In real life, I run a 111 year-old Theatre company called YTG, which I am in the process of registering as an NPO here in Japan.
The first half of the mandate of the company is to bring contemporary Theatre to people in Yokohama and Japan. To fulfill this mandate, we obviously mount shows, but we’re also trying to get a Theatre school off the ground. There are several reasons why the school is an important part of what we do.
Firstly, with our limited resources, shows can only happen a couple of times per year for the time being. This gap between productions causes YTG to drop out of public awareness for months at a time. Running workshops gives us something to publicize all year long.
Secondly, good training will empower and inspire students to go off and do their own projects, which will mean more Theatre buzz. I strongly believe that art begets art in a positive feedback loop. A city that has lots of active artists has lots of demand for art because everyone is aware of it. That is true for all the arts, but especially performance-oriented arts like dance and Theatre.
Thirdly, there is a dearth right now of Theatre artists who have both the need to create contemporary work and the technical skills to do so. The YTG classes are being designed to develop both of these requirements in the hopes generating future YTG company members.
We’ve had some problems finding suitable rehearsal spaces for these classes, so we’ve just got one coming up: Voice for the Actor. But what a class to start with. My friend and Theatre colleague Graig Russell has been working his butt off to write the curriculum for the class, and it’s going to be eight weeks of intense voice work. It’s not all the time I get to work with someone like Graig whose philosophy toward Theatre is so much like mine that it’s uncanny. Although voice work will always involve technical elements, what’s great about this course is that it doesn’t concentrate on technique to the exclusion of all else. Graig has really built a workshop that emphasizes the idea of the individual voice, so that each student will learn not something that’s standardized, but something that’s unique to his or her own body.
(And I’m not talking sight unseen here; Graig was my vocal coach on William Shakespeare’s R3 two years ago, and did some wonderful work with a number of my actors.)
Because we’ve had trouble booking space at YTG’s usual Yokohama haunts, this workshop will take place in Tokyo at the OUR SPACE rehearsal lounge. I’m so lucky that the management at that space are also good friends
So my job now is to sign up seven students to take this course. I’ve printed flyers and we’re sending them out to Universities; I’ve sent out the YTG newsletter announcing the class; I’ve notified a Yokohama English-through-Theatre school; I’ve sent email to my international school contacts; I’ve updated the YTG facebook page; I’ve tweeted it; etc., ad nauseum… Publicity is definitely the part of the job that I’m worst at. I know that there are people out there interested in this course… the question is simply: how do I reach them?
Oh well, I’ll find the magic formula one day. In the meantime, I just need to keep plugging away. I really do believe that if I build something based on good, solid, ideas and ideals, that it will eventually generate interest. Art begets art and all that.