.You Be Me' - Mental Health Improvisation and Dementia

This was an experimental workshop combining the work of Frank Torino and Richard Coaten who met on the pavement on the way to Day 4. I discovered Frank had an interest in mental health and in improv work with theatre students in Denmark, mine was in how carers of people living with dementia might benefit from having access to improvisation and its role in maintaining their resilience, quality of life and relationship with their loved ones...meta theme - great link made between Franks' You Be Me' Read more

Looking after our Students and Ourselves #GII2019

A session at GII 2019, aimed at looking at how we look after the psychological, spiritual, social and physical needs of ourselves and our students/participants in improvisation classes and sessions. Read more

How Can I (a monolingual person) Make a Multilingual Show - for a Monolingual Audience?

I went to a talk at the Italian Cultural Institute featuring an English playwright and an Italian playwright, each speaking their own languages. I sat in the audience wearing headphones, and a ‘simultaneous translator’ hid behind the curtain with a microphone, speaking English in my ears while the Italian playwright spoke. It felt like I could understand Italian. I want to make a show that feels like that. Read more

How can Voila! Europe help you to connect with cross-cultural collaborators?

Voila! Europe Theatre Festival cultivates European theatre in London. Beyond our annual festival, we want to help artists connect and collaborate, and create opportunities for cross-cultural exchange. Read more

Dreams and a Heart - Help me to put dreams and a heart into my dolls ( number ?)

Deptford Lounge 'Writting: what do you need, and what can you share?' Read more

Who needs to change? - Diversity/inclusivity in drama schools.

This was one of the most incredible Devoted and Disgruntled sessions that I have attended. It was at the Royal Academy of Dramatic Arts and the discussions featured a heartwarming group of individuals whose collective experiences, knowledge and intellect on the issue of inclusivity in training fed a really important and intriguing session. Read more

How to Build Develop and Sustain a Career as a Writer

The challenges faced by emerging writers, and ways to approach them Read more

Awesome Women Meet-Up - What does that look like?

Day 3 of D&D 2019 - A practical discussion about how we can organise physical meet-up for 'Awesome women in the Arts' and what format etc that meeting should take. Read more

How can we 'sell' Translated or non-UK theatre to UK venues?

We talked about the practical reasons why only 1% of theatre in the UK is in translation, and tried to identify barriers to getting non-UK work put on here, then find some practical approaches to overcoming them. Although we may have asked more questions than we had answers, we began with frustration and ended feeling actually quite practical and hopeful! Read more

Making Connections: Artsist on the margins and gatekeepers

An action group to introduce artists and venues/programmers Read more


Exploration of the Ethics of working with audiences and breaking the expected theatre space. Read more

Making Connections: Artsist on the margins and gatekeepers

An action group to introduce artists and venues/programmers Read more

CAT: Day 1: Bridge the Gap

A range of views and experiences: how to sustain work within the current funding structures and views on future problems. And a proposal via Equity for a future new structure based on Provision and Distribution of arts, on providing work to a good level for those trained and aspiring to work in the the arts, and on properly paid work rather than on the restrictive "portfolio" and "excellence". Read more

Coming Back to Earth: Let’s share connecting, grounding practices

Skill sharing session of simple body, mind, spirit practices. Read more

Local Stories, Local Communities | D&D14 | Change of Art

The Change of Art collective wanted to call a session exploring the ways in which creatives can work with local people, communities and stories. Read more

Devised/experimental work and relationships with venues

How can theatres commissioning devised work + work created through experimental processes better support and facilitate the practical realisation of that work? A proxy session called by Ellan Parry, hosted at DandD14 by Kath Burlinson Read more

Your Life is a Deck of Cards: Shuffle up and suit yourself!

“How can the ancient symbols of clubs, spades, hearts and diamonds animate your work practices? You’re doing your best with the hand you’re dealt but things can feel limited no matter how lucky you feel or how strategically you play. Don’t come to brush up your bridge skills or practice your poker face but to unpack the archetypes that are hidden within your own story. Enjoy digging into fresh ideas and discover a trove of diamonds right under your feet! Elspeth Murray brings to the table over Read more

How to tour successful fringe musicals?

Having produced a sell out show called "Ferguson's Gang" at The Yvonne Arnaud's Mill Theatre in Guildford last September I am looking for the best way/s of being able to take it to wider audiences without losing my shirt! Read more

Neurodiversity in the Cultural Workforce. Access beyond Audiences and Artists

The majority (perhaps all?) current conversation within our sector around access for Neurodiverse people, concerns audiences, and artists. And predominantly that conversation centers around individuals or groups who have additional learning disabilities. It is no surprise that we consider that a lack of intellectual disability means that there will be no barriers to access, but it is disappointing that this is still the prevailing belief. Without taking anything away from those important conver Read more

I need a producer, how do I make it happen?

Over the last few years the reliance on the producer model for independent artists has become ever more prevalent. What are the current conversations we're having about the producer model in the freelance/independent arts Read more

I need a producer, how do I make it happen?

Over the last few years the reliance on the producer model for independent artists has become ever more prevalent. What are the current conversations we're having about the producer model in the freelance/independent arts Read more

Is improv a dirty word?

I called this as an improviser questioning their artistic identity and validity. I wanted to ask what people in the larger performing arts community thinks about it as an art form, and if it will ever be viewed as a "legitimate" performance art - and indeed if it should be. Read more

How to Help and Persuade Regional Theatres to Better Serve and Represent Their Local Community and Professional Arts Scene -

Discussions based on good examples of how regional theatres serve their local communities and support their local artists and finding areas of improvement in others. Read more

What are we doing about audiences for contemporary studio work?

We considered the challenges of building and sustaining audiences for non-traditional theatre -- not just for one visiting show, but for an artform. Examples of poor practice were considered, along with discussion of why some presenters regularly achieve successes. The need to understand this question in a national context, and take action to deal with it, was recognised as a desire to achieve a cultural shift. For this to work, it will be necessary to begin with exciting marketing teams i Read more

Accessibility in live gaming, what would help you play?

A discussion of tabletop role-play games / collaborative storytelling structures and how to make them accessible in the widest sense of the word Read more

My job involves theatre marketing and I think I hate it. How can we make it (i.e. theatre marketing) not suck?

I frequently find myself deeply frustrated and personally conflicted with how theatre marketing (in general) is planned and executed, and how it may compromise the artistic work. This is how I’m dealing with it. Read more

How do we turn the dying High St of Northampton into a more creative space.

Northampton is a town whose High St is slowly changing and dying, shops like M and S and BHS have closed, leaving big gaps of boarded up shops and empty windows. How can we do something positive to bring people back into the centre of town through creative activity? Helping people to believe in their town again. Read more

A Conversation About Wretched Contentment

We explored whether the performing arts has become a safe, comfort zone and whether this limits our career and personal life opportunities. The session took place a DandD14 on Sunday at 3pm. Read more

Can we have theatre news broadcasts to replace some of the sports news?

There seems to be more and more news about sports on all the broadcast media particularly BBC radio and tv but very little theatre news. How can we make theatre news more prominent? Read more

Stop Saying Sorry: Women in Leadership Roles

A report of a hugely stimulating discussion regarding female leadership roles in theatre, with a particular focus on female language and mannerisms. Read more

Stop Saying Sorry: Women in Leadership Roles

A report of a hugely stimulating discussion regarding female leadership roles in theatre, with a particular focus on female language and mannerisms. Read more

Entertainment and social justice: Is theatre becoming too woke

I wanted to ask whether the quality of theatre being made as woke theatre compromises it's entertainment value Read more

Entertainment and social justice: Is theatre becoming too woke

I wanted to ask whether the quality of theatre being made as woke theatre compromises it's entertainment value Read more

Bridging the Gap - How can we move from creative expression through to political and social action/change?

Report from Session 3 at Devoted and Disgruntled #14 Action points arising: Making connections with local activist groups and artistic groups to encourage practical actions leading from arts experiences Thinking about ways in which disparate arts organisations can act collectively with a unified message to better promote change Read more

Heavy Metal Musical! Thoughts? Collaborations?

As a lover of musical theatre I am interested in creating a new musical with a heavy metal score. Read more

BAME Leadership for the Future

A conversation about the Creative Arts industry readiness to maximise the potential possibilities of leadership that reflects our ambitions and our practice. Read more

What is excellence (and can we apply the same "standards" across the board?

A discussion about how we value individual artistic endeavours and the worth of those value judgements Read more

Detainment -the ethical issues

In the light of "Detainment" being submitted for the Oscars should 'makers take more personal care when creating verbatim and true stories for mass consumption? Read more

The language of funding applications - proxy session called by Bill Bankes-Jones

The title of the proxy session called by Bill Bankes-Jones was: 'Do the intricacies of funding applications mitigate against real inclusivity in arts power structures?' Read more

International (non english speaking) Producers - how to work with them & post-Brexit Europe collaborations

Amy and I connected two sessions and eventually developed one set of notes. The first was around working with European collaborations and producers at a time of Brexit uncertainty, and the second was how to offer the sharing and training and D&D-like inspiration to creatives and producers who do not speak English and want to create in their own countries for their own audiences working with us too. Thank you to the participants who helped to generate a heap of ideas and existing routes which ma Read more

White people: what are we doing to redress our privilege?

What are white people actively doing to redress the balance? In roles across theatre and the arts, but also elsewhere? What does this look like? What are the issues? Read more

The Buck Stops Here - peer support for artistic leaders

What do you do when your encounter an issue or a situation you’ve never had to deal with before? If you’re the leader of your company or team, and you’re meant to have the answers, where do you turn for advice? Read more

To Edinburgh or not to Edinburgh? That is the question. Help!

I have a solo show that I am considering taking to Edinburgh and have heard many positives and many negatives. I want some advice, clarity and information that might swing my decision. Read more

Why is Shakespeare Important?

Shakespeare is important because of how he expresses his opinions and the ideas they contain. Read more

Stammering, stuttering and the creative artist

Having to run for a train so no time to properly complete this report now. However, I will write it up fully over the next couple of days. Read more

How do we, as an acting training, protect the rights of the marginalised to enter the industry?

Open spaces discussion called by Trudi to talk about whether the new criteria for Spotlight/Equity student & graduate membership will have a detrimental effect on the accessibility of the industry. Read more

Hey! I'm a Northants artist

A collective of artists from Northamptonshire; introducing themselves to each other, discussing the state of our artistic ecology and identifying next steps to improve things. Read more

Engaging new audiences

How can we go about getting a new audience for theatre Read more

Arts in Schools

How a lot of modern schools aren't teaching the arts Read more

Gender Barriers And Stereotypes In Theatre

Our aim: Destroying stereotypes and gender barriers in performing arts Read more

Collaboration - what does it mean? D&D14

Session called by Steph Session attendees: Kaz, Laura, Martin, Caron. Discussion of what is collaboration? and how can collaboration be successful? Read more

How do we convince UK theatres to create residencies for translators in their programming teams (or literary departments)?

Opening statement: 'I've become convinced that the relationship of the translator is the key to making unfamiliar plays from non-English speaking countries appealing/understandable to theatres in the UK. This is based on experience of a relationship which developed over ten years - eventually I was able to understand what a particular programmer was looking for, and find the right play for him to produce.' Read more

The Village. (Mothering and Making: What would support us to do both equally well?)

MY PROPOSED ANSWER: A Village BUT MY QUESTION: How do you find your village when you’re the only one in your discipline/living away from family etc? Read more

How do we financially thrive as an artist?

How do we financially thrive as an Artist and a creative mother, what is our worth and how do we increase our value? Read more

How to Make Great Outdoor Arts - Session on Disruptive / Guerrilla Art

Notes from D&D Session At 101 Creation Space in Newbury, exploring disrupting art, pop-up art, and political performance. Read more

Does Size Matter: Do we need large scale work?

What is the value of large scale work? Is there a UK market? How are UK companies supported to make it? Read more

Tour booking to Festivals

Best practice in connecting show to programmer Read more

The Cost of Edinburgh

Session called by Claire Stone, founder of the Cost of Edinburgh campaign (@CostEdinburgh #Cost of Edinburgh on Twitter), to discuss the increasing costs of performing at the Edinburgh Fringe, the impact on artists, industry, venues, audiences, diversity, and how we can increase transparency and positive action on access at the festival. This report covers multiple sessions and contributors over the course of the day at Devoted & Disgruntled, Fringe Central, 20th Aug 2018: https://www.devoteda Read more

Working with technology within creative theatre practice - what's happening and how can we support each other? Where next for this work?

Setting the stage: The Other Way Works uses technology to help with both scaling and making experience seem magical. Often conversations around technology in theatre revolve around marketing and dissemination rather than creative uses. What support exists for developing technology within theatre? Read more

Where are the exciting / progressive places to show Site specific work in Europe?

Brief notes from our discussion follow: How can we find out where these places are? - Ask British Council - Look on Creative Europe, at their funded projects - European Capitals of Culture - Where have other similar companies toured to in the past? Read more

When is it useful/ ok to get angry and act on that anger?

It was a discussion characterised by a lot of laughter, generosity and openness. Thanks everyone for making it something far more useful and constructive than the rant fest I envisioned when I called the session. Read more

What's The Difference Between Artistic Excellence and Artistic Vibrancy

Inspired by my recent work in Australia, informed by the Australia Council's Artistic Vibrancy report and toolkit, I was interested in opening up a converstaion here in the UK because ‘excellence’ is a much used word whereas ‘vibrancy’ rarely uttered (and presumably then, rarely considered and not fully understood). Read more

What is our value to audiences?

This question has been on my mind because in my work in shaping audience and public value, it has always been difficult for venues to articulate their value to audiences. Read more

What Can Theatre Do About ISIS?

No-one’s pretending to know what to do about ISIS, and obviously theatre can’t be the cure for absolutely all the world’s ills: but it might be able to help prevent some people being radicalised. Read more

What are we going to do about theatre/arts criticism? Money, Models and Ethics

The issue of reviewing friends and colleagues- it’s about what the critic and friends/colleagues are comfortable with.It was agreed that it’s bad practice to review shows at a venue where you work. Read more

What are we going to do about the agony of tech desks?

The issue? Desks are typically set out in the auditorium for shows during technical rehearsals. These are arrayed with plans, technical equipment (lighting desks, sound desks, computers etc), notes etc which allow the technical and creative team to do their work to make the show. The desks and seating vary wildly from venue to venue. In some places everything is great. Read more

We don’t always get things right. How can we talk openly about failures and fuck-ups without undermining the case for arts funding?

We don’t always get things right. How can we talk openly about failures and fuck-ups without undermining the case for arts funding? Read more

Violence on stage

I have been researching the French horror theatre, the Grand Guignol, for the past five years, working towards writing a new musical about one of its main artists, Paula Maxa. Named ‘the most assassinated woman in the world’, she was renowned for her nightly executions, torture and trademark scream. Read more

Towards a consortium/network to support small scale venues programming more European work

This action session came out of the session on Sunday “How can we support British venues and audiences take a risk on European theatre?”. All venues are under pressure to maintain audiences and box office in a hard economic climate and are therefore very risk averse. Read more

Total Rebrand - If you could start from scratch and rebrand theatre what would you do?

There are many people who seem like theatre go'ers who don't go to the theatre. there are also lots of people who might not fit with a usual theatre going profile who don't go to the theatre. How can we rebrand theatre to let them know that there is theatre out there that they would love? Read more

Theatre and finding money

This group aimed to find some novel solutions to the ideas around funding and creating a project. Especially for small companies. Below are some of the questions and solutions that came out as part of the conversation. Read more

The London Conundrum (is it possible to freelance outside of the capital)

THIS REPORT IS UNFINISHED I called this session as a Designer living in London and suffering burnout from the amount of work needed to meet the costs of living and thinking about re-locating. In the past year made lots of shows outside of London, however most of the creatives on the projects were London based and many meetings/ rehearsals for those projects happened in London, begging the question, is it possible to sustain a freelance career in theatre outside of London? Read more

The Gift Sessions: Free Regular Open Workshops in Birmingham

Stan's Cafe is looking to celebrate its 25th Birthday by revising/reviving its Gift Session open workshops in 2016. How is this best done? These are the conclusions of this group consultation: Read more

The colonisation of the voice: There’s no such thing as a neutral accent! (Argh!!!)

The colonisation of the voice: There’s no such thing as a neutral accent! (Argh!!!) (Note - the use of the word regional in the context of this report is not intended to mean ‘everywhere outside London’, but instead mean discrete areas that share a geographical and cultural identity) Read more

Some say Youth Theatre is the theatre of the future, but what if the future doesn't know? How can we raise the profile? 2

How can we change the stigma of - it's just theatre for/by kids? What can we do that gets the work recognised? Where are the projects being talked about on a national scale? Read more

Quiet Time: Let's Have A Nap!

This was a chance to slow down, not talk and maybe take a snooze. I took this session to Snail, which seemed to be the slowest and therefore most appropriate space to use. At first, I thought I'd need to move Snail to some other, more cosy, nap-worthy position in the building. But as I sat quietly and waited for co-nappers I realised that there was something good in trying to create a bubble of quiet space on the edge of the Rep's foyer. Read more


I called a session on producing as I did not know what exactly the producers do and because I was looking for a producer. Read more

Producer/Organisational R&D - what would you like to do with the time you don't have?

This was a great session. Thank you to everyone who contributed for your generous thoughts, examples and suggestions. Apologies that I haven’t attributed particular statements to individuals; I didn’t catch everyone’s names. Read more

Posh Crisps

This session was born out of a frustration with posh crisps (and snacks in general) in theatres, but everyone who came helped to articulate the problem more specifically. Read more

Physical Theatre & Verbatim Theatre - creating dynamic performance

Amy and Verity called two separate sessions and then combined them… Verity is creating a physical piece as part of the third year of her degree in Theatre Design and wanted to find out about young companies making exciting work. Amy is a director/maker developing a verbatim piece incorporating movement and original music. Read more

Pay What You Can / Feel

I called the session because I wanted to know more about Pay What You Can / Feel pricing policies, their effectiveness and their current use in the UK: especially in the North/North-East, where the idea’s gaining momentum at the moment. Read more

Okay Okay, I'm Starting A Theatre Company

This is an action session following on from my report earlier this weekend, Alternative Structures in the Real World (do I really have to start a theatre company?) in which I was looking for the lightest, most nimble legal structure available that would allow me to make my work and pay my collaborators. Read more

No I'm not a director (but I will need one) Challenging traditional routes to performance fruition.

I'm a theatre designer/artist exploring theatre process and developing ideas for new works that inspire new writing through design. Read more

My collaborative partner has moved to Sydney- what now?

My reason for calling this was because it was the thing on my mind at this time. We have been devising performance together for about 6 years now. We are also good friends. Read more

Mentoring & Womentoring

I'm part of the Federation of Scottish Theatre's 2016 cohort of mentors on their long-running Step-Up Mentoring scheme[/url]. It's great. So I have been thinking a lot about the importance of holding space for people to think through their issues and concerns. That's what I called this session and it was great to talk about the ways in which we have felt the need for mentoring or support and the ways in which we have been able to provide that to others. Read more

Local Night For Works in Progress.

Local Night For Works in Progress. Read more

Let's Talk About Death

Stella Duffy - I called this session because it's something I'm thinking about a lot right now, and calling it was quite edgy for me, so I'm very grateful to the MANY people who came to the session, for some of whom it was also edgy, for some of whom it was not at all. Read more

Let's chat about alcohol

I called the session as I'm thinking of making a piece about alcohol. I was interested to hear anything people wanted to say about booze. We covered a lot in just an hour. Drinking culture in the theatre: There was unanimous agreement that there can be pressure to drink in the theatre world. Read more

Just Hit Send: Why when a theatre director has an open call for scripts do less women than men submit?

I talked about the workshop I went to with Papa Tango where they talked about how they developed the award winning play Tom Cat and how, actually, they don't need the perfect play submitted, just one that has potential and a story they like. Your play doesn't have to be the best it can be when you send it in. Some directors will work with you to make the play the better. Maybe this kind of information is worth putting in the call out for scripts? Read more

Jack of All Trades Master of None. Do I have a future?

I asked this conversation to take place in order to explore and address some of my own insecurities about training and specialisation. I have taken part in numerous different tasks, projects and jobs that require various different skills ranging from artistic to administrative. Read more