES OF CONTEMPORARY PRACTICE INTRODUMONTO THE CASE STUDIES p. 69 CHAPTERTWO: 'Being realistic in what you can do in the time" p.70 A casestudy on theuse of third personinterpretation in living-historysettings. Definingthe'as if of theatre-in-museum. Illusionand reality. CHAPTER THREE: "It wasn't planned. It just evolved." P.100 A casestudy on theuse of first personinterpretation. Establishingaims for theatro-in-muscum. Thecompatibility of methodologyto aims. Play-contractsin theatre-in-museum. CHAPTER FOUR: "Where's the passion?" p. 136 A casestudy on theuse of scriptedplays. Settingobjectives for individualprogrammes. Identifyinglearning outcomes. Emotionalengagement. CHAPTERFIVE: "That leap of the imagination. That leap of faith. " p. 171 A casestudy on theuse of visitor-in-role. Visitor-contextualisationand visitor-in-role. Affectivelearning. Embracingthe needs of visitors. CHAPTER SIX "The people having their say." p.205 A casestudy on the useof re-enactment. Authenticityand theatre as a researchtool. Massspectacle, festival and celebration. PART THREE TIIE'THEATRE-IN-MUSEUM'MOVEMENT CHAPTER SEVEN Conclusions. p.241 A movementof ideas? New museumprofessionals. BIBLIOGRAPHY p. 256 APPENDICES p. 263 Foreword When research for this paper began in 1993, there was a sense amongst some interested observers that a new form of educational theatre was evolving in our museums.It was, however, by no meanscertain as to whether there were a small number of isolated examplesof using theatre in museumsettings or whether there was a wider, perhaps national, movement underway. The over-riding feature of carrying out this research has been that it has attempted to define and explain somethingwhich has been in a constantstate of flux and which has becomea more commonplaceevent now than it was then. In light of this, there are two points worth noting before addressingthe main text. First, the use of inverted commas around the phrase 'theatre-in-museum' appears in the opening pages of this paper in accordance with the title agreed with the University of Leeds. When research began, it was felt that inverted commas would help to signify that the phrase represented a new concept in educational theatre. Over the past five years, however, an awareness of 'theatre-in-museum' has grown in the museum community and the phrase itself is no longer unusual. The use of inverted commas, therefore, will not be used in the following text although the concept of 'theatre-in- museum' will be explained in detail in the opening chapter. Also, it was originally intendedthat referenceto the work of Platform 4 Theatreat the National Railway Museum in York, of which I am a member,would be avoided in order to allay any questionin the reader'smind about the objectivity of the text. As researchdeveloped, however, it becameapparent that someaspects of the work of Platform 4 Theatre were both unusual and important in representingcertain issues about 'theatre-in-museum',especially those concerning learning outcomes and emotional engagementin museums.The work of this Company therefore features strongly in Chapter Four and, to a lesser extent, in Chapter One. The work is presentedin third-personthroughout and referenceto Platform 4 Theatre centreson documentedevidence and a range of interviews with staff at the National Railway Museum,excluding my immediateactor/interpreter colleague, Chris Cade. Every attempt has been made to presentthe work of Platform 4 Tbeatreobjectively but it is appropriatethat the reader should understandmy own connectionwith this Company. PART ONE AN INTRODUCTION TO THEATRE-IN-MUSEUM CHAPTER ONE "A new kind of museum professional." A thesis on the nature of theatre-in-museum activity in contemporary Britain. CHAPTER ONE SECTION ONE EVIRODUCTION Over the weekendof the 27 and 28 March, museumsand historic sites throughout the Bradford area will be brought to life by actors, role- players,and costumedcharacters from all over the country... Following the festival, there will be a two-day conferenceopen to museumand drama professionals,educationalists or enthusiasts.The inaugural conferencein this field was held at MerseysideMaritime Museum, Liverpool, in 1991 and opened up the dialogue between museumsand live interpretationprofessionals. (1) In 1993 the National Museum of Photography,Film and Television in Bradford, hosted the first British festival of theatre-in-museum.Fourteen theatre companies from museumsin the British Isles performed at a number of venuesin the Bradford district. The festival was, ...a celebration of the rapidly growing number of museums and heritage centres,which are turning to theatre-in-educationcompanies, professionalactors, volunteers and demonstratorsin order to enhance, enliven and interpret their exhibitions and collections. (2) The festival was followed by what was the secondconference on theatre-in-museum in this country and the first ever international conferenceabout the subject. It drew together performers, directors, interpreters, educationalists, curators, museum managers,marketing officers and other interested parties from America, Canada, England, Germany, the Netherlands, Northern Ireland, the Republic of Ireland, Scotland, South Africa and Wales. The conferenceaimed to "build upon the initial discussion[Liverpool 91] and to further questionthe reasonand methodsbehind the many styles of live interpretation currently being practised."(3) It also aimed to establishan associationwhich would act as a forum and professionalbody for people involved in theatre-in-museum,though an association named the International Museum TheatreAlliance (IMTAL) alreadyexisted in the United Statesof America. The Bradford conference recognised IMTAL and agreed to form a European 3 organisation affiliated to its America-based predecessorworking under the title of the European Ileatre-in-Museum Association (FFMA). The conference provided a useful indicator of what was becoming apparent to interested observers throughout the 1980s and early 1990s, that there was a growing phenomenon of using theatre in museums in the British Isles. It also offered a useful glimpse of the international field of theatre-in-museum with overseas delegates coming to Bradford to both observe British practice and to share their own experience. The international field will not, however, be explored in this study. The fact that such a conferencetook place at all suggeststhat there is an interest in using theatre in museumsin 1990s Britain though it cannotýon its own,
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