 If you feel you need the translation, please feel free to take things from there and also the offer for the seats and the stickers also stands as well. Ok. The actual reason that this event is organized is because Shoshin Theatre Association was part of a European project, Erasmus Plus funded project, which is called Riyote. This is an acronym which stands for Rural Inclusive Outdoor Theatre Education. This was the title of the project. What the project was about is eight partners from different countries, eight organizations came together and they exchanged workshops, so-called joint staff trainings, where you could learn from the experiences of the other partners, and each organization would host one such training in their own country. The second thing was to make a performance with a group of locals in a village, so in a rural area, preferably outdoors. So, our task was to find, the task of each partner was to find a local community that they could work with, to deliver a series of workshops to this community, to the participants that were willing to take part in this action. And then at the end, to make a performance with them, with the participants, so that the locals would be the actors in the performance. But what was important is that this performance was not going to be something already written. We were not going to put on a play. We were going to approach it from the keyword, the myth. That's why this trend of the project was at the title, the myth behind the community. And then, based on these experiences, we, the partners, give this output, which is a PDF, it's a digital book, which can be downloaded from the website of the project, which is reocted.org. But also from the websites of the participating organizations, so Shoshin will put it on our own website. What you can see here now is the English version. But we also have a Romanian version and the Hungarian version. These are not online yet, but they will get online in what remains from this month of September. So by the end of the month, we should have all the versions. So this output is the myth behind the community, an anthology of theatrical experiences in rural areas. And as the subtitle suggests, we are dealing with a collection of texts written by all the partners and divided into chapters of which we have four. So we have participatory theater in rural areas, theater is a tool for intercultural dialogue, interpretation skills development and street theater techniques, and caravans as the main concept for rural touring and connecting communities. Plus an introduction and closing thoughts. Go into the introduction a little bit. Starting off from what our colleague Marco Luciano from Teatro Nopaleo wrote, I would like to read a lot of the very first paragraph. You can also see it there, of course. Theater is based on citizenship. As Stefano Rodota said, theater is the police. In its main characteristics, it has the function of collecting the legacy of ritual, of celebration, of mythology, through which the community represents itself, narrates itself and celebrates itself in its social dramas and ideals. Theater and educational processes meet in the relational, social and communitarian dimension, where cognitive, emotional and physical aspects are integrated. Where we can recognize the multiple dimensions of the individual's development and where knowledge is intertwined with feeling, creation and aesthetics. As I said, this output is largely based on the experiences of the partners through the specter of the four chapters that we have. When I talk about me, it's not, for instance, one of the Hungarian partners, one of the partners from Hungary, Sinu, they work with their local, group, local community in an actual myth, a mythological tale of Janus Vifrontes. But, for instance, us in Mera, we worked on local myths, so myths of origin from Mera, local legends intertwined with personal history of the participants, their personal memories and themes that are important for them from their own community, family and life. And you've mentioned this in the very first panel. So, as Marco Luciano points out a little bit later in the introduction, the word myth should not be understood simply as mythology at big, fantastic tale, but rather in its purest meaning, that of war, tale or discourse. The community that precisely narrates, questions and responds, generates the stories that ground and define its social system, expressing a precise pace in the historical development of human communication. They allow fears and beliefs, hopes and socioeconomic conditions to emerge in the form of symbols. Through narration, be it oral, musical or physical, communities recognize and preserve themselves. So, this output then details the different approaches taken by the partners and gives a sort of a collection of strategies. Each partner in their respective chapter details the way that they approached their own community, input from Mark Helyar, from the UK, detailing the work that they did in a small town in Somerset, where they were doing it, what their aspirations were, what their artistic aspirations were, what were the expectations of the community itself, how they did it, what was planned and what was the difference between what was initially planned and the way it played out. So, as he has here, what worked well and what worked less well. And then we have Shoshin's experiences in rural areas doing participatory theater, so again detailing the way that we would approach a local community and detailing the idea and concept of the partner cultural exchange between locals and the artists that visit them. And the idea of the partner is not just that the locals are watching the show, they are taking part in it with input from their own culture, which can be a song, a poem, a tale or just some kind of work with the hand, showing a profession or showing a tractor or a cow as part of your local culture. So, we tried to detail this as well as the work that we did last year in Meira, how we were working towards reaching a group cohesion in a group where we had the oldest participant was 77 and the youngest was 4. So, how to reach this, how to arrive, how to try and arrive in a situation where there is no hierarchy between the oldest and the smallest one in age, a situation where horizontal structures can play out, where there is equality and everybody from the smallest little girl to the most elderly can have the freedom to express themselves and put their input into what they are doing together. So, this is basically detailing our experience. Then in the second chapter, our partners from Slovenija and from France, they go more into intercultural aspects. So, a lot of their work is dealing with, for instance in France, working with immigrants and local community. So, how to make a theater project where you take immigrants and you take the local people and try to find again the bridge between them, how to connect them. And you have a lot of descriptions, a lot of ideas, a lot of tactics, concrete strategies, concrete exercises employed. For instance, table theater is a practice run by Kutnut, our Slovenian partner, which is that you take a table, you go to a certain community and you make interviews with them about the problems of their community. It can be people who are living in one apartment block, for instance. What problems do they face in their normal interactions and life in that place? And then you take these interviews, you devise very simple interaction theater, but not so complicated, not so complex. And you invite these people, but usually it would be 5 or 10 people. It can be 40, it can be 50. But it works best with, for instance, 10 people. And they sit around the table, they watch the play, the drama that plays out, which was built on the interviews made with them, and then they enter into a discussion about what they saw, about how they understand all this and what their input would be, and so on. So this is a very small scale thing, but extremely powerful. Precisely because it works with not so many people, so the effect can be much stronger. This is the partners in France I've already mentioned. And then in this third chapter there are, the focus is more on street theater, so we have the input from our Hungarian partner, the German partner. We have also, again, a lot of, especially in the German part, a lot of exercises, concrete exercises that describe and that can be taken and used. And then in the fourth chapter, as I said, is this idea of the caravan. As we discussed in the previous panel, you take one performance to one place, but it works the best if you take one performance to different places. So this book is sort of, I think, a practical guide, hands-on guide, which can be helpful to students or artists or people who would like to work in the field of engaging communities in cultural practice. As I said, for now it's a digital book, so it's a PDF, but we do have plans to print the Romanian and Hungarian versions. For now, please feel free to download it and please feel free to share it with anyone who will know that it could be helpful to them. Okay, and then just very briefly about the other input, or the other output, sorry, my input about the output, is this is about, so within this project we received some things that would measure what is called HRD, Heart Rate Variability, which is a very little difference in time between two heartbeats. Normally we do not sense that there is a difference, but there is a little fluctuation. This is a relatively new thing in science and from these fluctuations in your heart rate variability they can give you a lot of clues about how stressed you are, about how fit you are, about how well you rest, and so on. So for instance, I'm just going to cut to one. So this is, and we had the opportunity to test this, and then you have this nice chart. So here we were all writing a little journal where we were doing family dive for 25 minutes, eating 60 minutes, so on. And then from the measurements we can see our stress levels. The red is not, the red is stress. So we can see here that the person who was wearing this had a very, very stressful day in which he had just very, very short moments of not stress, of recovery. And then a lot of stressful experiences. And this was the most 15 minutes with the strongest stress reactions. And you can see here this is a meeting which lasted 15 minutes. So we tried this on and it was, it is just, you look at it and you are like, oh no. We also tried this with the participants that we worked with. And there was another gadget which is called the polar. This one doesn't measure just the individual, but it can measure the collective. So we put it on all the actors that participated, but also during the performance where we had audience, we put it also on members of the audience. And this allows you, and I will just show you a few charts. This is, for instance, this is too complicated. Okay. So this, for instance, this line is the workshop leader. We can see that at the whole time he was relatively stable. The situation was he was giving instructions to the participants, but he was not engaged in it himself, physically. He was just watching, which allowed him to be relatively stable. And you can see the participants heart rate changing while they were doing the exercises. So you can see that kind of like the same thing is happening to most of the people at the same time. Of course this is connected here. Probably there was an exercise which involved more physical activity. But at the same time it allows for synchronicity in the team to develop. And then, and here is another trainer, she was doing the exercises together with the... Or maybe he had a... He or she... He or she was doing the... Niko was doing the exercises together with the participants, so you can see as opposed to the previous example she is also fluctuating together with the group and a little bit above it. So I am not an expert of these charts, but our colleague from Hutsas, which is one of the Amirian organizations present in this project, he was the one who led this part of the project, this research, he was the one who wrote this output, a 90 cents. This is also being finished and translated, so hopefully we will have it by the end of the month. And this also can offer insight into what exactly is happening in physiological terms in the individual and in groups in the act of theater. Which can also be helpful I think for artists professionals from other fields as well, who are interested in this. Ok. This is the end of my part. Thank you very much for being here. Please download the books of our event. For me sort of a highlight, I introduced you to here and John Fox from Ten Good Guides and formerly Welfare State International. I am very happy and in the name of the whole team I can say that we are very happy and thankful that you accepted our invitation and that you came here and that you will give this little talk about your affinity and also there is a short film and I think some surprises as well. So from your older birds will start falling down just from an organizational perspective I would like to kindly ask you at the end if you still haven't completed this participants list my colleague Julio will come around and try to ask people can you complete it she will try to do this. If you haven't completed this I will try to be helpful with her. Also I will meet our invitation today and I would like to do this. I will give this to you. Hello, thank you. Just to say before we start we want to give some thanks because we have been beautifully wonderfully treated here by a lot of people. Cheonga, Colom, Holly and Eunice have been here all the time to help us and I'm not going to read out all the names but there are a lot of volunteers a massive amount of help from people here. We started off this morning with a little workshop and this is the collapsing bird syndrome we also produced a piece of epic theater it was a unique production certainly a world premiere of the relationship between a vacuum cleaner and a knife and fork truly epic. We have one action there we go and we also had a song we learned it in about four minutes this morning the words are because we are going to sing it two or three times it's a very short song and if you felt comfortable you are welcome to do it so the words are my poor bird take thy flight high above the sorrows of this dark night those are the words could the singers please come forward our orchestra here 16 of us but this is this is me I've never seen you here but you've never seen me here I've never seen you here I've never seen you here and then you all join in and we'll go round and I'll say last time but if you want to join us imagine if you're processing around these wonderful words and the lights are very dim and he's very bellicolid let's see what we see I'm going to talk about everything except authority, no noise in 1968 way before we started creating our first street theatre and our manifesto already we're making an entertainment an alternative and the way of life 22, 54 years later our age is surprisingly similar although a way of life is taking priority it's a journey of many endings and new beginnings John Fox and I started Welfare States International known as WSI with others in 1968 the company achieved a world wide reputation for creating site specific theatre fire shows, lantern parades installations and participatory art we archived WSI in 2006 long story we started Dead Good Guides our new smaller company whilst we will reference a little of our own events we will concentrate mainly on our work with communities in and around Oldstone in Cumbria that's the Lake District Northwest England Mr. Sir, I'm not sure the trigger is working it shouldn't be working now as it's going on later no, I know so we're going to show you a film which was about our last show it was called Long Night in the Carnival Opera now this show lasted three hours and it was performed four times in a circus tent in Snow in March 2006 it was prepared and researched over three years building trust and skills as you all know within a community network takes time and patience a multi-skilled artist who will listen and who are happy to work with different generations over three years we researched the history and the ecology of Morgan Bay talked to many people produced exhibitions a song cycle a preview theatre piece in a cockpit arena in Lansen House which we got with a lottery funding which we'll show you in the end we developed a whole Young People's Theatre Ensemble and we published a photograph, text, book of Bay characters and their stories so here is the film it was a difficult gig it was a bit like we were doing Plains of Sex and Ladders all the ladders went away it was so unexpected it was the effort of doing a gig in March people said it would be too cold but we'll never get to be still around here in March we should get the first snow for 30 years it's been a few problems first the generator went so we lost all electric in a tent and we were filled all the games so we didn't know what the community house did but that's fine because we had the right advice we tried to help out as much as we can do a lot of rigging and try not to get that mucky but it's not working basically we've got musicians in there playing this way in the meantime you put that side back and it says and we need to prepare for that and then we'll do a roll through and then we'll put the slide out so if you don't put the whole side you wouldn't and I'll just put a bit of an envelope on I'll do a drawing for you it went on the wrong way we then had a con bar so we had to have a turn of gravity but it also stopped the flooding then we had to build drains and we had to put pumps in that's well first step well first step I think it was fine you were doing the master you were very full very like you were a bit of a priest in the radio so if you then crash down and nobody's ready to go forward so you don't have to try getting in now can we get the I was searching for the dragons go to this point on the news group why don't we go here on here dial to what's dead for when the sea swells when the sea swells anyway when the sea swells how you see do you want my coach? well that one asking is like you're gonna put the film on no I don't got it to go make a music keep it clear so we then go to the footage bring it down to the guide I was there a writer calling for a speech and again some kind of sentence how long that lasts do you need do you need do you need um ... um um um um um um um um um um um um um Tako.ouring the cure as the fantastic relaj. I'm off the stage. I was sitting next to a small girl, she was about three year old, and she burst into spontaneous applause, which made me cry. So, a very moving performance, the whole thing, was very well hosted. Stelling stones to the tentang de l'none. There's different stories that John je zelo vznik, da je rektor in se bošnega vrte. Svaj je bit tudi to počke, da je zelo teške pukene, začaj teške pukene vznik, kako se vznik u vsega opravena. Vznik je počke. Tudi je pa pukene. Vznik je bošnji kratko, da je počka, da je zelo vsečen kratko. ... zda všeč je tukaj lag on. Obježdžujem suje v medljavu, nečjel eighthinterium, neč nešte opetni vidi. Farko melodija laj možati z radoč Mejko pošto kaj smo podježili, zato nekaj je tako jaznost, pri tom, da je zelo sviske entenčno shattered. Na vsem bodo našli na Penelj. Vsi je ino vsi začemi zelo narodne evidie. Acem je to, da je. v štih k DEkhti, sansånjih nekaj, neč ti se zarempili. Pa ber se nepa ne OK, da je to goro na zelo, in se kaj mi so v podjemni zelo, da imamo na prezervi. Imajo si, da bi neko v boxenji tudi, izjahavega je tudi posredil, da je se vajneh in izjavljava, zelo da je neko povrčena, še bila najbolj, zelo skojenja, a zelo, da je to nekaj nekaj kreji. So se konekte, da bi se krej, Nenakaj, da se vse nariče. Mi je vse poveden, da je vse poveden, da je od nekaj polovnih, nekaj na povedenih, to je vse, a je bilo vse, in sem stavila, da je to poveden, da je to je nekaj poveden, da je to da je vse, da je to vse, da je to vse, da je to vse, da je to vse, in autobijatni. Lovoste, v tem, da je zvuk, in politična političa, in v lokalnih govorah, je to nekaj principel, da Lovoste je zvukovati, da je zvukovati dobro. To je zvukovati, to je zvukovati v polici, in to je zvukovati, da je zvukovati. To je vse, In ste mi bako prišli, da ju objectioni pojeliti in na to dobro stavili, skoro je to pravda, ali jih je veliko pravda. To je prezivno, skoro tega je zezatavlja, svoje je trajevnje energijulji. To so prišli dve v motoristi, da je neštak je izvaku, prišli kštili in da pa včustirim, kako razlišli, či njega njega pojeliti. Zno znašno, zno znašno je finalno ili v godine. When we come from, where are we going, how does landscape shape us and how do we shape landscape? How do we learn from the past, to transform our features, just some of the questions raised by Longline, the last ever show to be produced by Wellfestate International, which will cease to be up to 38 years of creating performances,ansperations, rituals and celebrations? The Gole of Estates work is different from most theatre. It's about people not product. It's full of colors, acrobats and job puppets. It's empty of polish and ego. It's loud with the sound of brass bands and masked choirs and soft with whispered memory as if it's trying to uncover a collective unconscious buried layer vzelo v vzelo v zelo v zelo v zelo. Zelo je od vsovom komunitve in spričače, vzelo na geologiju in socijskih zelo v zelo, vzelo na mora, od milijonu vzeli, vzelo na zelo vzelo vzelo vzelo v zelo. Zelo je tako spesivno, je bilo in in vzelo, je vzelo vzelo vzelo vzelo. Vzelo je vzelo na vzelo. 19. sečrči milčiljči, izgledaj si v srednih vrši, včeštje vši kogljav. Prostaj v tudi včeštje, z kajom vrši, kaj je zelo trišel in vsega, kaj je zelo trišel, kaj je zelo trišel, kaj je zelo trišel, kaj je zelo trišel, kaj je zelo trišel, kaj je zelo trišel, kaj je zelo trišel, in je zelo prišličnje objevno, o kako je bilo odstavil. Srednje objevno, kaj je, nesetno in, in tudi vse boži v tega, in je tako zelo na vsega in pukupčin. Prišlo je lahko način v Londonu, v Westenju. Vse njišljaj, daj pa do in. Corp. in v svojo Launchiroru, da se ovo se svašajte na taj vrstitec. Op shadows is an old Marque town, population 14,000. Located on the western edge of Mojko Bay. The town used to depend on fishing for shell fish, farming and water powered mills, but in the twentieth century it changed to chemical and high tech industries. tudi do mercy, zaromrenje, korunje in tudi premedljivo zeljev. Srečo me nječ nekače, broj tudi nekaj milo vercos. V 1978 vsem sem skacil in bojev poslovnila v 100 kamenov. Izpromil je tudi noga v ovega v Naživusti. Srečo je vsebno pravid available je jah 44 kataljev, in je u tudi zelo proti vsega. Izpromil je sezato, več in zelo, in je se začeljno, tudi v svoj svoj tukaj, kako je bilo v svoj delov, in je bilo in tudi, da je bilo v svoj delov v kulturnih revojkov. Načaljno in izgledačne in izgledačne vsega, ki se prihvala trafik, bi dohral vsega vsega vzgledačne vsega. Zelo smo na vsega vsega. Kaj je vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega vsega. New flags are still made year by year. Walking along the cobble street, it is like walking inside a Matisse painting. Family flags are popular, flower are popular, flying in good people's films. Designed by school children, they celebrate the work of their parents. I'm proud by dad is a firefighter, and I'm proud that my mum is an ambulance driver. Comic Street Theatre, devised and rehearsed in public workshops frequently with novice performers, as included wheelbarrow formation dancing, inspired by vegetable shows, traditional and still popular in the local culture. Participants become giant characters and part-snips. Our early role in the 1980s was to initiate events, supports and handovers of the community to volunteer when it felt the right time. Then step back. Sue and I both played saxophones in Blast Furness. Furness being the name of the location that goes to Blast Furness, the name of a steel kilm. The street band that has been going for 20 years, which always gets a gig at local festivals and shows. WSI was invited to an international theatre festival. In 1982, way up in the north of Japan, where we made a version of King Leo on a mountainside. We were lucky enough to experience an extraordinary Shinto Latin parade as we travelled after the festival. To turn it along to Orbiston, we invented and started Orbiston's Latin parade a year later. We experimented with willow sticks to make frameworks, wet strength tissue paper glued over, and lit by candles in sign. This worked perfectly. From small beginnings, this festival has grown and spread worldwide. In Orbiston every September, most of streets to traffic for one night as four parades, four rivers of light, led by four bands, flow from all quarters of the town. The thing is different every year. Hundreds of lanterns are constructed and thousands of residents and many visitors congregate for an annual moment of belonging and excess. It's only in aid of itself, entirely voluntary, homemade, and skill of local engineers in the family, multi-generational, and a seasonal, autumnal rite passage to celebrate family and friends and belonging before the dark days of winter, a classic model of community art. Now, a digress now in the UK, this actual week, actually today, no, this actual week, sorry, thousands of events are being cancelled, and a lot of cultural events in line with the death of the queen. The lantern parade team in Orbiston adonized over what to do and decided to go ahead, not to cancel, as this moment brings people together and will offer a focus under moments who'll be together. A local artist has been commissioned to make the unique lantern in the shape of a royal crown and the lantern parade. So, at this actual time tonight, falcos will be coming out of their front doors with their children, with their lanterns to go to their star points. The bounce will be warming up for that bus bus band. So, for the last 34 years, John and I have never missed it. So tonight, because we wanted to be here, we are missing it, and, as we said earlier, an alternative, a way of life. Yes. From the top of a nearby hill a monumental lighthouse looms over Orbiston. It is a memorial to Sir John Varel, an 18th century imperialist, the Lord of the Admiralty, who was born here. An important principle of criminality art is to use a local theme so the lighthouse turns to be various guidance. So, as soon as it goes to the Queen, probably Sir John Varel is saying he can't be having this nonsense and all, he's going to recruit imperialist soldiers in Stockholm. So, an important principle of community art is to make sure your birds don't fall over, especially, of course, when you're marking something like the millennium, 2000. Now, community art or, quote, social-engaged art in the current jargon should be strong, original, poetic, surprising, engaging and necessary, not social work or sentimental ginguistic reinforcements. For the millennium we had to be very wary of being used for the wrong political reasons, but at least we persuaded hundreds of people to walk with the lighthouse bill, for the first time in their lives, to see the longest flag in the world and experience our local skill of mountain climbers costumed, as six, think your barriers, abseiling, onropped from the top of the monument. A short digression. Once upon a time, the WSI toured to many countries and many shows. We lived collectively, mostly pair-bonded, in a mobile village of caravans. In 70s we thought more theater troops would follow, but few did. In working and living together we discovered occasional ceremonies to mark milestones in our lives. Some of this legacy has since become mainstream and we'll return to that topic a little later. We educated all the companies young children ourselves on the road. In a world we've created discovery, and working to earn a living here. It was successful. These young people, well, some of them are in the 50s, are now out in the professional world as artists, musicians, a legal aid lawyer, an environmental project leader, an animator, fashion designer and a TV production manager. Of these spectacles, such as theatres setting fire to a replica of the Houses of Parliament for an audience of 12,000 were challenging. So was raising the Titanic in an international London theatre festival. For 10 days each evening on a dockside in a linehouse in a three-hour carnival performance for our 300-seated audience we demonstrated political links between the class-ridden disaster of the Titanic, Margaret Thatcher's capitalism, the Falklands War and the gentrification of the very dockside we were working on with this expensive new apartments where local people were now excluded and whereas we were working in living in our tents. Such powerful let's just say a little bit about these slides. This is from the, we used containers which is one of the reasons the dock was changing from the old shipping harbor and we used the containers to use them like a doll's house so the image you see here is of the stokers underneath lighting the fires and the rich people were having a fancy dress party. The iceberg intrudes and there is a question at the end of essentially the children why did you allow the Titanic to sink? The Titanic, of course, being in our case an allegory for the political situation that we were in so there was a challenging question and then these sharks from the dockside come lumium at the end of the particular event. So such powerful science-specific theories received very good reviews and we had a reputation and we were getting drunk but we traveled we camped, created something new and performed then we left. The others were established and enjoyed but what remains radical as they were these sharks were still products entertainments to be enjoyed and consumed we were looking for something more satisfying, more long-term and sustainable for ourselves and for the communities we connected with so we abandoned nowhere and settled in August in Barrow in Furnace where the town builds our nation's nuclear submarines a huge challenge for our anti-war policies in all the years we never accepted funding from the multi-billion-pound company being a assistance but we did constantly connect with the individuals who make the workforce in the shipyard as it is always referred to So in 1983 Barrow had strong amateur theater and music societies taking classic well-known plays like operas and musicals off the shelf but no contemporary arts policy and no locally created new original work we started the ball rolling with a punk film casting performers from the community based on Shakespeare's King Lear and written by Radical poet Avery Mitchell he reversed the name from King Lear to King Reel King Reel and the Hootlands was a madman's provocation which kept a lot of adolescence off the streets because we started serving breakfast on the site of Dataclock in London and we started the ball rolling serving breakfast on site to Dataclock in the morning to get the cast to turn them and their mothers just sent them out off the streets and it started a mad king in a nuclear submarine it caused a fury So to put a few critics in 1987 he decided to design an ingratiating Sonnet Lumière of Barrow Town Hall featuring Queen Victoria there she is on the poster she'd been invited but she failed to attend in 1887 so we thought it was time she should visit on her elephant gun carriage so that's the town hall this parade is of the refuse collectors who turned out on the Sunday and had decorated their refuse carts we had to give a few watts of power notes to get them there but they came always this is Queen Victoria on the top of her gun carriage where an elephant gun carriage and that's where the boom is flying on the back of the carriage that's the bee because they cut a bunch of barrels of bee and an arrow very simple we called this a bit of tattoo day and we threw out production values like which no one in Barrow would have seen before including a huge day like pyrotechnic display from the top of the town and there's the Nikas flying and the number of our key artists chose to live in Barrow this commitment was crucial and helped us to initiate the choir, the theatre workshops writing workshops, the carnival parade bands every evening in pubs and poetry performances the work Rostal Clamax in 1990 with a tapestry of shipyard tales presented over 10 days mainly in the civic theatre with a proscenium stage because that's the council of the building of what it is to be used and it was in the theatre that theatre piece we did in that theatre we did a number of pieces but some pieces were outside and we named 11 original theatre shows 10 entirely divided performed by local people and genres included sitcoms the brexit documentary the children's opera the shadow factory the song cycle about working in a wire factory a street play with mothers a full scale pantomime and Lord Dynamite it was tricky to set in two critical and obviously critical of BA insistence so we did it to Lord Alfred Nobel Lord Dynamite as we called it because he kept saying the biggest stick of dynamite will stop the war because he made his fortune with dynamite and then tried to buy his way out with a piece price so it was appropriate to treat Lord Dynamite Alfred Nobel as a symbolic character in the context a recurring feature also feature a greedy cuckoo who was invading the nest of innocent birds while a mad scientist built a war to stop the cuckoo leaving claiming this will keep the summer hidden forever our leading gift was the golden submarine a once off ex-java ganza performed once on a rainy evening in the grounds of an ancient abbey for 3,000 spectators after a carnival overture of dancers costume as the streets of terrace houses on came fantasy cars hurtled around the arena which would be made and driven by shipyard welders who would take in their annual holidays so they could be bought next, there you see Lord Shellben's the most rised capitalist logo with the taxable bloodstained hand to build two larger submarines too drunk to end straight they missed the submarine and launched the huge submarine sheds instead which move aside to reveal a monstrous cuckoo inside being tamed eternal summer under golden fleece for a barrel based on armament fields chaos ensued until the passing of female cleaners with a giant vacuum cleaner built on a car overcome Lord Shellben's and bring the show to an end with the unique covering of the three pin no, no you know ok, well he's missing, there was a slide there of the cleaners from the factory with massive three pin plurs dancing across with electric wires showing the island of the crazy and emombing dance of victory dance over Lord Shellben now you've seen the film I just mention it again because I haven't mentioned that it was made by Walter Tuski you can get it on YouTube it could also find it our own website has been somewhat refurbished but if you look on the media page you can find the film there and you've got to do 1990 1990 in 1990 we left leaving their arts in to grow in its own cursory of performers for its musicians, the carnival band and a young theater company since then, filmmakers sandbath is community art workshop and a gallery have been established and the town has an arts program our main focus became August of the Game here we helped to maintain the momentum of the festivals we had started particularly over the complex lantern parades and in 1997 we were awarded a 1.6 million of national arts lottery money to refurbish your school we had bought cheaply a few years before we transformed it into lantern house the national center of celebratory arts holding in 1999 for the accommodation of artists many performances and exhibition spaces the program of summer schools to train musicians choir leaders this lottery award extended the life of workers for nearly a decade and this is the walking bay site where we told you the story of Long Line and the films we made which was the last performance show we did there before we archived the company in 2006 so we said we would return in the rights passage briefly I think we might be coming in on time and the lantern parade will be moving on in our sense in August devising new ceremonies for secular rights of passage as in there are many people we meet who are not members of any organized church but still have a need for a spiritual life and wish to mark milestones in their lives with meaning and in a distinctive way so we mentioned earlier when we were on the road it was appropriate on occasion to mark certain personal milestones such as naming of the babies as they came along betrovals, significant birthdays or funerals such events which we initially kept under the radar we were never part of our public program gradually became more regular and we found ourselves in the ceremonies with and for a wider public so we had an exhibition and we commissioned artists there is no one in that company it's a carnival copy from Switzerland and we commissioned Caroline Menisch to paint it for a lover of the sea and to demonstrate you don't have to hire that expensive black verse you can put it in the back of your own car this is very interesting a woman with her own diagnosis of her terminal illness came to see us she had read the funerals book that we wrote and she wanted to think about something distinctive for her own funeral she was the captain of the latest ball 15 in her village and also she had a particular view that she longed for every night as she drove home from work go on got it that coffin was painted by another artist and as it was carried into the village church nobody had seen it before but they knew this woman, she was very popular there was applause in the church she got it in one that said everything about the tribute to her life we've also had that's a child's coffin very small this is a wishbone house we got a commission and this was designed by Duncan Copley constructed a ceremony space so in that space we've held a baby name that's a wishbone house so it comes apart it goes in the back of a transit town so there's a baby name there's the wedding he's the car park attendant at this stately home and she takes the tickets in the car park and they've been together for 11 years and they've never got grounds to getting married and she was going, oh what car park to like for wedding one stats thing appeared in the grounds of the place where they both worked as a stately home in beautiful grounds within six weeks she'd organized, I wanna get married in there this is the commercial break this is the commercial break everything is in these books we've been a little bit quick tonight there's a lot to talk about the books are still available this is the circus taking off the birds we keep going back to birds I'm sure they'll give us these are the birds taking off from the circus and there we hello, I've written and published a book which is my memoir so like loads of people have written about World of Six international academics in words that I've never seen on the page before this is my story from the inside so it is partly about that nomadic life but it's about adventures and it's particularly about the life we're doing now and that's called in all my born days so that is also just out and it's on the cover and John's put out a song book you'll find it all on the page it's called Foxy Song 50 year old songs from the years and I picked the songs that are more accessible they're not as linked to shows they're similar in in Rowdy Entertainment so the questions we've been asking really about the nature the notion of community theater and I believe we feel it should be extended to a much wider remit altogether it's really about a cultural agenda and that becomes in the end probably quite political it raises the question all the time about whose culture is it and who are the dominant gatekeepers we believe it is essential to consider these questions to examine the fundamental needs and if necessary create radical shifts in our given or received order this is important work to use an old fashioned concept which is revolution so let's get on with it good luck thank you there's a small manifesto which we actually wrote about 10 years ago but still