Neptune Theatre’s Post

So, this is engagement number 2 next week. I shall be talking about the challenges and success of working, or attempting to work to the Theatre Green book targets. 🌞This will be a mix of short talks and a Q&A session with myself and fellow pms, designers and backstage folk. #theatre #sustainability #collaboration

"Where would we end up if everyone could do whatever they wanted?" – But perhaps this is precisely the key – to self-awareness, further development and overcoming personal problems. In our new episode, we get to know Mohammad & Hussein Eliraqui and the ACT e.V. | Führe Regie über dein Leben theater group. Here, young people work together to develop plays based on the "veto principle" on topics that are hot on their minds. The rule of thumb here is that everyone can do (or not do) what they want – within a certain framework. This approach encourages personal responsibility and self-reflection on the part of the participants. The results are fascinating, sometimes provocative and sometimes moving. For this episode, we accompanied the group working on their new piece "A safe haven" („Zuflucht“). See for yourself. If you like to support meet THE GOOD ONES 👉🏻 https://lnkd.in/e4ag7FsF #VetoPrinzip #theatre #goodbringsgood You can always say NO! Mohammad Eliraqui and the "Veto principle" theater group. https://lnkd.in/e4iCQGqp

Artists of the Coquelin school reason this way: The theater is a convention, and the stage is too poor in resources to create the illusion of real life; therefore the theater should not avoid conventions.…This type of art is less profound than beautiful, it is more immediately effective than truly powerful, in it the form is more interesting than its content. It acts more on your sense of sound and sight than on your soul. Consequently it is more likely to delight than to move you. So then, since the theatre is limited to the conventions of beauty, the immediate effects of sound and sight and simple delights, it is up to us, the makers and players of theatre, to bring the profound, the powerful, the interest in content, and our ability to truly move an audience. Theatre brings the convention. We bring the intention.

In our productions the actors on stage become a mirror reflecting the human experience and the stories unfolding can often be the awakening of something dormant within ourselves. "Theatre can make us believe, not just in something 'out there', but predominantly in something 'in there', inside of each and every one of us." Theatre has always been more than just a performance; it's a communion of souls, a shared exploration of the human condition. As the characters come to life, you will not be merely spectators, but active participants in the unfolding drama. Through their triumphs and tribulations, joys and sorrows, we catch glimpses of our own struggles and victories mirrored in their stories. Each performance is a mirror held up to our own lives, inviting us to confront our fears, embrace our vulnerabilities, and celebrate our strengths. In the hushed moments of revelation, we find echoes of our own innermost thoughts, fears, and desires reverberating through the theatre walls. For in the sacred space between the stage and the audience lies the power to believe—not just in something 'out there', but predominantly in something 'in there', inside each and every one of us. #TheatreLife #ActorsLife #StageReflections #TheatreMagic #EmbraceVulnerability #CelebratingStrengths #TheatreInspiringChange

In our productions the actors on stage become a mirror reflecting the human experience and the stories unfolding can often be the awakening of something dormant within ourselves. "Theatre can make us believe, not just in something 'out there', but predominantly in something 'in there', inside of each and every one of us." Theatre has always been more than just a performance; it's a communion of souls, a shared exploration of the human condition. As the characters come to life, you will not be merely spectators, but active participants in the unfolding drama. Through their triumphs and tribulations, joys and sorrows, we catch glimpses of our own struggles and victories mirrored in their stories. Each performance is a mirror held up to our own lives, inviting us to confront our fears, embrace our vulnerabilities, and celebrate our strengths. In the hushed moments of revelation, we find echoes of our own innermost thoughts, fears, and desires reverberating through the theatre walls. For in the sacred space between the stage and the audience lies the power to believe—not just in something 'out there', but predominantly in something 'in there', inside each and every one of us. #TheatreLife #ActorsLife #StageReflections #TheatreMagic #EmbraceVulnerability #CelebratingStrengths #TheatreInspiringChange

Out next week and well worth a read!! #magazines #york #ryedale #malton #independentmagazines #supportlocal #businesses #locallife #whatson #communitymagazines

On Monday, I presented on 'the politics of class in post-1950s theatre, focusing on how various plays confront and critique the British class system, delving into how theatre in Britain has mirrored the evolving class structures. By analyzing plays like Tory Boyz, Look Back in Anger, and Versailles, the session shed light on the intricate dynamics of the class struggle. - Tory Boyz scrutinizes the disconnect between modern political elites and the working class. - Look Back in Anger portrays a working-class figure challenging societal norms in post-war Britain. - Versailles contrasts aristocratic luxury with the turmoil of the French Revolution, symbolizing the breakdown of rigid class boundaries. These plays offer profound insights into the complexities of class, showcasing the tensions between different societal strata. The presentation highlighted the grievances of the working class and the complacency of the elite, set against the backdrop of historical and political transformations. The analysis underscored how theatre acts as a mirror to society, reflecting, critiquing, and influencing the discourse on class in Britain. It demonstrated how these theatrical works serve as powerful tools for exploring and reshaping perceptions of class within the national narrative.

There's something deeply humbling and profound about an empty stage, I feel. It stands there, still and waiting, like a blank canvas. There's a certain silence that hangs in the air, whispering about all the things that could be done and all the things that have been done. It somehow dares you to take the first step and break the stillness, you know. You anticipate, reflect and create. You bring a vision to life there, I mean. Maybe it serves as a reminder that our actions have some power to shape what's to come? Or a reminder to take all that's uncertain and still try and make sense of it, to improvise if needed, and let the creation evolve. One may see it as a canvas for self expression, a space for connection or a call to take action. Or maybe all of it. Lately, for some reason, I have been reading a lot of quotes about stage and theatre in general and that somehow prompted me to reflect on what is so fascinating about a stage that I can't help but be there as much as I can. I know it's not the world theatre day or any such day for that matter, but surely a day which is as good as any other day to express gratitude to something that's an integral part of your profession. 🌻 #theatre #stage #performingarts

I could talk underwater about the importance of the youth arts sector; its vibrant legacy made up of highly-skilled arts workers dedicated to collaborating alongside young people. Youth arts companies are the foundation of our arts community, holding the wellbeing of young people at its core, and committed to developing emerging artists as our future creative leaders. Everyday I see first hand the positive effects an engagement with theatre has on young people, the contributions we make to our arts sector, and the social impact on our wider community. Despite the significant benefits youth arts creates, there is entrenched disparity in arts funding and support, causing youth companies like ours to be deprioritised, and the artistic quality of our work overlooked. The fact we survive is a testament to our collective passion, resilience and resourcefulness. But things need to change if we are to be sustainable, and thrive.

Learn more about Serendipity Out and About which takes contemporary theatre away from the formal stage into intimate heritage spaces: https://lnkd.in/dxRx7raG