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Abstract
If our aim is theatre that is genuinely inclusive, relevant, and able to respond to the continuing developments of the (post-)COVID world, then we need directors who are flexible enough to respond to societal changes and empathetically encompass identities and experiences that are not their own. I argue that this requires directors to interrogate their belief systems, develop interpersonal skills, and explore alternate ways of working. Composed as a dramatic dialogue between two theatrical characters, Director A and Director B, the article presents two figures who wrangle to the conclusion that personal development is an often overlooked but essential part of ongoing director training in our rapidly shifting world.
Notes
1 SEISS, the ‘Self-employment Income Support Scheme’ was a UK government financial grant given to self-employed people during the COVID pandemic. The amount paid was calculated as a percentage of previous year’s accounts and covered the period from March 2020 to September 2021.
2 SIC stands for Sick In (the) City. However, the company trades as SIC and all documentation is under the name SIC; see https://sicofficial.co.uk/
Additional information
Notes on contributors
Helen Tennison
Helen Tennison is an award-winning freelance theatre director. Her work includes devised, site-specific, comtemporary and classical theatre. She has worked for Shakespeare’s Globe, the Belgrade Theatre, Creation Theatre, and numerous international festivals. She won an Edinburgh Fringe First for Everything I See I Swallow, an aerial performance about inter-generational feminism incorporating aerial performance and shibari. She was formerly Artistic Director at Drama Studio London, lectured in Shakespeare at Goldsmiths University of London, directed BA students at the University of Birmingham and was Artist in Residence at the University of South Florida on mulitple occaisions between 2013–2021.