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Tech Theatre: Future of the Production Arts Article

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Tech Theatre: Future of the Production Arts Article

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Production Arts:

Compile an article of 1500 – 2000 words which informs the reader of the potential opportunities within the future of the production arts industry. You will evaluate and analyse how the production arts industry is evolving in relation to several factors and points of view (performing artists, production roles, audiences, accessibility, funding etc).  You will make educated judgements on the future production arts industry, including threats and opportunities, negatives, and positives. You will analyse the impact any possible future developments and the impact this may have on the industry and the issues that it may bring for gaining employment within the industry and your specialism.

Things to consider:

●       The decline of traditional skills and design methods in a digital world (carpentry, painting, sewing)

●       The need to remain up to date with new developments, e.g. software

●       Decreasing Funding for the arts

●       Decline of traditional live performance venues and growth of alternatives

●       Digital advancements

●       Sustainability

●       Development of AI and ‘Deep fakes’

●       Increased number of university courses in the production arts area

●       Risk of Automation within the production arts industry (technology taking place of operators)

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History of Performing/Production Arts Articles 

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History of Performing/Production Arts Articles 

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DO NOT PLAGIARISE THIS.

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F16 Assignment Brief Technical Theatre 2024 - 2025

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Task 1 - 11th October 2024

Task 2 - 15th November 2024

Task 3 - 10th January 2025

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Nearpod.

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9th October 2024

13th November 2024

20th November 2024

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We’re currently checking your connection. This shouldn’t take long.If you keep getting this page, check if there’s a problem with Canva.

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https://bsdcollege-my.sharepoint.com/:p:/g/personal/30268306_bsdc_ac_uk/EfXC7bkiDGJEpTT3BURk3IsB0YwRomj9UD1wWpxpQH_c_A?e=NSiRIp

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Callum/Ethan et al - Contemporary Theatre Technology

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Callum/Ethan et al - Contemporary Theatre Technology

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Theatre lighting in this period was provided by wick-fed illuminants concealed behind the wings and proscenium arch and at the edge of the stage .In the auditorium either a large, single, central fixture, as at La Scala, or a number of smaller ceiling fixtures, as at Versailles, was the custom. All were kept burning during performance.

the scene painter became more important, and by the late 18th century each theatre had two or more permanent scene painters. The best known designer around the end of the 18th century was Philip James de Loutherbourg, a painter; from 1771 he worked for the actor-manager David Garrick as scenic designer at the Drury Lane Theatre

Sets were changed by sliding them in grooves in the stage floor and overhead. Since the curtain was raised after the prologue and remained up throughout the performance, all scene shifting was in view of the audience. It was not until 1750 that an “act drop” was used.

Loutherbourg’s single most important contribution, however, was that he achieved a unity of design because he directed both the scenery and the lighting and effects of a single production. The importance that Loutherbourg’s landscape painting of the back cloth assumed is shown by the fact that the Drury Lane pantomime of 1779 was specially written for the scenery he had designed while on a trip to Derbyshire.

the pioneers of the cut cloth, a double back cloth in which there was an opening in the one nearer the audience that revealed a painting on the back one. He also utilized transparent scenery production he cut the moon out of the canvas back cloth, replaced it with gauze, and lit it from behind so light and scenery was used in theatre

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Use this to find online books.

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Information in here about Theater Censorship / Licencing Act (1737 - 1968)

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The V&A's Theatre and Performance collections chart the fascinating history of theatre in Britain from the middle ages to today. From early dramatic forms, such as mystery plays and court masques, to the alternative and 'in yer face' drama of the late 20th century, via the patriotic wartime entertainment of the 1940s, and the foundation of institutions such as the Arts Council and the National Theatre.

Most early theatre in England evolved out of church services of the 10th and 11th centuries. It became a truly popular form around 1350 when religious leaders encouraged the staging of mystery cycles (stories from the Bible) and miracle plays (stories of the lives of saints). These were written and performed in the language of ordinary people rather than latin in order to teach the mainly illiterate masses about Christianity and the bible.

Each play was staged on pageant wagons that processed through the streets and stopped to perform at pre-arranged sites. By the end of medieval times, many towns had specific spaces dedicated to public theatre.
The rise of secular drama
Following the Reformation in the 16th century - a movement that opposed the authority of the Roman Catholic Church - all religious drama in England was suppressed. Licences were issued to theatre companies allowing them to rehearse and perform in public, providing they had the approval and patronage of a nobleman.

Britain's first playhouse 'The Theatre' was built in Finsbury Fields, London in 1576. It was constructed by Leicester's Men - an acting company formed in 1559 from members of the Earl of Leicester's household. Over the next 16 years, 17 new open-air, public theatres were constructed. Most of these theatres were circular, surrounding an open courtyard where members of the audience would stand around the three sides of the stage. New companies flourished and writers were expected to produce a number of new plays every year to satisfy demand. Companies became known by the title of the patron's household. The two most famous companies and fierce rivals were the Admiral's Men and the Lord Chamberlain's Men.

William Shakespeare (1564 - 1616)
William Shakespeare, born 1564 in Stratford-upon-Avon, Warwickshire, is England's most famous playwright. He wrote 38 plays and numerous sonnets. It is not just the breadth of his work that makes Shakespeare the greatest British dramatist but the beauty and inventiveness of his language and the universal nature of his writing.

In 1594 Shakespeare joined the Lord Chamberlain's Men as an actor and their principal playwright. He wrote on average two new plays a year for the company. His earliest plays included The Comedy of Errors (first performed in 1594) and his first published work was the poem Venus and Adonis (1593). Shakespeare wrote many of his most famous plays for the Globe Theatre, which was erected in 1599 by the Lord Chamberlain's Men. When the lease on the land at their playhouse, The Theatre, in Shoreditch ran out, the company decided to dismantle the timber frame building and rebuild it on the south bank of the River Thames, renaming it The Globe.

The masque was a form of festive courtly entertainment that flourished in 16th- and early 17th-century Europe. The English architect and designer, Inigo Jones (1573 - 1652), collaborated with the playwright and poet Ben Jonson (1572 - 1637) to produce a series of elaborate masques for both James I (reigned 1603 - 25) and Charles I (reigned 1625 - 49). One production, The Masque of Oberon (1611) cost over £2,000 to stage, with costumes alone costing over £1,000.

Inigo Jones is credited with introducing into British theatre the proscenium arch - the space which framed the actors on stage - and moveable scenery arranged in perspective. Inspired by stage machinery he had seen whilst travelling in France and Italy, Jones' scenery used a series of shutters that slid in and out using grooves in the floor. He even flew in scenery from above and introduced coloured lighting by placing candles behind tinted glass.
The closure of the theatres
In 1642 civil war broke out in England between supporters of King Charles I and the Parliamentarians led by Oliver Cromwell. Theatres were closed to prevent public disorder and remained closed for 18 years, causing considerable hardship to professional theatre performers, managers and writers. Illegal performances were only sporadic and many public theatres were demolished.

In 1656, the poet and playwright William Davenant succeeded in producing an all-sung version of the play The Siege of Rhodes in his home. This is widely considered to be the first English opera. After Charles II was restored to the throne in 1660, Davenant and the dramatist Thomas Killigrew were granted royal patents, which gave them virtual monopoly over presenting drama in London. These monopolies were not revoked until the 19th century.

The introduction of scenery and elaborate stage machinery to the English public stage in the 1660s gave rise to blockbuster semi-operas. Many of these were adaptations of other plays, often by Shakespeare. These had episodes of music, singing, dancing and special effects. The grandest theatre at this time, which included one of the first proscenium arches, was The Duke's Theatre in Dorset Gardens. Planned by William Davenant and designed by Christopher Wren (architect of St Paul's Cathedral), it cost £9,000 (about £600,000 today). It stood by the River Thames and steps led up from the river for those patrons arriving by boat.

For the first time women were recognised as professional actresses and playwrights. The most famous playwright was Aphra Behn (1640 - 89), who had previously been employed as a spy for Charles II and spent a brief stay in a debtors' prison. A group of women writers known as 'The Female Wits' produced many works for the stage. They included Mary Pix (1666 - 1709), Catherine Trotter (1679 - 1749) and the prolific Susannah Centlivre (about 1670 - 1723), who wrote 19 plays, including the satirical A Bold Stroke for a Wife, first performed in 1718.

The first woman to appear on the professional stage in England is generally considered to be Margaret Hughes (1645 - 1719), who performed in a production of Othello at the Vere Street Theatre, London in 1660. Other notable actresses at this time included Elizabeth Barry (1658 - 1713) , also known as the "queen of tragedy", and Nell Gwyn (1650 - 87), who was reputed to have been painted nude for Charles II and bore him two children.

The 18th century saw the flourishing of theatre as a popular pastime and many theatres were enlarged and new playhouses built in London and throughout the country. One of the most successful shows on the London stage in the early part of the 18th century was John Gay's ballad opera The Beggar's Opera. Gay recycled popular songs of the day and wrote new lyrics that were humorous and satirical.

Shakespeare's plays became increasingly popular during the 18th century but were reworked to suit the tastes of the day. His style was still felt to be too erratic and poets such as Alexander Pope carefully tidied up any uneven verse lines. Shakespeare's ending to King Lear was felt to be too distressing and Nahum Tate's revised version (where Cordelia and the King survive) was preferred to the original. David Garrick rewrote the end of Romeo and Juliet so that the lovers speak to each other before dying in the tomb and turned the Taming of the Shrew into a farce.

Garrick was one of Britain's greatest actors and the first to be called a star. From 1741 until his retirement in 1776, he was a highly successful actor, producer and theatre manager. He wrote more than 20 plays and adapted many more, including plays by Shakespeare. In 1742, the Theatre Royal, Drury Lane hired him and he began a triumphant career that would last for over 30 years. Within five years, he was also managing the theatre.

Garrick changed the whole style of acting. He rejected the fashion for declamation, where actors would strike a pose and speak their lines formally, and instead preferred a more easy, natural manner of speech and movement. The effect was a more subtle, less mannered style of acting and a move towards realism.

The Licensing Act of 1737 had a huge impact on the development of theatre in Britain. It restricted the production of plays to the two patent theatres at Drury Lane and Covent Garden in London and tightened up the censorship of drama, stating that the Lord Chamberlain with his Examiners of Plays must vet any script before a performance was allowed.

The act was put in place by the then Prime Minister Robert Walpole (1676 - 1745), who was concerned that political satire on the stage was undermining him and the authority of the government. A production of The Golden Rump, afarcical play of unknown authorship, was the chief trigger for Walpole pushing the case for banning obscene drama from the public arena. The play scandalously suggested that the Queen administered enemas to the King. Henry Fielding, author of a number of successful satires, and others were suspicious that this play had in fact been engineered by Walpole himself.

To get around the restrictions of the 1737 Licensing Act, non-patent theatres interspersed dramatic scenes with musical interludes. Melodrama and burlesque, with their short scenes and musical accompaniment, became extremely popular at this time. Eventually, the huge growth in demand for theatrical entertainment in the early 19th century made the patent theatres' system unworkable. Theatres had sprung up across London and the boundaries between what was allowed in the patent theatres (legitimate drama) and what was presented in other theatres (illegitimate theatre) had become blurred. In 1843 the Licensing Act was dropped, enabling other theatres to present drama, although Lord Chamberlain's censorship of plays remained in place until 1968.

After the Covent Garden theatre burnt down in 1808, the management decided to raise prices to cover the cost of rebuilding. To increase revenue, the management reconfigured the upper gallery to squeeze in more of the one shilling seats, creating what angry patrons described as 'pigeon holes'. The price for a seat in the pit was raised from three shilling and six pence to four shillings, and the admission to the public boxes went up from six to seven shillings. A whole tier of boxes became 'private' and could only be hired for an entire season. Audiences were furious and turned their anger on the theatre's manager, the actor John Philip Kemble.

On 18 September 1809 Kemble stepped on stage in the costume of Macbeth to welcome the audience to the first production in the new theatre, and was met with a barrage of shouting, hissing and hooting which continued throughout the performance. Although magistrates were summoned, and some protesters arrested, the disturbance did not end until two in the morning. This was the start of what were known as the Old Price (or O.P.) Riots. For the next ten weeks every performance at Covent Garden was disrupted. The principal objective of the protesters was to force the management to restore the old system of pricing. By December 1809 the cost of legal fees, wages for bouncers, and free passes for allies who were paid to chant "N.P." ( 'New prices') meant that the theatre was losing £300 per night. Kemble accepted the demands of the rioters and made a public apology from the stage.

At the turn of the 19th century the Kemble family dominated the London stage. Actor John Philip Kemble (1757 - 1823) was said to be the finest actor in England and his sister, Sarah Siddons (1755 - 1831), was regarded as one of the greatest ever tragedians. In her first season, she performed 80 times in seven different roles, inducing faintings and hysterics amongst her audiences. John Philip Kemble made his debut on the London stage in 1783 as Hamlet. His acting style was static and declamatory, with long sweeping lines and a detached grandeur.

The popular actor Edmund Kean (1787 - 1833) replaced Kemble as the darling of the London stage after making his Drury Lane debut as Shylock in The Merchant of Venice in 1814. Kean was one of the few actors who could fill the vast Drury Lane theatre to its capacity of 3,000. His natural passion and fiery spirit suited a melodramatic style of acting. He was said to be at his best in death scenes and those that required intensity of feeling or violent transitions from one mood to another.

Melodrama became popular from the 1780s and lasted until the early 20th century. The first drama in Britain to be labelled a melodrama was Thomas Holcroft's A Tale of Mystery (1802). Melodrama consisted of short scenes interspersed with musical accompaniment and was characterised by simple moral stories with stereotypical characters - there was always a villain, a wronged maiden and a hero acting in an overblown style.

From the middle of the 19th century theatre began to take on a new respectability and draw in more middle-class audiences. They were enthralled by the historical accuracy and attention to detail that was becoming increasingly influential in stage design. Pictorial drama placed great emphasis on costume and reflected a fashionable interest in archaeology and history. The inevitable long and complex scene changes meant that plays, especially those by Shakespeare had to be cut. One of the main exponents of pictorial drama was Charles Kean (1811 - 68), son of Edmund Kean. Charles Kean was known for his painstaking research into historic dress and settings for his productions at the Princess's Theatre in London's Oxford Street during the 1850s.

19th century theatre was dominated by actor-managers who ran the theatres and played the lead roles in productions. Henry Irving (1838 - 1905), Charles Kean and Beerbohm Tree (1852 - 1917) all created productions in which they were the star. Henry Irving dominated the London stage for over 25 years and was hero-worshipped by his audiences. When he died King Edward VII and the President of the United States sent their condolences.

Shakespeare was the most popular writer for these actor-managers. It became fashionable to give Shakespeare's plays detailed and historically realistic sets and costumes. The stage spectacle was often more important than the play itself and texts were cut to allow time to change the massive sets and give maximum exposure to the leading role.

The first woman actor-manager in London was Eliza Vestris (1797 - 1856), a singer and dancer who also managed the Olympic Theatre from 1830. There she presented a programme of Burlesques, many starring herself. Other women managers in the 19th century included Madge Kendal (1848 - 1935) and Sarah Lane (about 1822 - 99) at the Brittania Theatre, Hoxton.

The greatest English actress of the late 19th and early 20th century was Ellen Terry (1847 - 1928). She joined the legendary actor-manager Henry Irving at the Lyceum Theatre from 1878 to 190 as his leading lady, and for more than the next two decades she was considered the leading Shakespearean and comic actress in Britain. Two of her most famous roles were Portia in The Merchant of Venice (1875) and Beatrice in Much Ado About Nothing (1882). In 1903 Terry took over management of London's Imperial Theatre where she focused on the plays of Bernard Shaw and Henrik Ibsen. However financial failure meant she returned to acting there years later.

The V&A holds The Ellen Terry Collection, which contains a vast quantity of correspondence, including letters written by Terry to her daughter, costume designer Edith Craig, and letters written from her stage co-star Henry Irving. The archive also contains a notebook of Terry's thoughts on Irving.

The sophisticated technology and machinery of the late 19th century stage produced a succession of 'sensation' dramas in which special effects became the principal attraction. Scene painters, working with expert technicians, produced realistic reproductions of the natural world. Using ropes, flats, bridges, treadmills and revolves, they could produce anything from a chariot race in Ben Hur to a rail crash in The Whip.

One of the greatest designers of 'sensation' scenes was Bruce 'Sensation' Smith. He worked at Drury Lane Theatre, which became the acknowledged home of such drama following the introduction of hydraulic stage machinery at the theatre in 1894.

The playwright Tom William Robertson (1829 - 71) introduced a new kind of play onto the 19th century theatre scene. His pioneering 'problem plays' dealt with serious and sensitive issues of the day. Robertson's work was considered so revolutionary in style and subject that no established management would produce his plays. "Danger", said Effie Bancroft, "is better than dullness" and she went on to produce a string of successful and profitable hits by Robertson, such as Ours (1866), Caste (1867), Play (1868) and School (1869). Caste was about marriage across the class barrier and explored prejudices towards social mobility. People talked in normal language and dealt with 'ordinary' situations and the performers didn't 'act' but 'behaved' like their audience - they spoke, they didn't declaim.

New drama in the early 20th century
The turn of the 20th century saw the emergence of two dominate trends in theatre: the dramatisation of contemporary, moral and social issues, and an interest in a simpler and more abstract staging of plays. Innovative work from abroad, particularly playwrights such as Henrik Ibsen and Anton Chekhov, was also influential in the shaping of this new drama.

Harley Granville-Barker's management of the Royal Court between 1903 and 1907 saw the popularisation of the work of George Bernard Shaw. Bernard Shaw was one of the most successful writers of the early 20th century and an outspoken member of the Fabian Society, an organisation committed to social reform and considered by many at the time to be subversive. He challenged the morality of his bourgeois audiences with his satirical and often humorous writing that included uncomfortable topics such as religion and prostitution. Many of his plays were censored by the Lord Chamberlain, including Mrs Warren's Profession (1893, first public performance in England 1925), which centred on a former prostitute and her attempt to come to terms with her disapproving daughter.

At a more grass roots level, theatre groups aimed at promoting the socialist cause and the Labour Party sprang up across the country.

Between 1926 and 1935 the Workers' Theatre Movement (WTM), which was allied with the Communists, used theatre to agitate for social change. WTM developed an 'agit-prop' style that took songs and sketches onto the streets in an attempt to incite change.

Unity Theatre grew out of the WTM. It's aim was 'to foster and further the art of drama in accordance with the principle that true art, by effectively presenting and truthfully interpreting life as experienced by the majority of people, can move the people to work for the betterment of society'. Unity pioneered new forms of theatre, presenting factual information on current events to audiences, as well as satirical pantomimes that challenged the Lord Chamberlain's censorship.

Other influential political companies included the Salford-based Red Megaphones and the Hackney People's Players. Committed to removing the bourgeois trappings of theatre, they wanted to create a more physical theatre that reflected the machine age. Popular plays were Ernst Toller's Masses and Men (1923)and The Machine Wreckers (1922) and Karel Capek's futuristic nightmare RUR (1920) where machines and robots are used to replace the working class.

Founded in 1908, the Actresses' Franchise League supported the suffrage movement by staging events and readings. By 1914, membership numbered 900 and there were groups in all major UK cities. Plays included Cecily Hamilton and Christopher St John's How the Vote Was Won (1909), and Hamilton's most famous work Diana of Dobson's (1908).

The Pioneer Players was founded by Edith Craig, daughter of Ellen Terry, the renowned English actress of the late 19th and early 20th centuries. The company aimed to present plays of 'interest and ideas' and particularly those which dealt with current social, political and moral issues, including suffrage. The Pioneer Players performed at the Little Theatre which operated as a club theatre to avoid the censorship of the Lord Chamberlain. Productions included Margaret Wynn Nevinson's In the Workhouse (1911) and Christopher St John's The First Actress (1911).

The repertory theatre movement was forged out of the passion and conviction of Barry Jackson and Annie Horniman, who believed that a wide variety of theatrical experience should be made available to people at a price they could afford. Horniman believed that by subsidising theatres you could both raise the standards of performance and broaden the programme a theatre could offer to its community.

Horniman was the daughter of a wealthy tea merchant with no family connections to the theatre but she recognised the cultural value of the state-subsidised repertory companies in Germany. In 1903, Horniman put up the money to open the Abbey Theatre in Dublin and the Gaiety Theatre in Manchester in 1907. In just ten years they produced over 200 plays at the Gaiety but were forced to close in 1917 because of financial difficulties.

Birmingham Repertory Theatre opened on 15 February 1913 with a production of Shakespeare's Twelfth Night. Its founder Barry Jackson, like Horniman, was passionate about the need to offer the people of Birmingham a wide variety of theatrical experience, and personally subsidised the building of the Rep Theatre as a base for his company.
Club Theatres in the early 20th century
In 1899 the Stage Society was founded with the aim of supporting a theatre of ideas. Frustrated with the conservative nature of more commercial theatres, it presented private Sunday performances of experimental plays that had not been granted licences by the Lord Chamberlain. After a police raid on their first production (Bernard Shaw's You Never Can Tell) it was argued that because these were private performances, the Lord Chamberlain's restrictions on Sunday performances and licensed plays were not applicable. The Stage Society won the case and other 'club' theatres opened with members paying a small subscription rather than an entrance fee. These theatres became the home of unlicensed, experimental and controversial plays - a situation that lasted until 1968 when censorship was finally overturned.

The Arts Theatre opened as a club theatre in 1927 and quickly developed a reputation for innovative and exciting work. Plays by French and German writers such as Racine and Goethe were staged there, as well as new writing from British playwrights. Actors such as John Gielgud and Sybil Thorndike worked at the Arts Theatre even when they were well known in the West End - such was their commitment to presenting more experimental work.
West End theatre between the wars
West End theatre between the wars was a strange mixture. For the most part theatres were impoverished by the Depression and remained conservative both in the content of their work and the staging.

The plays of George Bernard Shaw, Somerset Maugham, Terence Rattigan, Noël Coward and J B Priestley dominated the scene. Whilst Priestley and Shaw had a strong left-wing agenda, the plays were essentially conservative in form. Shakespeare's plays virtually vanished from the West End. His home now was the Old Vic Theatre and the regional repertory theatres which experimented with contemporary dress productions. It was John Gielgud who brought Shakespeare back to the West End in 1935 with his productions of Romeo and Juliet, Richard III and The Merchant of Venice.

Commercial theatre thrived and at Drury Lane large budget musicals by Ivor Novello and Noël Coward used huge sets, extravagant costumes and large casts to create spectacular productions. Coward's Cavalcade (first production in 1931) was an epic play which traced the history of the early years of the 20th century through the lives of one family. Coward remained one of the popular writers of this period with comedies such as The Vortex (1924), Fallen Angels (1925) and Present Laughter (1942).

The Second World War saw a surge of interest in the arts with many civilian and military audiences experiencing drama, opera and ballet for the first time. This interest led to the establishment of the Arts Council by the government in 1946 with an annual grant to distribute among the arts. This grant ensured the survival of companies like the Sadler's Wells Ballet and Opera and the eventual establishment of the Royal Opera, the Royal Shakespeare Company and the National Theatre, as well as supporting theatre in the regions and the work of individual artists and companies. By 1956 the Arts Council was subsidising 40 companies across the country and between 1958 and 1970 15 new theatres had been constructed with public money.
Post-war West End theatre
After the end of the Second World War, the West End was dominated by the commercial sector. Farces and 'who-dunnits' became popular, the most famous being The Mousetrap, an adaptation of an Agatha Christie novel that opened in 1952 and is still going today. The glamorous productions of the 1950s, produced by Binkie Beaumont and H M Tennent, soon became economically unviable. Actors moved into TV to make more money and West End productions shrank in size.

This period also saw an explosion of new writing with John Osborne's Look Back in Anger (1956) seen as the landmark for a new generation of young writers who included Arnold Wesker, Tom Stoppard, Edward Bond and Harold Pinter. Small venues continued to promote and support new writing as more experimental productions moved into the mainstream theatres, including George Devine's Royal Court. The phrase 'In yer face theatre' has been applied to many of the young writers who were produced by the Royal Court in the 1990s. This aggressive and confrontational style was designed to assault the audience's sensibilities. It explored the gut-wrenching extremes of the human condition and rammed the excesses of contemporary society down its throat. One of the most successful 'In yer face' productions was Mark Ravenhill's Shopping and Fucking, which opened at the Royal Court in 1996. "A shocker in every sense of the word", declared The Daily Mail.

The National Theatre Company was formed in 1963 at the Old Vic under Laurence Olivier and moved to its new home on London's South Bank in 1976, directed by Peter Hall. Peter Hall had also directed the first years of the Royal Shakespeare Company at Stratford-upon-Avon.

Political theatre also flourished at this time - notably the work of Joan Littlewood and the Portable Theatre Company, who produced young political writers such as John McGrath, David Edgar, Trevor Griffiths, David Hare and Howard Brenton. The company Joint Stock pioneered a process of collaborative working, with writers workshopping their ideas with the company to develop a script. Joint Stock was responsible for developing many of Caryl Churchill's early plays.

The end of theatre censorship in 1968 saw a surge in the alternative theatre movement in Britain. No longer restricted by the Lord Chamberlain's censorious eye, companies were free to express any agenda they chose. Feminist theatre companies like Red Ladder and the Women's Theatre Group (now the Sphinx) began to put on plays that expressed the political agenda of the feminist movement and questioned the male dominance of writers and directors in British theatre. Women writers like Caryl Churchill and Pam Gems wrote for companies like Joint Stock before moving onto success in mainstream theatre.

Companies also explored new ways of creating theatre, devising work which aimed to be more democratic by involving the whole company in all aspects of the creative process from initial concept to final performances.

In the funding crisis of the 1980s many 'alternative' companies had their (meagre) subsidy cut and could no longer afford to continue. However, others successfully developed into the mainstream like Hull Truck and Mike Leigh who later moved successfully into film and television.
Physical and visual theatre
Throughout the 1980s and 90s companies began to experiment with a more physical type of theatre. They wanted to get away from the restraints of realistic and naturalistic drama and create an energetic visual theatre that combined strong design with choreography and physical imagery. Influenced by the work of Philippe Gaulier and Jacques Lecoq, companies such as Theatre de Complicite applied their style to the reworking of classic texts and created new work in collaboration with writers.

This departure was not completely new - in the 1960s Peter Brook had become interested in a more physical and visual theatre. He had been inspired by Japanese Noh theatre and influenced by the work of Adrienne Mnouchkine's Theatre du Soleil in Paris. Earlier innovators in this area included Bauhaus, Dadaist and surrealist performers, choreographer Rudolf Laban and directors Meyerhold and Jerzy Grotowski and Richard Schechozer.

Today, theatre companies and groups are producing ever-more experimental works that explore social and political questions and challenge conventions of what a performance is and how it should be presented.

Blast Theory describe their work as collaborative and interdisciplinary. Works such as Can You See Me Now? (2001) - a chase game played online and on the streets mixed video games and performance, whilst I'd Hide You (2012), My Neck Of The Woods (2013) and Too Much Information (2015) engaged diverse audiences through different media. Similarily, Punchdrunk, a British theatre company, produces work that eliminates the boundaries between stage and audience by creating immersive presentations in which the audience is free to choose what to watch and where to go.

The National Video Archive of Performance
The V&A holds the National Video Archive of Performance (NVAP), archive of over 300 high quality live theatre performance recordings made since 1992. This unique collection is available for free to all whether you are a researcher, an actor preparing for an audition, a stage designer reviewing past interpretations, or someone who missed the opportunity to attend a production during its run.

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The V&A's Theatre and Performance collections chart the fascinating history of theatre in Britain from the middle ages to today. From early dramatic forms, such as mystery plays and court masques, to the alternative and 'in yer face' drama of the late 20th century, via the patriotic wartime entertainment of the 1940s, and the foundation of institutions such as the Arts Council and the National Theatre.

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Dance is a form of art made by purposefully recreating selected sequences of human motion, which can be imbued with the values of aesthetics and symbolism acknowledged by performers and observers from within the particular culture. The dance itself can be freeform or have a predefined choreography that may or may not align with traditions of origin or historical period.

The dance can be performed to serve various functions (social, competitive, ceremonial, martial, erotic...). Still, it also has two distinct forms - theatrical dance in which dancers perform for an audience, and participatory social dance where dancing in a group is encouraged by anyone. Participatory dances are most commonly performed at weddings, social gatherings, and festivals. They can be enjoyed with folk music alone or in groups (pairs, lines, chains, or other forms).

Theatrical dance is known for having more elaborate choreography, planning, costume, scenery and other elements that make the entire production feel more professional. The performers of theatrical dance are usually professional " virtuoso dancers" who practice their craft over the years. They are often tasked to interpret the musical accompaniment with advanced dance moves or routines.

Origins and Early History

The dance has always been with us, even before the arrival of written language and modern history when our earliest cultures evolved utilizing oral and performance methods to pass the stories from one generation to the next. Many historians believe that social, celebratory, and ritual dances are essential factors in the development of early human civilizations.

The earliest findings have pinpointed the origins of ancient dances in 9000-year-old India or 5300-year-old Egypt. Still, the records of more common infusion of dance into modern culture can be found in Ancient Greece, China, and India. All these old dances evolved, eventually morphing into various Roman and European medieval, traditional Chinese, Hindi, and other traditional dances, respectively.

After the arrival of the European Renaissance, the history of music and dance exploded with new additions to song and dance. Ease of travel and immigration to the new world brought these dances into the mix with many native cultures of the New World, forging countless new dance types that are still popular today.

Do you know these facts about dance?

First archeological proof of dance comes from the 9 thousand-year-old cave paintings in India.

One of the earliest uses of structured dance was introduced in religious ceremonies that told the stories of ancient myths and gods. Egyptian priests used this kind of visual storytelling in their rituals.

Ancient Egyptians used dancing for both entertainment and religion.

Dance represented important parts of many Greek and Roman religious ceremonies.

Ancient Greeks and Romans annually celebrated their wine gods Dionysus and Bacchus with several days long festivities filled with alcohol, song , anddance.

History of European medieval dance is fragmented and limited, but it is believed that simple folk dances were widespread among common and wealthy classes.

Modern dance history in Europe started with Renaissance, when many new dances were invented. After that, periods of Baroque, post-French Revolution, the Elizabethan era, World War 1, Prohibition, Ragtime, and pre-WW2 brought many new dance styles.

Waltz, one of the most popular dances today, came into popularity in the mid-19th century through the efforts of the famous composer Johann Strauss, but its origins can be traced even to the distant 16th century.

At first, the waltz was performed at arm's length between male and female dances. The shocking transition to the close embrace happened only after English Queen Victoria fell in love with the dance and forced this change.

Around 30 thousand people are employed in the UK dance industry today, maintaining around 200 dance companies.

Even people in wheelchairs can dance! Such dancing is very popular in Europe, where there are even competitions in Latin dances with special wheelchair choreographies.

Professional dance is today regarded as one of the most demanding physical abilities and sports. According to studies, 80% of all professional dances have at least one major injury during their career, and a staggering 93% of all dance teachers were forced into that position after career-ending injury.

High amount of injuries in professional dancing is induced by high levels of fatigue, little time for rest, inadequate healing techniques, and high-stress levels. All those factors can produce burnout periods when dancers have decreased strength, coordination, and cognitive and immune functions.

Lion Dance is one of the most popular religious and ceremonious dances in China and the surrounding countries of Taiwan, Korea, and Japan. This dance can signify bringing of good fortune, ward off evil spirits, and be an excellent showcase in martial arts proficiency.

Facts about Dancing

Professional dances are today regarded as athletes.

Dancing is very beneficial to your health. It lowers the chances of heart and blood vessel diseases, improves posture and weight, reduces stress and tension, improves brain function because of the constant presence of music, and can improve the relationship between dance partners.

Because of the need to maintain a strict head position while dancing, doctors often prescribe the use of dance for those patients that need to develop their peripheral vision.

First balled dancer that used pointe shoes was Marie Taglioni in 1832 ballet "La Sylphide".

One tutu shoe costs up to $2000 dollars to be made, and one ballerina wears between 2 and three pairs per week.

Because of the high physical demand on their bodies, most professional dancers retire from dancing during their mid-30s.

Famous modern dance Cha-Cha originated from Cuba.

Famous energetic ballroom dance can-can (or cancan), performed by a row of female dances in long skirts, originated from 1830s Paris ballrooms.

The origin of tap-dancing comes from the tribal dances of enslaved Africans. Their arrival in North America introduced that dance to western audiences.

Dancing with metal tap shoes became popular in United States during 1920s and 1930s. One of the most famous tap-dancing performers of that time were Nicholas brothers, who were instrumental in bringing that dance style into Hollywood movies.

Famous movie stars such as Fred Astaire, Ray Bolger, and Gene Kelley used tap dancing to enchant the minds of the worldwide audience with great success.

Hindu religion closely relates to dance and music. This connection can most visibly be seen in the countless Bollywood movies that all celebrate dancing.

One of the dances that changed the landscape of dance history completely is ! This energetic dance focused on young women who liked to jump, hop and turn swept across the world in the mid-19th century.

Dancing represent great physical exercise for people of all age. It can be safely practiced from the age of 2 to 102!

Many historical waves of dance were perceived as the "destructors" of the old way of dance. Examples of that can be found in the 1920s Charleston and the era of Rock music.

First ballroom dance that was ever created is Italian Viennese Waltz.

One reason that ballroom dancing is starting to become popular is the famous TV competition show "Dancing with the Stars".

Enslaved Africans that were brought to Brazil 300-400 years ago were prohibited from practicing martial arts. Therefore, they developed the mix of dancing and fighting known today as capoeira.

Breakdancing was first created as a "less lethal" form of fighting between warring African-American street gangs in the 1970s Bronx area of New York City. This form of dancing re-emerged in worldwide popularity during the 1990s.

Dance marathon competition started as early as 14th century England. They reached the height of their popularity in the bloom of US entertainment expansion during the 1930s depression era. Some competitions were performed in the 22-day-long marathons.

The most sensual dance of modern times is without a doubt a . It originated in 1890s Argentina but quickly became very successful in Europe.

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Dance is a form of art made by purposefully recreating selected sequences of human motion, which can be imbued with the values of aesthetics and symbolism acknowledged by performers and observers from within the particular culture. The dance itself can be freeform or have a predefined choreography that may or may not align with traditions of origin or historical period.

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Working Backstage illuminates the work of New York City’s theater technicians, shining a light on the essential contributions of unionized stagehands, carpenters, electricians, sound engineers, properties artisans, wardrobe crews, makeup artists, and child guardians. Too-often dismissed or misunders…

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Technical Theatre History Video & Study Resources

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Technical Theatre History Video & Study Resources

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Musical Theatre: A History is a new revised edition of a proven core text for college and secondary school students - and an insightful and accessible celebration of twenty-five centuries of great theatrical entertainment.

As an educator with extensive experience in professional theatre production, author John Kenrick approaches the subject with a unique appreciation of musicals as both an art form and a business. Using anecdotes, biographical profiles, clear definitions, sample scenes and select illustrations, Kenrick focuses on landmark musicals, and on the extraordinary talents and business innovators who have helped musical theatre evolve from its roots in the dramas of ancient Athens all the way to the latest hits on Broadway and London's West End.

Key improvements to the second edition:
· A new foreword by Oscar Hammerstein III, a critically acclaimed historian and member of a family with deep ties to the musical theatre, is included
· The 28 chapters are reformatted for the typical 14 week, 28 session academic course, as well as for a two semester, once-weekly format, making it easy for educators to plan a syllabus and reading assignments.
· To make the book more interactive, each chapter includes suggested listening and reading lists, designed to help readers step beyond the printed page to experience great musicals and performers for themselves.

A comprehensive guide to musical theatre as an international phenomenon, Musical Theatre: A History is an ideal textbook for university and secondary school students.

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Musical Theatre: A History is a new revised edition of a proven core text for college and secondary school students - and an insightful and accessible celebration of twenty-five centuries of great theatrical entertainment. As an educator with extensive experience in professional theatre production, author John Kenrick approaches the subject with a unique appreciation of musicals as both an art form and a business.

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Complete all the information on a word doc required and begin the design of the pages on canva

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Complete it

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Finish and expand on some pages of my magazine assignment.

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Not struggle to finish it

(AND MAKE SURE IT DOESNT DELETE ITSELF.)

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Complete my medieval section and start on 19th century

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To complete the final 2 eras and double check my work.

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Finish researching 21st century theatre and go back to finish timeline

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to finish my 2nd module and to focus

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Focus more and finish more of my work by going into deeper information. L

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Make sure i refer to websites if needed for the info, try and do the most i can.

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To finish up task 2 and make sure I have everything I need to submit. Make sure I’ve talked about each era to the most detail I can. To see if I have referenced my information correctly.

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Actually do something.

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Try and do a page per 30 minutes (so 5 pages).

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Understand what points I need to look into more for full my magazine.

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Finish the layout of each era on Canva and finish the information on two remaining eras

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Research + start writing 20th Century

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focus and add some more info

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Finished researching and designed pages

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Complete at least one of the eras

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not talk to holly or elle they are ruininv my chances of a career

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Research next era

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To research into medieval + renaissance and write this up and hopefully 20th century

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To finish the modern theatre information bit and to read through all completed bits.

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Report warns that performing arts under threat from future global shocks unless lessons are learned from pandemic

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Live performing arts are facing an existential threat from a range of potential global shocks unless there is significant and sustained investment in resilience planning.

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Report: mental health issues surge in UK performing-arts sector

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The British Association for Performing Arts Medicine (Bapam) is celebrating its 40th anniversary this year.

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Acting/Dance/MT: Future of the Performing Arts Article 

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Acting/Dance/MT: Future of the Performing Arts Article 

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Compile an article of 1500 – 2000 words which informs the reader of the potential opportunities within the future of the performing arts industry. You will evaluate and analyse how the performing arts industry is evolving in relation to several factors and points of view (performing artists, production roles, audiences, accessibility, funding etc).  You will make educated judgements on the future performing arts industry, including threats and opportunities, negatives, and positives. You will analyse the impact any possible future developments and the impact this may have on the industry and the issues that it may bring for gaining employment within the industry and your specialism.

Things to consider:

●      Growth of mass media

●      Funding of performing arts (e.g. in schools)

●      Self-promotion, networking and securing work

●      Sustainability

●      Diversity

●      Digital advancements

●      Development of AI and ‘Deep fakes’

●      Risk of Automation within the performing arts industry

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Sustainability within the Performing Arts

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Sustainability within the Performing Arts

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Association of British Theatre Technicians

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Sustainability in Live Performance - Association of British Theatre Technicians

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Theatre Green Book Resources: Groups and individuals across theatre have been talking for some time about how to make theatre more sustainable and working on blueprints to promote change. The Theatre Green Book aims to bring that thinking together into one place, and develop it as straightforward, p…

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The UK Performing Arts Industry: A Breakdown | Performers College

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As a predominantly live medium, the performing arts has faced challenges - But theatre is embedded in the the UK psyche, and we’re not ready to let it go.

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Need to create an account with The Stage to access article.

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What’s in store for 2024? Theatre leaders share their forecasts

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Industry leaders, including SOLT/UK Theatre co-chief executive Claire Walker, Bristol Old Vic artistic director Nancy Medina, Paul Miller of Stage Directors UK, Tamasha artistic director Pooja Ghai, Campaign for the Arts director Jack Gamble and Shakespeare’s Globe chief executive Stella Kanu reveal their hopes and fears for the year ahead

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Rampant inequality, public services slashed to the bone, health and social care in crisis, bankrupt local authorities and a treacherous mountain of national debt stand high on the present government's list of headline achievements. The Conservative Party's threadbare economic legacy is set to bedevil whoever wins the next election.

An incoming Labour administration would face profound challenges on the home front, including those rooted in the failed experiment of austerity, and geopolitical threats not seen for a generation. At some point, however, it would need to address the matter of 'Bread and Roses', the need to feed the soul as well as the body.

What funding has been lost

Arts funding has seen a dramatic and damaging decline since the Tories came to power in 2010. During the Coalition government's term (2010-15), the overall budget for the Department for Culture, Media and Sport was reduced by almost a quarter from £1.4 billion per annum to £1.1 billion.

The downward funding trend has continued since, with grant-in-aid and lottery money to the arts falling in real terms by £178 million between 2010 and 2023. Arts Council England's (ACE) budget was trimmed by around 30% over the same period, an all-too-clear reflection of the government's ideological drive to shrink the size of the state.

The arts have fared little better under the devolved administrations. Having reversed its plan to cut Creative Scotland's budget by 10% in February 2023, the Scottish government reimposed its decision seven months later to leave the funding body £6.6 million poorer. The Scottish Government has since promised 100% increase in arts funding but we are yet to see how this is going to be delivered.

Arts Council Northern Ireland's government grant fell by a staggering 63% between 2010 and 2020. The Arts Council for Wales has also received real-terms budget cuts of around 21%, with Mid Wales Opera and the National Theatre of Wales among those organisations bumped from its latest list of regularly funded clients.

The damage done

Measured in terms of overall government spending, the amounts 'saved' are vanishingly small; the damage they have caused to individual arts organisations and practitioners, however, from English National Opera to grassroots promoters, contracted orchestral players to freelancers, has been enormous.

Local authority arts funding in England, Wales and Scotland lost around a third of its value between 2010 and 2018, while councils in Northern Ireland reduced arts spending by 16%. Many local authorities have since made deeper cuts to arts funding: Suffolk County Council, for example, began this year by announcing cuts to all core funding for arts and heritage organisations, worth £528,000 per annum, before securing additional government money and offering a one-off pot of £500,000 open to bids from all of Suffolk's arts organisations.

A conscious choice by government

The statistics bear witness to the government's conscious choice to downgrade arts funding across the UK. Diminished public money has inevitably undermined the work of world-class arts institutions, multiplied the number of cultural 'cold spots' and, despite breezy talk from cabinet ministers about levelling up, narrowed rather than widened access to the arts.

Orchestral musicians, whether contracted or freelance, have certainly been hit hard by the combined effects of funding cuts, pandemic lockdowns and a performing arts sector reeling from the increased costs of doing business. Many have been affected by ACE's decision to make English National Opera's future funding conditional on the company's relocation from London to Greater Manchester. Others have been rocked by the removal of Britten Sinfonia from the Arts Council's most-favoured list of National Portfolio Organisations, the loss of Glyndebourne Touring Opera to ACE funding cuts and the partial replacement of Northern Ballet Sinfonia with recorded music for the company's 2024 touring programme.

The need to boost spending

MU General Secretary Naomi Pohl calls on the next government to boost spending on the arts. The music industry generates large returns to the UK economy from the public investment it receives, contributes to the common good and enhances the nation's collective happiness. Those conditions have been undermined by sustained funding cuts, leaving the arts and the country poorer.

She said: "It's obvious that we need a bigger pot of arts funding. There are so many things arts organisations are now expected to do, for all the right reasons, from music education and outreach projects to work in healthcare. But there's a lot less money for them to do it.

"We want to see the music sector diversify and for classical music to become more diverse in all sorts of ways. That's made so much harder by year-on-year funding cuts."

Clarion call

Given the impoverished state of the nation's finances, the MU does not expect Labour to set ambitious spending commitments ahead of the general election. Yet the fact that Shadow Secretary of State for Digital, Culture, Media and Sport Thangam Debbonaire was once a professional cellist and understands how the orchestral economy works suggests that, in government, she would push for increased investment in the sector.

Debbonaire sounded a clarion call at the Labour Party Conference last October to "fire up the engines of our creative economy" and enrich lives through music, art and culture, while announcing what would be the first ever national cultural infrastructure plan.

"Thangam's so passionate about music," observes Naomi Pohl. "We'd love to see her in government. The current Secretary of State has shown signs of engagement with the sector, but we have had previous Secretaries of State who have not wished to engage."

The cumulative effects of deep funding cuts and the general disinterest in music shown since 2010 by a dozen Tory culture secretaries have fallen hard on the orchestral workplace. Naomi cites the example of orchestras holding vacant posts open to avoid the costs of contracting full-time players. "It's a really sad state of affairs when organisations say they can't afford to put on productions because they're too expensive and will mean they lose money. We have to hope for a change of government this year and more money to come for arts funding. Until then, we must hold on to what we have."

The need for strategic investment

A prudent increase in public arts funding, she adds, would enable orchestras to restore their finances, develop bold new projects, strengthen equality, diversity and inclusion initiatives, and play their part in building flourishing communities.

"We're calling for strategic investment in the arts, not lavish spending. The orchestral sector has been helped by the higher rates of Orchestra Tax Relief, which have been extended until April 2025.

"Any incoming government cannot remove that without causing serious problems in a sector that's already struggling. At the very least, they need to keep it in place at the higher level."

Reassessing the role of Arts Council England

Beyond lobbying a Labour government for greater public investment in the arts, the Musicians' Union calls for a post-election debate about the purpose of Arts Council England.

Naomi Pohl believes that ACE's latest round of National Portfolio Organisation funding and broader Let's Create strategy for 2020-30 have delivered mixed messages about access and excellence, especially so given the funding cuts it made to high-calibre organisations with strong track records in outreach work.

"The debate has become too focused on a choice between access and excellence," she comments. "We want the Arts Council to promote both. Yes, we want to see greater diversity; yes, the arts shouldn't be London-centric and staffed mainly by white, middle-class, privileged people. But we have to find a way to deliver greater access and diversity without destroying our great orchestras and opera companies."

Funding and music education

Chris Walters, the MU's National Organiser for Health and Wellbeing says that cuts to music education budgets and the unequal, often patchy distribution of money for music in state schools reflect the Tory government's failure to recognise the true value of music as part of a broad and enriching curriculum.

England's network of music education hubs, introduced by government in 2012 to address nationwide inequalities in children's access to music provision, have operated on standstill funding for a decade and struggled to narrow the 'musical divide' they were created to close.

"Funding for the hubs has not kept pace with inflation and the cost of what they spend money on has risen," comments Walters. The funding streams that feed music education, he adds, have become unnecessarily complex and weak under the Tories. "When I was learning, most schools' music services came under their local authority and schools often had healthy budgets for music.

"But now the funding comes from so many different streams, all of which have been reduced. The net result is that learning a musical instrument is now not really accessible unless your parents can pay for it. So there's been a big generational change which is leading to a social mobility issue in our professional orchestras and West End bands and session bands."

Broader, richer curriculum

If elected to government, Labour's nationwide cultural infrastructure plan and Shadow Education Minister Bridget Phillipson's vision for greater emphasis on music as part of a 'broader, richer curriculum' will no doubt be challenged by competing calls on the public purse.

"We know that Labour wants to improve things," observes Naomi Pohl. "The will is certainly there even if the money for arts funding might not be straight off the bat. We have to believe that a Labour government will put more money in. If they don't, quite frankly, we're stuffed!"

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The Damage Caused by a Decade of Arts Funding Cuts

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The MU assesses the severe economic, social and cultural damage caused by a decade of Tory arts funding cuts.

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Positive; Performing arts one of the fastest growing sectors in economy 

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Positive; Performing arts one of the fastest growing sectors in economy 

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The combined value to the economy of visual and perfoming arts including theatre, opera and music has risen nearly 18 per cent on its pre-pandemic level, figures published by the Department for Culture, Media and Sport (DCMS) show.

Data in the DCMS Economic Estimates report show the category of music, performing and visual arts is 17.9% up on its pre-pandemic level, with its economic value growing from £921m in February 2020 - the last figure before the pandemic - to an estimated £1,086m in June 2023.

That is significantly sharper growth than the creative industries or cultural sector as a whole, which grew by 13.9% and 9.5% respectively over the same time period. The creative industries grew from £9.1bn to £10.3bn, and the cultural sector from £2.6bn to £2.9bn. Overall growth across the entire UK economy was 0.8%.
READ MORE:
Despite the impressive statistics, leaders in the sector have warned that many music venues and theatres are continuing to experience difficult times.

This rising economic contribution of performing arts, visual arts and music comes at a time when many such organisations are experiencing cuts in the public funding they receive.

Although overall funding from Arts Council England to National Portfolio Organisations increased by 9% to £446m a year for the 2023-26 investment period, the money is being shared among more organisations, meaning many previously-funded organisations are receiving less, with others having their funding pulled altogether.

And last week Arts Professional revealed that combined local authority funding for arts, theatres and museums is predicted to be 6.3% down on last year, a real terms drop of £60m.

Inflationary pressure

David Leigh-Pemberton, Head of Policy and Public Affairs at the Society of London Theatres/UK Theatre, said that while theatres reported strong sales last year, inflationary pressure is a still significant issue.

"The latest box office report, specifically examining 2022 data from the theatre industry, shows that audience attendance figures are strong (up 7.2%) and average ticket prices are remaining steady (increased by just £2.21)," he said.

"But, when coupled with rising production costs, the overall recovery to the sector is slower than the DCMS figures might indicate (revenue fell 1.1% when adjusted for inflation)."

He added: "Although DCMS may use these figures to inform policy, they also use engagement with the sectors and businesses. [We] engage regularly with DCMS on issues important to the sector, including promoting the benefit to society and the wider economy of a strong funding platform for theatre and the arts."

Incredibly difficult circumstances

CEO of Music Venue Trust, Mark Davyd, told Arts Professional that the way in which the figures are grouped together in broad categories means they "miss the nuances about how each part of the sector is performing".

He said while high-value music events to large audiences are "having their best year ever by a very wide margin", with ticket prices for individual headline stadium shows rising by more than 30%, the story for grassroots music venues and the UK's "talent pipeline" is very different.

"At the grassroots music venue level, we are facing incredibly difficult circumstances which have resulted in more than one venue per week closing - 66 venues closing in the last 12 months," he said.

"We have more than 80 venues currently using Emergency Response Service [for advice], with the expectation that somewhere in the region of 50% of these will be forced to close.

"We are able to predict with some confidence that over 100 venues will close this year as the least worst case scenario, with potentially more than 200 going out of business for live music."

The sector, he continued, was operating at a 0.2% profit margin in 2022. But due to "a perfect storm" of the energy crisis, staffing costs, competition for audience attention, inability of artists to meet touring costs resulting in fewer grassroots tours and the cost-of-living crisis, this has "fallen into negative territory".

Market failure

Davyd added: "The DCMS report tells you that an entire sector is prosperous, but does not detail the very significant market failure and collapse of the talent pipeline within it.

"These are issues DCMS are fully informed on and taking action to tackle, but plainly an industry that is making incredible returns at the top while the bottom collapses has some responsibility to act to prevent the loss of future talent."

"Basically, you fix the roof while the sun is shining, and the live music industry is failing to do that and relying on the government to bail out its grassroots sector."

"While it's welcome that the contribution of the creative arts to our economy has grown, significant challenges remain for the UK music industry amid intense global competition.

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Performing arts among fastest growing sectors of economy

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Government figures reveal the economic value of music, performing and visual arts is outperforming the rest of the economy, but sector leaders warn individual venues continue to struggle.

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A look ahead to arts marketing in 2024 - CultureHive

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Key trends for arts marketing in 2024: audience behaviour, platforms, content formats, AI, values-based marketing, team dynamics, advocacy.

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Macro-trends in dance teaching / elements to be aware of

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Macro-trends in dance teaching / elements to be aware of

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As a business owner, it's important to understand the macro trends that may affect your industry in the years ahead. This is especially true for dance studio owners, as demographic shifts, technological advances, and ever-changing consumer preferences are just some of the factors impacting how we operate our businesses.

The goal of this article is to anticipate one key trend that will be affecting dance studios in 2024: staying on top of current innovations and developments on both local and national levels so you can plan for success in the future. We'll explore everything from online classes to new payment options available specifically for dance studio owners-and more! Read on if you're looking to stay ahead of changes in your sector come 2024.

The Digital Leap

The digital wave has transformed the dance industry in unprecedented ways. The trend towards digitization, expedited by the pandemic, is not just about surviving anymore - it's about thriving in a new era. Virtual dance classes became the norm, breaking geographical barriers and enabling studios to reach a wider audience. Many dance studios invested in Zoom subscriptions, virtual reality tools, and high-definition cameras to ensure high-quality, interactive online classes. However, this is just the tip of the iceberg.

Emerging in 2023 and 2024, Augmented Reality (AR) and Virtual Reality (VR) (with tools like Apple's Vision Pro) can offer a more immersive and interactive dance learning experience. For example, as we move into the future, these technologies can allow students to dance alongside virtual instructors in real time, fostering an unparalleled level of engagement.

By being aware of the developments of AR and VR, dance studios can be on the cutting edge of innovation with AR dance classes, offering immersion to people anywhere in the world and expanding their target market substantially.

The Power of Social Media and Influencer Marketing

In 2024 and beyond, social media will be more influential than ever. Dancers are gaining recognition and launching careers through platforms like TikTok, Instagram, and YouTube. Leveraging these platforms for your dance studio can help increase visibility and attract new clients. One way to take advantage of this trend is to collaborate with dance influencers to showcase your studio's unique style and offerings or even work to become a dance influencer yourself!

Health & Wellness Integration

Covid-19 affected not only our physical health but also our mental health. As more individuals prioritize their physical and mental well-being, the integration of health and wellness into dance education will continue to grow. Dance studios are transitioning from simply being a place to learn dance to becoming holistic wellness centers.

To achieve this, some studios are differentiating themselves by integrating dance therapy sessions, wellness workshops, and mindful movement classes into their curricula. If you're considering this trend, start by surveying your current clients to see if this is something they'd be interested in. If not, consider targeting a new market for this unique service. Additionally, keep in mind that investing in qualified professionals who can deliver these services will be paramount.

Inclusivity & Accessibility

The dance industry has been gaining momentum in its quest for inclusivity and accessibility. In 2024, dance studios will be places of diversity where everyone feels welcome. This involves offering classes tailored to different age groups, abilities, body types, genders, and cultural backgrounds.

Additionally, with the rise of adaptive dance programs and wheelchair dance classes, we foresee a future where dance is accessible to everyone. Online classes have also played a significant role in improving accessibility, allowing individuals who cannot attend in-person classes to participate remotely.

Sustainability

Another dance studio trend on the horizon is the increased focus on sustainability. This encompasses environmentally friendly practices, such as reducing energy consumption and waste, but also extends to creating a sustainable business model that balances profitability and social responsibility.

In 2024, you should expect dance studios to adopt green initiatives like using renewable energy, eco-friendly dance wear, and digital solutions to reduce paper waste. Luckily, these can also help save costs and improve efficiencies.

Automation and Streamlined Business Operations

Dance studios now invest in new tools and technologies to streamline their businesses. For example, studios are turning to robust customer relationship management (CRM) systems, booking and payments software, and digital marketing tools. With these resources, they can manage their customer base, streamline operations, and reach potential students more effectively.

Furthermore, many studios are also investing in data analytics tools. These tools analyze data from their digital platforms to garner insights into customer behavior, preferences, and engagement levels, thereby informing business decisions and driving growth.

Personalized Dance Experiences Through Client-Centeredness

With advancements in data-driven marketing and advanced analytics, dance studios now have the tools to delve deeper into understanding their clients' preferences. These insights can provide a customized dance experience that aligns with individual learning styles, preferred dance genres, and personal goals.

As we transition into 2024, this client-centered approach will become more prevalent. Dance studios that can adapt their offerings and teaching methods to the unique needs of their students will stand out in the market and garner the loyalty of their clients.

The Influence of the Gig Economy on Dance Instruction

The gig economy has redefined traditional employment structures across industries, and the world of dance instruction is no exception. Encouraged by flexible work schedules and the rise of freelancing, more dance professionals are opting to become independent contractors.

Above image courtesy https://financesonline.com/gig-economy-statistics/

This shift is significant for dance studio owners, as it opens up opportunities to engage with a diverse talent pool on a flexible, as-needed basis. This trend could prove invaluable, allowing studios to adapt their offerings based on shifting student preferences, emerging dance styles, or fluctuating class sizes. Dance studios capable of navigating this trend by building a robust network of freelance instructors will be well-positioned for success.

Purpose-Driven Businesses

In this era of conscious consumerism, the resonance of your dance studio's brand extends beyond the dance floor. Many students and their families align themselves with studios that reflect their values and contribute positively to society. Dance studios with a clear mission, promoting inclusivity, or engaging in community outreach will find an appreciative and loyal customer base.

As we move forward into 2024, articulating your studio's vision and social impact effectively can significantly boost your studio's image, attracting both students and talented instructors who want to be part of a purposeful venture.

The Bottom Line

The upcoming trends of 2024 represent not just challenges but opportunities. As a dance studio owner, you are not just an educator but an innovator and entrepreneur. By recognizing and integrating these macro trends, you can create a dynamic and thriving dance studio ready for the future.

It's about adapting to change and utilizing these changes to elevate the dance education experience. Here's to a future of dance that is exciting, innovative, and inclusive!

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Macro Trends That Will Affect Your Dance Studio in 2024 - The Studio Director

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Discover the macro trends that will shape the future of your dance studio business in 2024 and how you can stay ahead of your competitors.

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Theatre Workforce Review (including technical theatre) 

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Theatre Workforce Review (including technical theatre) 

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The Perils of Artificial Intelligence in Theatre Production Design

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The Perils of Artificial Intelligence in Theatre Production Design

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The Perils of Artificial Intelligence in Theatre Production Design — OnStage Blog

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“AI’s growing presence in theatre production design poses significant risks to the integrity of the art form. It threatens human creativity, eliminates skilled jobs, and reduces theatre to a soulless process. Theatre is, and always should be, a celebration of human ingenuity, emotion, and conne

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The Real Threat Of Automation & AI In Filmmaking, And Why Specialists & Freelancers Are At Risk

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The Real Threat Of Automation & AI In Filmmaking, And Why Specialists & Freelancers Are At Risk

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The Real Threat Of Automation & AI In Filmmaking, And Why Specialists & Freelancers Are At Risk - Noam Kroll

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There’s a lot of speculation about how AI, automation and other technological breakthroughs will change the film industry in years to come… But I think much of it misses the mark. Those with a more dystopian outlook believe AI has the potential to assume the role of screenwriters, directors, editors, and other key creatives. Personally, I don’t think that will ever happen. Sure, computers are already writing screenplays (poorly) and automating complex processes like color correction, but we’re nowhere near the point of replacing human artistry with technology. And no matter how advanced the tech becomes, for most above-the-line positions, AI/automation will probably enhance the creative process more than it will hurt it. That’s just my prediction of course, and I certainly don’t have a crystal ball. But I think it’s safe to say the […]

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Technical theatre skills gaps in industry 

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Technical theatre skills gaps in industry 

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The theatre industry is currently facing skills shortages and gaps in technical, operational and production teams, including front of house, lighting, sound, rigging, automation, costume, wigs, hair and make-up. Research […]

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Positive; Arts Council England scheme to enhance theatre experience of D/deaf audiences

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Positive; Arts Council England scheme to enhance theatre experience of D/deaf audiences

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Check out the scheme we are developing to improve accessibility in the cultural sector.

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Equity's manifesto for a thriving performing arts and entertainment industry.

Summary of recommendations

1. Set out a roadmap to increase public funding for the performing arts and entertainment
to the European average of 0.5% of GDP over two parliamentary terms.

2. A living wage in the arts and entertainment

3. Regionalise arts and entertainment funding

4. Democratise arts decision-making

5. Regulate artificial intelligence to protect and reward human creativity

6. Build a diverse, inclusive and representative arts and entertainment industry

7. Expand public film and television

8. Invest in arts education and skills

The promise of the performing arts and entertainment

The performing arts and entertainment offer a unique, vital and intrinsic value to all societies, something irreplaceable. The enlightenment, entertainment and joy provided by creative expression is foundational to human experience.

The performing arts and entertainment do not merely supplement our material lives but run through our work and leisure, whether in music, art, photography, dance, theatre, TV, film or video games. They help us to understand and interpret the world around us, enriching our lives. That is why four in every five members of the public see the arts as important. While seven in ten of all adults spend time at an arts event or activity over a year.

These industries also have wider positive impacts, fostering local economic development, social inclusion, education and skills, tourism, physical and mental wellbeing, and strengthening the global reputation of the United Kingdom.

There is a wide body of evidence to demonstrate the vast, positive economic effects of UK arts and entertainment. A 2020 Arts Council England report found that the industry directly generated £28.3bn in turnover, £13.5bn in Gross Value Added, 190,000 full time equivalent jobs and £7.3bn in employee compensation in England. The report also detailed how the arts are highly productive; on average producing an annual Gross Value Added per full time worker of £69,000, compared to £57,000 for the non-financial UK economy as a whole. The Scottish Government also states that the wider Scottish creative industries employ 70,000 people, and contribute £5.5bn to the Scottish economy each year.

Performing Arts for All aims to build on these positives towards a thriving performing arts and entertainment industry. One which promotes secure, sustained and fulfilling careers for creative practitioners within an industry that serves a wide audience, realising its economic potential.

The challenges to the performing arts and entertainment

A long decline in funding

In the 1980's the Secretary-General of the Arts Council, Roy Shaw, described the industry as "under-subsidised, under-patronised, undervalued and, if I may coin a word, under-distributed". Since then, too little has changed.

The performing arts and entertainment industry remain in a deeply precarious state following deep and wide cuts to funding, and an inequitable distribution of remaining resources. Equity will always campaign against austerity policies that weaken both our arts and public services and diminish their vital role in society.

The loss of nearly €200m in European arts funding following our exit from the European Union and the impact of COVID-19 upon the industry have further exacerbated long-standing funding challenges and have made working in the industry increasingly difficult. According to our data, 40% of Equity members received no direct support from the government's pandemic income support schemes, despite the Creative Industries Federation predicting a 'devastating and irreversible' loss of revenue and 400,000 jobs and labelling the pandemic 'a cultural catastrophe'.

Local arts cuts have compounded the deterioration in national funding, as councils seek to balance tighter budgets by scaling back local arts and entertainment provision. House of Commons Library analysis shows that English local authorities have been forced to cut £987m in arts spending since 2009/10 (in 2021/22 prices). By 2018, local government arts funding was already down 43% from its 2008 peak, a funding picture that has since further deteriorated. This has frayed the patchwork of provision available to communities across the country. For example, Somerset Council cut all arts spending in 2010, Nottingham council stopped funding the Nottingham Playhouse in 2014, while Newcastle's proposed 100% arts cut was fought by Equity members and reduced to 50%, with the Theatre Royal losing all funding.

Low pay and poor working conditions

Diminished funding exacerbates the insecurity and low wages of practitioners in the industry. According to Equity data, 94% of members earn less than the median full-time wage in the UK, with an average annual wage of £15,270 (after expenses, but before tax). Even in the most celebrated parts of our industry, such as London's West End, nearly half of Equity members are forced to work a second job alongside performing.

Despite their huge economic, social and cultural contributions, too low a value is placed on creative practitioners by government and engagers in the industry. In April 2022, payrolled staff working in the arts, entertainment and recreation received the lowest pay increases of any sector in the past year, despite vacancies in the industry increasing by 370% . This is in the context of the spiraling price of essential goods, and a long fall in real value of wages.

While low pay is at the heart of practitioners' precarity, it is compounded by longer working weeks and poor quality, unsafe accommodation on tour. Many have issues with career longevity, for example when those with caring responsibilities are excluded from the industry as a result of these working conditions.

Most are prevented from receiving basic support from our social security system by the Minimum Income Floor, as demonstrated by Equity's report 'Not Here to Help' which analysed members' experiences of social security.

Centralised, opaque and undemocratic arts governance

Arts funding decisions are highly centralised and lack transparency and accountability. In England, National Portfolio Organisation funding is published with little explanation or analysis. Major decisions, such as cutting all funding to a regional producing theatre, are not properly reasoned or explained. Governments in Wales, Scotland and Northern Ireland have recently announced cuts to overall arts budgets with little evidence or justification. This leaves little scope for scrutiny.

Practitioners perceive national funding criteria as narrow and discriminatory, blighted by elitist notions and bias. There is minimal scope for input on the part of those working in the arts and entertainment, or their trade union representatives. Criteria appear changeable, unclear, and very business focused. One applicant described communication during the application process to Equity as "uncommunicative, apathetic, inflexible and unhelpful. . . showing little concern for how their processes and behaviour affect the lives of the very artists they are being paid to support".

English Arts funding continues to be spent disproportionately in London, which received £152m for this three-year funding round, a third of the annual budget. Arts Council England accepts that "some places our funding has been too low for too long." But recent attempts to move organisations out of London have been approached symbolically, with incoherent plans that lack the proper focus on developing decent arts work outside of the capital.

Government emphasis on the role of philanthropy in supporting the performing arts is at odds with the reality that private funding will remain a small, unreliable and unaccountable portion of overall resource. Extended private influence over the performing arts could have worrying implications for the freedom of artistic choice, fostering censorship, or narrowing the stories that are told.

The erosion of British public television and film

Since 2010, domestic television and film production has been subject to significant reductions in support. The BBC has faced 30% real terms cuts to funding since 2010 , through a series of central government licence fee freezes and reductions in state support, such as to over-75s. Cumulatively, these changes have taken over £1.8bn a year from the BBC's budget. Around £740m of this has come from cuts to content and the scope of services. This has resulted in thousands of job losses, and reduced news and investigative journalism at the Asian Network, local radio, coverage in Wales and Scotland, and radio drama and original drama on BBC 4. It also has knock-on consequences - we simply won't have an independent producing sector without strong public sector broadcast providing infrastructure, from training to platforms and studios.

Cuts to the public service broadcast workforce - such as the recent attempts to close the BBC Singers, the UK's only full-time chamber choir - have encouraged talent to leave, creating skills gaps, and reducing retention of those trained using public funds.

Film Tax Relief, which Equity has long campaigned in support of, has succeeded at fostering inward investment into the UK film and High-End Television industry, which reached record levels of spend over 2022 . Yet, three quarters of British film is financed by US companies, via a UK-registered entity. American companies have historically dominated production, distribution and exhibition in the 'British' industry. Domestic UK films accounted for only 15% of HETV production and 8% of total spend on film production here in 2022, the latter was down a third from the previous year. This raises serious concerns about the sustainability of an industry so heavily reliant on inward investment.

British film and HETV is now in competition with a handful of global, vertically integrated companies. A recent report by the Writer's Guild of America West showed how market power has become concentrated in Disney, Netflix and Amazon via mergers, acquisitions and the vertical integration of production and distribution. It argues that they are turning their streaming services into "a walled garden for self-produced content - a model built for and dependent on restricting the availability of independent content from competing producers, underpaying creators, and, above all, making future consolidation the name of the industry game". Consolidation and intellectual property capture drive further reductions in the ongoing benefits of their inward investment to the UK economy and workforce.

Finally, the strong suggestions of government arms-length interference in the BBC, programmes of internal privatisation, and issues of accountability have driven a growing scepticism about the independence and quality of its journalism.

Artificial intelligence and technological change

The emergence of Artificial Intelligence (AI) within the performing arts and entertainment will offer some additional opportunities to the present and future workforce, but it is already displacing jobs and posing a challenge to performers' intellectual property rights.
A survey of Equity members found that four out of five felt that they did not understand their rights in relation to AI before signing a contract. 65% of respondents thought the development of A.I. technology poses a threat to employment opportunities in the performing arts sector - this rose to 93% for audio artists whose livelihoods are already being affected by this technology.

Intellectual property and copyright infringement are old challenges, but take a new form in the context of AI innovations. Equity is not seeking to halt the advance of technological change, which the union has engaged with for a century, over the shifts from theatre to cinema to television and streaming. Instead, Equity seeks to ensure that the existing frameworks for resolving issues of intellectual property and copyright are applied to the contemporary context, to provide the proper rights and remuneration that the workforce deserve. We are also delivering benefits and protections through collective bargaining.

Inadequate representation, diversity and inclusion

The performing arts and entertainment industry still lack inclusive representation among practitioners and audiences. Abuses of power, and a sense of exclusion, operate in many parts of the country, particularly among the working class, women, disabled people and those from ethnically and culturally diverse backgrounds. One study found that the number of working-class actors, musicians and writers has shrunk by half since the 1970s, for example. Many young people are also deprived of contact with the arts through poverty, the failure of the education system, and discrimination in the profession.

Despite constituting nearly a fifth of the UK population, ethnic minority groups make up just 14% of the English arts and entertainment workforce, according to the Arts Council England. Only 10% of ACE Culture Recovery Funds went to Black, Asian and Diverse-led organisations. Analysis during the pandemic found that the number of BME women working in the UK arts and entertainment sector had fallen by 44% in a single year. In Scotland, nearly half of ethnic minority UK arts and entertainment continue to be disproportionately produced and consumed by white people, narrowing the scope of stories told.

Research by Parents and Carers in Performing Arts found that regular weekend and evening work, last-minute recruitment practices, long hours, touring and night work all made the performing arts inaccessible for those with caring responsibilities. This reduced the median earnings for those with caring responsibilities, and forced many to leave the industry or turn down work, driving deeper gender and class inequities across the sector.

These injustices have spurred social movements such as the 'Me Too' campaign, Black Lives Matter and trade union activism. Every person, whatever their age, ethnicity, gender or sexuality, class, ability or impairment, should feel able to engage with the performing arts and entertainment at all levels, as practitioner or audience.

Reduced access to education and training opportunities

Arts education has also suffered because of national policy shifts which undermine the sustainability of UK arts and entertainment. A Cultural Learning Alliance analysis showed that ever since 2010 there has been a 23% decline in hours of teaching of all arts subjects.

Alongside this, the high cost of tuition fees represents a huge additional burden on those working in an industry defined by low pay and precarity for the majority. In 2021/22 th government announced a 50% cut to per-student funding for creative and performing arts degrees.

Large-scale unemployment creates great pressure on Equity members. We cannot divorce important issues such as childcare, bullying and sexual harassment, discrimination and mental health from the fundamental living conditions of employed and unemployed practitioners in the arts industry. Conditions which are further exacerbated by a lack of social security protection, support for caring responsibilities and poor access to decent, affordable housing.

Eight steps to build a thriving performing arts and entertainment industry

To overcome these challenges, we need the government, employers and the trade unions to act to bring about change. Equity members will campaign to enhance employment, wages, conditions and well-being, and combat issues of sexism, racism and other forms of discrimination through the union's collective agreements. But we also need policy change from the government if we are to build a thriving performing industry which provides performing arts for all.

Policymakers should commit to:

1. Set out a roadmap to increase public funding of the arts and entertainment to the European average of 0.5% of GDP

The next government should set out a roadmap for bringing UK arts funding up to the European average of 0.5% of GDP, providing additional funding of £6.3bn a year (in 2022/23 prices) by the end of the period (plus Barnett consequentials). We believe that this should be achieved over two parliamentary terms.

This additional funding would also be sufficient to cover the policy proposals outlined (below) in Performing Arts for All, to take steps towards a properly resourced, public arts industry.

It could be funded by equalising Capital Gains Tax rates with Income Tax, or applying National Insurance to all forms of income, each of which raise billions.

Introduce longer-term grant allocations to enable secure planning across the whole range of companies.

Maintain real expenditure on tax reliefs for theatre, film and video games, but ensure that any companies in receipt of public subsidy are engaged in collective bargaining and agreements (and respect their terms) as a condition of receipt of public subsidy.

2. A living income for arts workers

Introduce a £15 per hour national minimum wage by the end of 2025.

Require local authorities to insist upon payment of Equity rates to creative practitioners as a condition of granting licenses to performance venues.

Introduce payment of Equity rates to creative practitioners as a condition of receipt of public funding.

Abolish the Minimum Income Floor of Universal Credit, which acts as a barrier to performers seeking support in their time of need.

Trial a basic income for arts workers, similar to the current trial ongoing in the Republic of Ireland, with a budget of £200m over 3 years.

3. Regionalise arts funding

Local arts funding should be restored using £1bn of the uplift in national arts spending (proposed above). Government should commit to protecting local government arts budgets in real terms thereafter, and ring-fence some funding for council arts conferences, to involve the public in local programming.

Alongside greater resource, the current funding model should be transformed into a federalised, regional structure. This should be composed of Regional Culture Councils who work in partnership directly with local government, practitioners and community representatives to make funding decisions independently of the national arts council. These bodies would be empowered with a facilitating (rather than gatekeeping) role in funding local arts.

This is a vital step towards building a public model of socially and artistically beneficial provision which improves on the current business model of portfolio investment. Under a new regional, democratic structure of governing public funding, emphasis should be placed on expanding the ecology of independent sector productions, new, public regional theatres, small-scale touring companies and theatre-in-education companies, each creating work through engagement with local communities.

This ambitious new funding model must seek to deliver a funded theatre venue in every major town across the UK.

4. Democratise arts decision-making

Equity believes in an alternative arts funding model that is more inclusive of all participants - practitioners, peer groups and audiences - and responds to the interests and needs of communities across the country; increasing the amount, quality and range of work produced.

Policymakers should widen participation in a new regional arts funding structure, through local arts advisory boards of practitioners and residents to engage with funding bodies and local authorities.

Monitor and expand the employment of local performers and other creative staff in productions outside of London.

Require ten-year, sector-specific funding strategies from arms-length funding bodies, determined through consultation with practitioners and communities. Prioritise strategies for the opera sector and dance.

Request a detailed report on decision-making at each public funding round, alongside data of NPOs being funded.

5. Regulate artificial intelligence to protect and reward human creativity

Update the Copyright, Design and Patents Act (1988) to cover 'performance synthesisation'.

Update the Copyright, Design and Patents Act (1988) to strengthen protections of image rights.

Adopt the Beijing Treaty to provide creative practitioners with moral rights over their work.

6. Build a diverse, inclusive and representative arts and entertainment sector

Introduce industry-wide regulation to reduce the working week to five days during rehearsals, to improve access for people with caring responsibilities, and provide reasonable leisure time.

The Department for Culture, Media and Sport and the Arts Councils in England, Wales, Northern Ireland and Creative Scotland and should provide updated guidance on diversity and inclusivity to employers, agents and casting directors, and clearer guidance on expectations for NPOs. All funding organisations must request fully inclusive representation as a requirement of public funding.

Establish a new £50m Graduate Arts Innovation Fund to provide seed funding for graduate arts productions with commercial potential.

Provide greater subsidy for ticket prices, to widen arts access. The government could review VAT on theatre tickets, for example.

Develop a specific strategy to foster the British Variety sector, including singers, comedians, circuses and drag artists.

Develop a package of targeted measures to improve support and access to the industry for disabled workers, in direct consultation with disabled workers themselves and their trade unions.

Publish a strategy to reach 'arts and entertainment net zero' in line with the government's existing net zero timelines, building on Equity's work with industry to adopt a Green Rider for creative practitioners.

7. Expand British public television and film

Equity wishes to see a refounded BBC, with a new approach to universal, public broadcast. A new structure where the BBC is owned and run by both the licence fee payer and its workforce.

Restore £1bn lost funding to the BBC, including expanding in-house facilities and investing in regional TV production.

Reform governance of the BBC to include stronger representation of workers and viewers in decision-making.

Establish a £500m fund to create a publicly owned and financed film producing sector through the BBC, S4C, C4 and BFI, with a long-term vision for production, distribution and exhibition of UK films.

Make more historic BBC programming freely available through IPlayer.

Restrict tax reliefs in the video games industry to those companies that can demonstrate they engage creative practitioners on trade union contractual agreements.

Diversify the workforce and audience and expand training in technical skills and apprenticeships across television and film.

8. Invest in arts education and skills

A £500m Arts Grants Fund to cover living expenses and special clothing and equipment costs, as well as ongoing training for young and established professionals.

Establish arts mentoring and support networks in schools.

Scrap EBacc and other constraints on arts subjects to increase arts education.

Establish a £50m School Play Fund to support theatre visits in junior and secondary schools.

Review the regulation of the arts training establishments to strengthen their responsibilities over bullying and sexual harassment.

Email Tom Peters

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Equity's manifesto for a thriving performing arts and entertainment industry.

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(Only made it to diversity and inclusion topic in today's lesson)