Q & A

 

Q & A with Clea Williams Theatre Facilitator, Director and Educator.

 

Introduction:

 

Hi, I am Clea Williams Creative Facilitator, Director and Educator.

 

Q1)            WHAT DO YOU THINK IS THE DIFFERENCE BETWEEN A DIRECTOR AND EDUCATOR?

 

As an educator, teaching drama has meant that I have a tool that allows an

accessible starting point for exploration into curriculum topics, in a room where

there is no right or wrong and risks can be taken and ideas played with.  My

work in theatre has been very influenced by training as an educator to empower

and I reference the work of Augustus Boal to allow voices to be heard.  Physical

theatre is also an excellent way to explore with young children who perhaps do

not have the skills or the understanding of text to deliver dialogue confidently.

However there is a big difference between the educator and the director.  My experience as an

educator, therefore enables me as a director to have an understanding that, in order to create a

‘safe,’  working environment where performers feel free of judgment, it is important to

start from where your performers are, regardless of whom I am working with;

young people or professionals.  This means I have to have an understanding of

the performer’s skills, knowledge and experience before I can work with them

towards a ‘director’s vision’. 

 

 

Q2)            IN YOUR ROLE AS EDUCATOR WHAT DO YOU AIM TO TEACH?

 

As an educator I see my role as delivering specific objectives that teach particular

skills, knowledge or techniques.  However the main aim for me is about

empowerment and autonomy, which is why I like the role of  ‘facilitator’.

 

Q3)            HOW DO YOU DEFINE CREATIVE FACILITATOR?

 

Ingrid Bens is a consultant and trainer whose special areas of expertise are facilitation skills.  She works mainly in the business sector but she describes a facilitator as, “One who contributes structure and process to interactions so groups are able to function effectively and make high quality decisions.  A helper and enabler whose goal is to support others as they achieve exceptional performance.” 

 

This can take one of two forms, either as the facilitator of process which means the facilitator is a third party to the group, who remains neutral and who uses their expertise to enable the process of creativity but makes no clear decisions.  Alternatively as a facilitative leader who will be integral to the group, leading the process towards a vision or end product and who is authoritative in the group decision-making.

 

 

Q4)             DO YOU THINK YOU CAN BE TRAINED TO BE A DIRECTOR?

 

In the introduction to her book ‘The Director’s Craft” Katie Mitchell says that her book will help directors to think about “directing as a craft, with skills that can be learned and built up over time.”  What I think would be useful in director training would be to understand dramaturgy and to have the opportunity to work with and observe performers in order to have a common understanding of their skills and knowledge.  In addition to that I think having a basic knowledge of all the theatre crafts like a sort of foundation course would give directors a better vocabulary to communicate and build relationships with their collaborators.  With this knowledge, I think directors would be better placed to deliver their vision.

 

Q5)  WHAT DO YOU CONSIDER TO BE YOUR MOST SUCCESSFUL PIECE OF THEATRE TO DATE?

 

To describe my most successful piece of theatre to date would mean that firstly I would need to define ‘successful’ and for me that would go hand in hand with ‘what is art?’ 

 

In the art world Tracy Emin’s “My Bed”, to Warhol’s “Soup Cans” to the “Mona Lisa” are all considered brilliant works of art but not everyone likes them all.  For me art is something that touches its audience and stays with them.  So in returning to the definition of success, I wonder what that measures?  Is commercial success the measure?  My success , is measured by my impact as an artist on the audience.  There are two things that stand out for me.  The first is when I was working with The Phoenix Arts Theatre in Leicester.  I was working with their community and outreach company and we had been asked to devise and tour a performance to various venues within the community over the summer.  On one occasion we packed everything into the van and turned up at a sink estate in Leicester.  We were performing to an audience who had very little or no experience of live theatre.  This meant that the audience boundaries and etiquette were unknown, so that when the music played and it moved people they would get up and dance spontaneously.  One girl came up to me after the show and said, “Thank you so much, I really loved your TV program.”  This was the only way she could describe what she had just experienced and it was this one comment that made me realize the significance of the work.

 

The second is the most recent, “Like Mother, Like Daughter” with Complicite at The Battersea Arts Centre.  This was an innovative piece of devised theatre but its poignancy was summed up by Lyn Gardener in The Guardian, “…it’s a lovely idea, a simple act of generosity on the part of all those involved that made me leave BAC mourning my own mother and all the questions I never asked while there was still time.” 

 

Q6)            WHAT IS THE BIGGEST CONTRIBUTION YOU HAVE HAD ON A PRODUCTION?

 

Well to tell you the truth the bigger the production the smaller the role, as I suppose if there is

more money, then the production can afford the luxury of working with experts.  So on that

note, putting on a school play stretches you in every way because you have to be resourceful and

work with what you have.  You have to be prepared to role your sleeves up and be inventive.

You also have to encourage and enable people to get involved who have no experience.  This

requires the ability to spot potential and to be able to share your expertise and passion. I have

put on productions where I have produced, directed, stage managed, got involved with

painting scenery, costumes and make-up whilst having a cast of 100 kids.  However, you need

to know your limits, it makes you very good at finding people who will do you a favour and

those who will support you.  However, within professional theatre, working in a creative

ensemble gives you scope to make the biggest contribution.

 

Q7)    WHEN WORKING ON SOMETHING FROM SCRATCH WHERE DO YOU FIND YOUR MUSE?  WHAT DO YOU LOOK FOR IN A  STIMULUS?

 

I can’t say that I particularly look for a stimulus, it’s more that the stimulus comes to me.  I

have made work from the problem page in ‘Cosmopolitan’ magazine and from a piece of

abstract art.  Sometimes I work from a script and I find literature and music very inspiring but

whatever, it is about the story within it and if I feel that I have the ability to tell that story in a

way that will connect with an audience.

 

As a result I find it difficult to define a style or a process to my work because I believe

strongly that the form is dictated by the story it is telling which brings me back to my role as

facilitator.  If the story is not in theatrical form already then I see my role as enabling the

story to be told in the most truthful way.

 

IF YOU WOULD LIKE TO ASK ME ANY FURTHER QUESTIONS OR MAKE CONTACT WITH ME REGARDING MY WORK, PLEASE USE THE EMAIL OR CONTACT TABS ABOVE - CLEA