National Drama Association of Trinidad and Tobago Learning Theatre Production Skills Workshop

points of focus

directing

Preliminary discussions, planning and stage direction for each play is led by experienced directors. A maximum of five (5) inexperienced directors are involved in the directing component of each. Proposed total participation for three plays &endash; 21 persons (6 experienced, 15 inexperienced).

acting

In the first week all participants within this component will become involved in a beginner's workshop for actors to establish the basic principles of the craft. These workshops continue throughout the process toward production of the plays. Inexperienced actors work alongside seasoned actors hired for tuition.

lighting & lighting design

Participating Directors and other persons interested in the field of Lighting for the theatre, are involved in preliminary discussions and collaborations with the Lighting Designer for the shows. They are involved in drafting and implementing lighting plans. Proposed total participation for three plays &endash; 30 persons (21 directors, 9 Lighting enthusiasts - 3 per play).

stage management

Inexperienced stage managers and /or other interested persons work alongside professional Stage Managers for the duration of the workshops and the ensuing performances. Total participation is approximately 15 persons.

format

The entire exercise is five weeks. One week for pre-production workshops and discussion, three weeks for production activities and a final week for performance and post-performance discussion. The proposed dates are April &endash; June 2004. The articipants become directly involved in producing three plays:

The Office (Vaclav Havel) Europe

Ma Couchon (Derek Walcott) Caribbean

The Ritual (Zeno Constance) Trinidad

targeted participants

Persons who are currently involved in the theatrical arts with limited access to professional, specialist personnel (lighting designers, stage managers) and situations. NDATT feels that this is an excellent opportunity for cross-fertilisation of skills and ideas between persons involved in amateur productions and cultural festivals, like the Best Village genre, and contemporary theatre professionals.

conclusion

The Theatre Production Skills Workshop not only provides a much-needed forum for cross-fertilisation of skills and ideas, it becomes a basis for continued communication between theatre practitioners. More importantly, if directors, actors, stage managers and potential lighting designers currently involved in amateur productions and cultural festivals are integrated in professionally managed theatrical productions, these persons acquire the confidence necessary to implement the acquired expertise. We anticipate that this initiative will be one bold step in fostering a culture of collaboration within the industry, resulting in improved standards of quality within the National Theatrical arts arena.