It feels like a question which should be pretty straightforward and simple to answer, but it requires some thought. A lot of it actually.
This month I took part in Springboard at the Young Vic- a week of training, networking, and play for emerging theatre directors. If you ever get the opportunity to take part in it, I cannot recommend it enough. It’s one of the best weeks I’ve ever had as a theatre maker- I spent it with peers, also in the early stages of directing, taking part in practical workshops and talks from leading theatre directors in the UK, giving an insight into their process, getting you to have a go, and answering questions, any questions, lots of questions… no question too small. It was a really rare opportunity to build a network of peers and be given a glimpse into a process that can seem incredibly elusive, private and, a bit magical for all that.
Towards the end of the week, one of the guest directors- Caroline Steinbeis, came to speak to us about theatre, why she makes it, where she starts from and how she runs a rehearsal room; Caroline was incredibly eloquent, insightful, articulate and inspiring, and really got me thinking about the place you start from as a theatre director- the why. There’s a rather brilliant Ted Talk by Simon Sinek on Why– I recommend a watch, but he essentially says that all too often, when companies are marketing products, they start with the What and How, which isn’t all that affective in creating loyal customers, whereas companies who do it really well (Apple), start with the Why and move into the What and How from there. Simon talks about it in terms of Marketing, but I think it’s very useful when applied to engaging theatre audiences; if we want to engage audiences in what we do, we need to be clear on the Why.
So, I’m going to ask myself that terribly important question now: why do I make theatre? When I was first asked that question, some words popped into my head: human beings, human experiences, connectedness, loneliness, isolation, learning. And then some sentences: sharing experiences about human beings, to help connect people, make us feel a little less alone, to make people feel. And then I sat down, thought about the work I’ve done so far that I’ve really enjoyed, and the things I haven’t enjoyed, and the things I’ve enjoyed within the projects that I haven’t enjoyed, and the things for which enjoyment isn’t the right word, but it’s felt really, really important, and it boils down to this: the human condition. That’s what I’m really interested in when I tell stories on stage, our plight as human beings to work out why we’re here, how we fit in, or not, what we value, what moves us and how we treat each other as human beings. I want to make theatre about the human condition that helps people to feel things, all kinds of things, and that hits people in the chest, down their spines, and on the skin on their arms. I want to make theatre that talks about our connectedness as human beings, even if it’s terribly uncomfortable; that promotes understanding and helps people feel a little less alone.
So, whilst I might not always achieve all of those things, that will always be my aim, my starting point, my Why. And if I’m not starting out from there, I’m probably barking up the wrong show. So, I challenge you to do the same thing, sit down and ask yourself Why, whether you work in theatre, in photography, music, as a lawyer, a nurse, a car mechanic, a shop assistant, in PR… ask yourself Why, Why am I doing this, and let me know what you arrive at.
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