FEEDING THE ART OF POLYGLOT

(Article published in LOWDOWN magazine April 2008 vol 30 no 2)

We just never have time. No time to see each other's work, time to talk about new projects, why works are being developed, what's in the pipeline, what explorations are taking place. How are you going? What do you think? And when do we ever talk about Art? Heads down bum up, the small to medium sector are all monarchs of multi-tasking and rarely have the time to think or dream.

At Polyglot Puppetry Theatre this situation got to ridiculous proportions. Always under the pump with the next project looming, we found ourselves constantly writing applications or acquitting them and trying to do the day to day business of a fast growing company. With just three full time staff members, we experienced a relentless pace with multi-tasking becoming insane and often rehearsals suffering with the director sucked into the office maelstrom.

In 2007 we received a Company Development Grant from The Australia Council for the Arts Theatre Board to work with Dr Mary Ann Hunter with the intention of identifying what Polyglot was and how we worked. Dr Hunter undertook extensive research and gathered information about our company, internally and externally, particularly focusing on how we were perceived by others.

The research identified several issues. We saw that we needed to be more visible in our activity, to be able to articulate what the company did clearly and with confidence, and most importantly we had to make sure that the art was being nourished, internally and externally. The findings of the research were very challenging but also positively fascinating and resulted in a vigorous re-articulation of the company's activities and the creation of a business plan that actually meant something and had art at its heart. Thus the creation of ‘Feed the Art'.

Feed The Art is a cultural model of appraisal and replenishment which now sits under all of Polyglot's activities, and underpins all of our goals. The model does several things.

Feed The Art has a menu of elements that go towards making a strong and living foundation for good art and one that invites the rest of the world into our entire practice in a way that is inspiring, stimulating and full of energy. There are 4 choices in the menu - and each has little side dishes. I'm hoping the food metaphor wont run out - it hasn't yet.

1. Kids Creative Committee (KCC). Our ever growing group of children who have enjoyed Polyglot's shows and are our regular touching stone for ideas, opinions and performance development .The KCC are from two areas: a general public group and a specific school or community group for each project. Through the KCC, we are continually inspired by the instinctive art genius, unique perspectives and discernment of children of all ages.

2. Puppetry Catalyst. We are a puppetry company and provocation in puppetry is essential if we are to make the most of this boundless art form. Our Puppetry Catalyst has two functions - as a workshop/conversation group before ideas hit the floor and as individual members entering early in the rehearsal process for a day of play where all ideas are up for grabs.

3. Critical Appraisal. This is an idea that is already well done by some companies in Australia, including Patch Theatre in South Australia, and has been embraced by the Danish Children's Theatre movement. Our Critical Appraisal Panel is asked to respond freely to new work at three stages. In rehearsal during the third week, at an invited showing at the end of for an audience of children and adults and while in performance during a season.

4. Artistic Conversations. This is about opening arts practice by talking and working with practitioners in other forms - expanding the application of puppetry by colliding ideas with music, dance, visual art, opera, sculpture, design, architecture, film and TV. It also means keeping abreast of contemporary art, researching historical trends, becoming immersed in the bewildering variety and breadth of expression that human beings have invented.

The benefits of using this model to underpin our work are numerous

It widens our appreciation and perception of our peers - creating a non-competitive culture of involvement and bringing other partners into the process so they can become advocates for our sector.
It ensures our work is carefully created, rigorously discussed and debated and widely supported in the industry.

Feed The Art enables us to be sure that new avenues are being explored, that young people are central to our practice and that we continue to challenge the status quo of theatre and children's theatre in particular.

It serves the Artistic Director by providing replenishment, connection and stimulus in an often administration-heavy working environment, validating dreaming/thinking/talking time and offering sources of contact and conversation.

Not only does the model serve the art-making within the company, it serves to increase the rigour in the creative process by introducing catalysts to provoke and challenge our art form, broadening our consultation, inviting critical appraisal and feedback.

One of the unique things about this model is that we are also applying it to our operations - inviting critical appraisal, kids consultation and the concept of catalyst to management, finances, marketing and the role of the board

Feed The Art has already changed the culture of Polyglot significantly. It validates artistic time and effort, develops the relationship with our Kids Creative Committee and with our artistic peers. It opens every part of our company to the idea of excellence and draws the industry closer to Polyglot's activities and future.

Sue Giles - Artistic Director Polyglot Puppet Theatre

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