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| Id | 133 | |
| Author | McDonnell, B., ; Shellard, D., | |
| Title | Social impact study of UK theatre | |
| Reference | McDonnell, B. & Shellard, D. (2006). Social impact study of UK theatre. London: Arts Council England. |
Link to article | https://webarchive.nationalarchives.gov.uk/20160204123109/http://www.artscouncil.org.uk/advice-and-guidance/browse-advice-and-guidance/social-impact-study-of-uk-theatre |
| Abstract | This research assesses theatre’s social impact, within a framework which builds on the creative aims and analyses of theatre practitioners. It draws on examples of good practice and highlights the values and practical steps which underlie it. The findings are based on a questionnaire, which was sent to 448 members of ITC, as well as an intensive examination – based on interviews and documents – of ten selected companies. Finally, four of these companies were visited; they form the case studies. |
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| It is this flexibility which allows us to use theatre to help address social problems, promote cross-cultural understanding or celebrate community life. . | Personal impacts enjoyment from a shared experience of high quality theatre stimulation of the imagination through exposure to the magic of theatre and its possibilities awareness of cultural differences, and enhanced empathy for ways of life other than our own increased understanding of the social source of individual problems heightened awareness of Welsh language and culture knowledge about local and national history learning through practical exploration of themes in workshops, and the application of knowledge in action skills: basic theatre, arts, music, language and so on, gained in workshops enhanced self-confidence through participation in workshops validation of self through seeing ones views and ideas used and extended in collaboration with others greater enjoyment of, and commitment to, literature, history Group impacts fun and collective value of involvement in a joyful, shared experience enhanced awareness of, and commitment to, theatre enhanced interpersonal communication enhanced group learning based on the theatre, and resourced through a range of educational and art processes shared language and body of experiences to help develop personal and social skills shared appreciation of, and skills in, theatre through group creation, devising, improvising enhanced ability to work together towards shared objectives raised confidence in the group as a creative and educational resource in and for itself enhanced awareness of the collective nature of creativity/learning enhanced generic life skills such as debating, creating, analysing, researching around themes respect for each others abilities Civic impacts collective celebration in public spaces, schools, museums and theatres of Welsh language, culture and history public celebration of, and respect for, different cultures and histories public validation of marginal experiences/histories civic celebration of the importance of learning the bringing together of generations, ethnic communities, disabled and nondisabled people, and so on civic celebration, and endorsement, of the imagination, of art, of theatre Hard impacts increased school attendance contribution to better educational performance through gains in interest, selfconfidence contribution to a schools overall achievement increased employment through employment of directors, artists, writers, performers, stage managers, management and so on economic contribution to community through public performance and spending strong partnerships between the theatre and local schools The process-performance spectrum The research shows that the social impacts of theatre are spread across a process-performance continuum. . | Successful partnerships act as a form of interagency advocacy for theatre, and can help extend its role in social and community development. . | It constitutes a considerable economic investment by non-arts agencies in theatre. . | Theatres social impacts derive from this complex playfulness, from the rich range of its forms, the many languages with which it speaks to the imagination. . | Evaluation drives the development of new creative strategies, strengthens partnerships, and underpins a communitys or a citys investment in theatre. . | In the best of this work there is a creative dialogue between company and community, and between artists and participants. . | Ways in which companies have invited participation include: consultation about the issues the theatre might address active participation in the making of theatre backstage tours and talks community outreach as part of creative development work Giving a public voice to marginalised experiences As with access, marginality has multiple causes. . |
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