Why Enter?
The following is reproduced with the kind permision of Colin
Dolley:
Why Don’t We Enter A Festival?
Perhaps in your society a lone voice asks rather tentatively:
“Why don’t we enter a Drama Festival next year?”
Is this query greeted with enthusiasm or talked down with such
responses as: “Festivals are all pay out and nothing in return”
or “We’re happy as we are.” “Our audiences love our
productions.” “We don’t need anybody to tell us how good we
are!” “What would we get out of it anyway?” “All that work for
one night!”
How often have such responses silenced that lone voice?
Clearly some arguments are required to melt the icy responses
from the committee:
Festivals provide an exciting learning experience. There should
be helpful, constructive comments from a well-qualified,
independent adjudicator – unlike family and friends on home
territory.
In addition to the adjudicator’s constructive assessment, much
will be learnt by watching other festival entries – facets of
production, staging, lighting, effects, plays, acting technique,
introductory music etc. All this provides funded experience and
can be called upon for any future productions.
By entering the festival, each society becomes part of the
festival that means measuring up with other enthusiasts who
share the love of theatre. That insularity which, regrettably, is a
feature of many local societies is broken down. Within a short
while, teams often become friends and not rivals – and from
such friendships practical help may well emerge.
Many societies have a regular programme of home productions
that must, of necessity be audience pullers. This is
understandable, but to grow artistically your actors need to
keep fresh by trying new, unusual or less accessible plays. This
is where the festival can come into its own. Get out of the
boulevard comedy rut and try a Beckett, Orton, Pinter or
Tennessee Williams, try the unknown play, the original play, the
compilation of poetry, words and music. There are so many
possibilities.
Maybe there are those who wish to direct for the first time or
there is an influx of new untried members. Why not allow them
to flex their creative muscles at the drama festival? They will
learn so much and that can only benefit the whole society in
succeeding years.
The production may only make one appearance – although if
there is another festival in the area it could be entered there as
well – but some actors, for personal reasons, may prefer the
one night stand rather than a week-long run in the home
production.
I have not in these arguments for entering a festival, listed: to
win the festival trophy! In my experience teams who are
desperate to win rarely succeed; a sense of frenzied angst is
apparent and the production is nervous, tense and uneasy.
However, should the production do well, then the success can
be used in publicity material through local press, radio and in
future programmes – all adding to the kudos of the group.
Having used these arguments for entering a festival, your lone
voice may still have to quell the strident voice of the Treasurer!
Yes, it does cost money, but surely it is money well spent, an
investment into the future development of the group. The
profits from the money-spinning home production could go to
finance the festival play.
If the committee is forward-looking it might well say “We’ll give
it a try next year.” That decision could well be a pivotal point in
the history of your society.
Perhaps we will meet some day …
Colin Dolley
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