Women Playwrights' Roundtable outcomes - 1 Nov 2011

Women Playwrights' Solutions Roundtable report released

taken from australianplays.org

There’s been controversy recently about a perceived imbalance between opportunities for male and female practitioners in Australian theatre. At the same time, there's also been a lot of energy around ways to address the issue and move forward.

The Women Playwrights Solutions Roundtable, jointly supported by the Australia Council’s Theatre and Major Performing Arts Boards, took place on Friday, 12 August 2011 at the Richard Wherrett Studio generously made available by Sydney Theatre Company.

It was a gathering of women playwrights, theatre programmers and other key stakeholders who set aside a day to consider the under-representation of women playwrights in Australian mainstage productions and contribute practical ideas for a sector-driven response to the problem.

In its larger context, the Roundtable was one of several recent Australia Council initiatives to promote the fair and equitable inclusion of women in the core creative processes of mainstage theatre companies, the other main components being the Women Director’s Forum in May 2010, commissioned research and development of a reporting tool and guiding principles for Council supported theatre companies.

These initiatives are nearing completion and will be considered in their entirety by the Major Performing Arts and Theatre Boards in coming weeks.

The Women Playwrights’ Solutions Roundtable was facilitated by Gail Cork, director of the Australian Script Centre and a commercial mediator. Her report documents the processes and people involved, the substance of the discussion and the outcomes.

For the report, check out Australian plays.org

Laurie Penny: A woman's opinion is the mini-skirt of the internet - Friday 04 November 2011

http://www.independent.co.uk

You come to expect it, as a woman writer, particularly if you're political. You come to expect the vitriol, the insults, the death threats. After a while, the emails and tweets and comments containing graphic fantasies of how and where and with what kitchen implements certain pseudonymous people would like to rape you cease to be shocking, and become merely a daily or weekly annoyance, something to phone your girlfriends about, seeking safety in hollow laughter.

An opinion, it seems, is the short skirt of the internet. Having one and flaunting it is somehow asking an amorphous mass of almost-entirely male keyboard-bashers to tell you how they'd like to rape, kill and urinate on you. This week, after a particularly ugly slew of threats, I decided to make just a few of those messages public on Twitter, and the response I received was overwhelming. Many could not believe the hate I received, and many more began to share their own stories of harassment, intimidation and abuse.

Perhaps it should be comforting when calling a woman fat and ugly is the best response to her arguments, but it's a chill comfort, especially when one realises, as I have come to realise over the past year, just how much time and effort some vicious people are prepared to expend trying to punish and silence a woman who dares to be ambitious, outspoken, or merely present in a public space.

No journalist worth reading expects zero criticism, and the internet has made it easier for readers to critique and engage. This is to be welcomed, and I have long felt that many more established columnists' complaints about the comments they receive spring, in part, from resentment at having their readers suddenly talk back. In my experience, however, the charges of stupidity, hypocrisy, Stalinism and poor personal hygiene which are a sure sign that any left-wing columnist is at least upsetting the right people, come spiced with a large and debilitating helping of violent misogyny, and not only from the far-right.

Many commentators, wondering aloud where all the strong female voices are, close their eyes to how normal this sort of threat has become. Most mornings, when I go to check my email, Twitter and Facebook accounts, I have to sift through threats of violence, public speculations about my sexual preference and the odour and capacity of my genitals, and attempts to write off challenging ideas with the declaration that, since I and my friends are so very unattractive, anything we have to say must be irrelevant.

The implication that a woman must be sexually appealing to be taken seriously as a thinker did not start with the internet: it's a charge that has been used to shame and dismiss women's ideas since long before Mary Wollestonecraft was called "a hyena in petticoats". The internet, however, makes it easier for boys in lonely bedrooms to become bullies. It's not only journalists, bloggers and activists who are targeted. Businesswomen, women who play games online and schoolgirls who post video-diaries on YouTube have all been subject to campaigns of intimidation designed to drive them off the internet, by people who seem to believe that the only use a woman should make of modern technology is to show her breasts to the world for a fee.

Like many others, I have also received more direct threats, like the men who hunted down and threatened to publish old photographs of me which are relevant to my work only if one believes that any budding feminist journalist should remain entirely sober, fully clothed and completely vertical for the entirety of her first year of university. Efforts, too, were made to track down and harass my family, including my two school-age sisters. After one particular round of rape threats, including the suggestion that, for criticising neoliberal economic policymaking, I should be made to fellate a row of bankers at knifepoint, I was informed that people were searching for my home address. I could go on.

I'd like to say that none of this bothered me – to be one of those women who are strong enough to brush off the abuse, which is always the advice given by people who don't believe bullies and bigots can be fought. Sometimes I feel that speaking about the strength it takes just to turn on the computer, or how I've been afraid to leave my house, is an admission of weakness. Fear that it's somehow your fault for not being strong enough is, of course, what allows abusers to continue to abuse.

I believe the time for silence is over. If we want to build a truly fair and vibrant community of political debate and social exchange, online and offline, it's not enough to ignore harassment of women, LGBT people or people of colour who dare to have opinions. Free speech means being free to use technology and participate in public life without fear of abuse – and if the only people who can do so are white, straight men, the internet is not as free as we'd like to believe.

Australian Women Directors Alliance Meeting / AGM

Monday 24th October, 2011.
7.30pm
Wesley Anne (Beer Garden)
250 High Street, Northcote


Agenda
Report on the 2011 Australian Theatre Forum outcomes
Presentation of Annual Budget
Informal social catch-up


All Welcome!
Please RSVP by reply email

Staging the gender imbalance: women in theater - Theatre Treffen Blog

Von Cory Tamler - 19. Mai 2011 - http://www.theatertreffen-blog.de/tt11/english-posts/staging-the-gender-imbalance-women-in-theater/

From the theme of the Talentetreffen, to a women-in-directing exhibit, to yesterday’s “Feminism: Today a Dirty Word?” discussion and more, gender has been a big topic at this year’s Theatertreffen. As the Theatertreffen Stückemarkt prepares to wrap up tonight with the awarding of the 2011 playwriting prizes, which include cash for the author and a production of the winning play, there are numbers that beg the question: what is the Theatertreffen as a whole really doing to contribute meaningfully to the gender debate – other than just talking about it?

We’re thrilled to see a debate happening on the blog – over a sexist-or-maybe-not-remarkHerbert Fritsch, invited twice to the Theatertreffen this year, and both times with a play centered on a strong female character (in the case of A Doll’s House, one of the strongest female characters in the dramatic canon). For you non-German speakers, it boils down to a little something like: Fritsch says he likes a woman who’s a “Luder” (hard to translate but suggestions include “hussy,” “minx,” or my personal favorite, “a sly cow”). Some folks find this sexist and unacceptable for a theater director because of the way that implies he interprets female characters onstage, others find it to be a mere personal preference and therefore don’t see the harm in it, still others seem to be worrying about how the actresses themselves must feel having to act out Fritsch’s female caricatures for an audience. from director

Personally, I’m inclined to say Fritsch can go ahead and show whatever he wants onstage – as long as there’s room left for other perspectives to be shown. It shouldn’t be a problem for him to tell a story the way he wants to tell it – as long as other stories are getting their chance to be told.

And in theory, everybody gets to tell their story. But there’s a big gap here between theory and practice.

The “post-migrant theater” movement represents one part of the population not getting its proportional share of stage time. Yet there is another group whose presence in the theater world is far smaller than it is in the real world, whose voice is not being heard, whose perspective isn’t being seen. So let’s look at it through some numbers, because after all, numbers are neutral, aren’t they?

Let’s start with the Stückemarkt. There are 15 playwrights listed among the “Stückemarkt Success Stories” (playwrights who were invited to the Stückemarkt in some capacity in past years and are now doing well). 3 of them are women. Huh? 20%? Are there really that few women out there writing plays? Are their plays really that bad? How does that 20% happen?

Well, let’s take this year as an example. Out of 356 submitted plays, 156 were written by women, 200 were written by men. So about 44% of the submissions were by women. Not quite half, but not terrible.

However, of the eight plays selected for the Stückemart (by a jury that is 40% women), only three have female authors. That’s down to 37.5%.

And not all Stückemarkt plays are created equal. Five of the plays receive staged readings; the other three playwrights receive a workshop. The idea with the workshop is that the plays are “less finished” – there’s more work to be done. Instead of receiving individual, fully staged readings, these three workshop scripts are lumped together into one “reading of excerpts,” to be shown tomorrow night.

Of the five plays receiving full readings, one was written by a woman.

So we’ve gone from a 44% representation among submissions to a 20% representation among selections. And if you were at the writer’s panel with the Stückemarkt playwrights last week, you wouldn’t have seen even that 20%; the playwrights at the table were all men. (And Simon Stephens, who opened the Stückemarkt with his keynote, is also a man – don’t let his luscious locks fool you.)

Another set of numbers can be found in the March 2011 edition of Theater heute. Some of them have to do with Germany as a whole:

• There are 124 Intendanten (artistic directors) in Germany. 19 (15.32%) are women.
• 29% of German theater directors are women.
• Only among dramaturgs (48.5% women) and assistants-to-the-director (50.6% women) does it begin to even out. A majority of theater administrators are, on the other hand, women – just like in the USA.

Other numbers are specific to the Theatertreffen. Of the 472 total productions invited to the Theatertreffen from 1964-2010:

• 34 (13.88%) were directed by women.
• The very first production directed by a woman was invited in 1980, 16 years after the Theatertreffen was founded.
• Of the 100 productions invited from 2000-2010, 11 were directed by women – a lower percentage than that of all 46 years taken together.

Fritsch liking a woman who’s “a sly cow” is no scandal, in and of itself. What is a scandal is that the Herbert Fritsches of the world get far more stage time and pay for their work than the Karin Henkels. What is a scandal is that male playwrights are the face of the Stückemarkt – that they continue to be the face of modern as well as of canonical drama. What is a scandal is sub-titling an exhibit about female directors “a male profession in female hands,” turning what should be a celebration of women in theater into an affirmation that theater belongs to men. And it’s oh, so nice of them to let us in.

Let’s be clear. I don’t like the idea of a quota and will not argue for one here. I don’t think it works and I think it is a lazy attempt at a solution. The problem is incredibly complicated. Tradition and history are naturally a part of it. The assumption that success for women in the field consists of succeeding within a male heteronormative structure that Leo beautifully criticized (in German) is another part of it. We also can’t write the gender disparity off as blatant sexism. The Stückemarkt plays, for example, were read anonymously; the jurors didn’t know the gender of the playwrights. So how do we assess the dramatic difference between the percentage of women applicants and that of selected female writers? Does this support the thesis that there’s some kind of empirically discernible “female aesthetic” that’s “boring” – or is it that “women just can’t write”? (In the States, the 2010 Wendy Wasserstein Prize jury seemed to be of a similar opinion. This is not a Germany-specific problem by a long stretch.)

And what about this: Uwe Gössel, the director of the International Forum at the Theatertreffen, says that every year the Forum receives far more female than male applicants (which they correct for in their selection, trying to create the “most diverse possible” group). Why is that? Could be because the proportion of women in the independent theater scene, which is where most of the Forum applicants come from, is also much higher than the proportion in the state-funded theaters. And that is also something that brings down the average pay for women in theater. It’s not just that they’re taking breaks to have babies (which is what every woman wants, after all!). It’s that they’re running groups like She She Pop and Gob Squad and Turbo Pascal, working at the boundaries of theater – and, in many cases, not because they couldn’t or can’t get a job at a state-funded theater, but because that isn’t what they want. As the independent scene gains influence and attention, maybe this implicit criticism of the traditional theater structure will lead to a gradual and organic change – more meaningful, with more lasting potential, than imposing any quota could bring.

The theater is a space where artists present their – naturally subjective – visions, preferences, interpretations and dreams. You may find, like Kathrin Röggla cautioned Theater heute, that “feminism has become unsexy”: but even if that’s true, you should still listen up. Because if theater is going to be a relevant part of modern society and a place where we are truly able to engage in meaningful discourse, it can’t continue to obsess over the dreams and visions of the white heterosexual European male.

Women in theatre: let's get rid of the equality myth - Guardian Theatre Blog

Women are under-represented in theatre – not for lack of interest, but because the industry is failing to provide long-term support.

Krystina Nellis Monday 18 July 2011 - www.theguardian.co.uk

We already know how the cuts in arts funding are going to reduce a lot of good companies to one show a year and possibly put some companies out of business entirely. But what I've not seen any discussion of, anywhere, is how these cuts will affect women working in the industry, possibly even more disproportionately than within other industries. Instead we seem content to parade a few "success stories" as examples of how all-inclusive the arts are, reducing legitimate achievements to a headline and unwittingly shutting the door to more women through sheer ignorance.

The Running in Heels blog recently published a list of successful female theatre practitioners, designed to demonstrate support to those achieving success within the arts. But showcasing a few successful women – often part of corporate structures, an entirely different prospect to the freelancers who actually drive the industry – implies that other women will only be interested in the arts if given permission. While trying to fix something that's not broken we're avoiding addressing the genuine issue of opportunity.

Persisting with the myth that women are under-represented due to lack of interest serves nobody. On my drama school MA alone, there were 30 women and six men on the course – hardly a dearth of interested, intelligent and engaged females. Lack of interest is not the problem; women are already flocking to the industry in their droves. Opportunity to progress, meanwhile, is nowhere near as bountiful. In assuming that simply bringing more women into the industry will fix under-representation, we're addressing completely the wrong issue. Surely the real goal should be supporting women to stay in the industry for longer than a few years, therefore at least partially addressing the frankly ludicrous turnover in the process?

Showcasing already successful women as an example of the industry's "equality" will, also, not help a young stage manager struggling in a career based on living in a different town each week, while managing any number of family obligations. Nor will lists like this negate the fact that a freelance fringe theatre producer is usually self-employed, and thus entitled only to the bare minimum statutory maternity leave. Add to that the fact that the rare staff roles are often more business-oriented than theatre production's creative drive, and we end up presented with the same glass ceiling bemoaned by businesswomen the world over. With those practicalities in mind, is it any wonder that many young women, forced to choose between an unstable career, family or sheer burnout, end up leaving the industry to the next generation of theatre's big cliche, middle-class, white men?

Women in theatre are too often stuck between a rock and a hard place. The work ethic of the arts industries is, by necessity, both notoriously "flexible" and demanding; it is what is thrilling and frustrating about the profession. It cannot be met with a government response to issues like maternity leave which ignores the industry's fundamental quirks, and leaves women with next to no support. The cuts will only make these issues more pressing, diminishing already scarce opportunities for a sustainable career further; opportunities which many women will have to forego due to their personal circumstances.

It will offend some quasi-liberal sensitivities to say so, but if we are truly serious about encouraging more women to achieve success within the arts, it's vital we now stop pretending equality prevails. Maintaining the status quo only prevents us from solutions that will enable women towards a sustainable career path. Until we do, using a few successful corporate examples as poster girls for the industry's supposed equality will only continue to disguise the massive inequality that is many female arts professionals' reality.

DRAMA QUEENS - WHEELER CENTRE - Female Playwright Debate, 6:15PM - 7:15PM, Thursday 24 March

Wheeler Centre, 6:15PM - 7:15PM, Thursday 24 March 2011

Why do we see so few plays by Australian women?

Something, somewhere, in Australian theatre is not working. Are female playwrights not out there, or are they being denied opportunities? And if there is a problem, what’s being done? With calls of sexism and a push for the introduction of quotas, many Australian women playwrights are on the warpath. Playwrights Patricia Cornelius and Van Badham talk with Artistic Directors Marion Potts and Ralph Myers, moderated by Chris Mead from Playwriting Australia.

Presenters

Patricia Cornelius

Patricia Cornelius is a playwright, novelist, dramaturge and founding member of Melbourne Workers Theatre.

Chris Mead

Chris Mead is artistic director of PlayWriting Australia.

Ralph Myers

Ralph Myers is Artistic Director of Belvoir Street Theatre and one of Australia’s foremost set designers. He has designed for most of the country’s major theatre companies, including extensively for Belvoir and Sydney Theatre Company as well as Melbourne Theatre Company, Bell Shakespeare, Griffin Theatre Company and Legs on The Wall.

OFF CUT

A call for new and undiscovered playwriting talent

In Company Theatre has opened for short play submissions to be part of Off Cut 2011 – the short play festival where the audience votes for the winner.

There will be 28 plays chosen to be part of the festival at The Riverside Studios in Hammersmith.

Please click here for information on the Festival. We would be grateful if you could post it on any of your notice boards, online forums and websites.

There is no charge for submissions.

Please email us, if you would like any more information,

Please click here for details on full length production of the Off Cut 2010 Panel Writer Award winner. Sweet Engineering of the Lucid Mind by Mitch Feral runs at the Hen & Chickens Theatre from 29th March until 2nd April.

Regards,
Janet Palmer
Production Manager, Off Cut– In Company Theatre

“The Off Cut Festival was a wonderful experience, not just winning but being involved. As a direct result of Off Cut I was signed by Lisa Babalis at The Agency and have been working closely with Ben Rix of Little Brother Productions which has resulted in them commissioning me to write a TV Series treatment. Then working with In Company to produce BENDER - my prize for winning the festival - was brilliant too! CLOSER TO GOD and BENDER are now both running as part of The Wet Rep at Waterloo East Theatre. I would recommend any budding or more established writers to get involved! “ Anna Jordan - Off Cut 2009 Winner.

“Just wanted to say thank you so much for asking me to be a judge for Offcut – I thoroughly enjoyed myself and was completely bowled over by the writing! It’s such a great showcase and concept” Lisa Babalis - The Agency - Panel Member 2010

“The professionalism of the entire company, which brought to life so splendidly not only my own play but all the plays I was able to see.” Virginia Hayden – Off Cut 2010 Writer

“I wanted to convey to all of you how much I enjoyed, and was impressed by, the plays and whole experience of Saturday night. You must all feel very proud of yourselves for creating such a successful festival. It was both informal and friendly as well as slick and professional. I enjoyed all the plays greatly, including the couple for which I held reservations. It was tricky having to award prizes when they were all so commendable!” Anna Brewer - Methuen Drama - Panel Member 2010

“Since the Off Cut Festival 2010 I have had some amazing opportunities come my way and it has really helped raise my profile as a writer. I have been in conversations with a very well known literary agent, have been approached by numerous producers regarding my work and have rekindled my links with BBC Writersroom and am now embarking on my first TV writing project. It has proved an amazingly fruitful, creative and positive experience and I would like to thank everyone involved for creating such a strong platform for emerging writers to showcase their talents. I shall definitely be looking to get involved again next year! ”Tanja Mariadoss - Off Cut 2010 Writer

“I was delighted to reach the final with my play The Trunk and quickly went on to collaborate with fellow Off Cutters to develop it at a second festival. The theory works. Off Cut is a great opportunity for writers to meet like minded talented individuals and develop their work” Mke Carter Off Cut 2010 Writer
Copyright © 2011 In Company Theatre Limited, All rights reserved.

Our mailing address is:
In Company Theatre Limited
First Floor, Raine House
Raine Street, Wapping
London, Greater London E1W 3RJ

Assistant Directors

ASSISTANT DIRECTORS

MTC has 4 paid Assistant Director positions available in 2011 for emerging or mid-career directors. The positions will be divided equally between women and men. For more information about these positions and the application process, please see
http://www.mtc.com.au/about/employment/employment.aspx.

Applications close on Friday 11 February 2011 at 5pm.

Victorian Theatre Network Meeting ‘3 Minute Pitch’ September 16th, 2010

Lucy Freeman

Straightjacket Productions: Artistic Director

Chair: Australian Women Directors Alliance

La Trobe University: Theatre and Drama Department

The Underrepresentation of Victorian Women Director’s on the main stage

While many industries have been adopting strategies toward a ‘critical mass’ of one third representation of women in leadership roles, the past 15 years in Australian theatre has seen the number of women in key creative appointments decrease. The statistics are particularly bad for women directors in the Victorian professional sector. Of the last 58 productions at the MTC, 7 shows were directed by a woman. 3 by Kate Cherry and 4 by other women who do not reside in Victoria. The news is no better out of The Malthouse. In the past five years, Victorian based women directors have had as much opportunity to increase their perceived ‘merit’ (which dictates their appointment suitability) as women seeking leadership roles in the AFL, the Armed Forces and the Catholic Church.

My pitch is for subsidised companies to outline their Equal Opportunity strategies and have their effectiveness assessed by a regulatory body. Non-compliance should carry consequences and results or reports be made public.

In the face of limited opportunities throughout history, a few Victorian women directors have shattered glass ceilings, some prefer the artistic freedom found working in the margins, and many have found strength in the community, youth, independent and education sectors. But many have walked away, fatigued at forever being dubbed ‘emerging creatives’ and ‘alternative’ to an imposed norm. Many are frustrated by the banging on seemingly locked doors, the unanswered invites to see their work and the longitudinal development opportunities offered young male directors – whose artistic sensibilities align with those of the monolithic decision makers. The popular catch-cry that women directors are responsible for their plight because they do not network and pitch “like men” – derives from a gendered assumption that men pitch the “right” way.

Under the leadership of Melanie Beddie, Jane Woollard and myself, the AWDA (Australian Women Directors Alliance) has recently reminded the theatre industry that workplace equity is not a choice, but a legal, ethical and moral requirement. Similar to the atmosphere in 1994, it is currently felt that ‘a breeze is blowing’. The current theatre industry’s legacy will be how well the issue is addressed THIS time. For lasting change, political and industry leaders must take the baton from the un-resourced AWDA and strategically advocate for an increase in interpretive female voices in the nation’s theatre.

The theatre industry is not exempt from equal opportunity because individual male or female artistic director’s aesthetic taste or personal and professional relationships necessitate it. MPAB and other state and federally subsidized companies are supported by the society for whom theatre is made. It is therefore reasonable to demand at least one third of all theatre company board and key creative appointments are female.

Women are not a sub-set of men. And, despite being listed as a ‘special category’ in arts funding, women are neither a homogenous nor a minority group. Men and women must together re-imagine an ethos and structure that welcomes the creative authority, artistry and potential of women, in all their diversity. Enough is enough. History has shown that a breeze is never enough to affect change. It is time for a wind machine, even if hiring one means re-jigging the budget and turning it on forces things to shift in unquantifiable ways.

Australian Women Directors Alliance ‘Creating Change’ Forum.

The ‘Creating Change’ Forum was held at the Arts Centre over the two days of 10th and 11th September, 2010. It was convened by Melanie Beddie, Lucy Freeman, Petra Kalive and Jane Woollard and was sponsored by the Office for the Status of Women and the Arts Centre. The Forum was attended by over 100 delegates from around Australia. 97% of these delegates were female theatre directors and theatre makers working professionally as well as in areas of teaching and research and administration. The AWDA ‘Creating Change’ Forum presented a model for thinking about social change in a dynamic and energetic way. Women directors claimed their legacy, their role as leaders in the theatre profession, and their commitment to supporting one another as we work towards greater diversity in our profession.

The key issues that brought about the need for the Forum are: The ongoing question about the visibility of women theatre directors; The desire to acknowledge and celebrate the existing body of work of women directors and the energy and vision of the diverse artists gathered at the forum; To facilitate a discussion to craft a series of future actions and allow an opportunity to envisage new theatres for the 21st century

Delegates were invited to reflect on the following statements and questions and to note their responses on the flip chart stands positioned around the room.

1:What am I here for?

2: What makes my heart sing?

3: In relation to my practice, what do I regret?

The forum began with a panel entitled 'How does it happen?' chaired by Lucy Freeman. This panel was pitched to practitioners in their first decade of practice. The meetings of AWDA which occurred throughout 2010 had made us aware that these practitioners often have questions about how to approach MPAB companies. Panellists were John Paul Fischbach: Executive Director Auspicious Arts Incubator, Maryanne Lynch: Dramaturge in Residence,

Malthouse Theatre; Vanessa Pigrum, Artistic Director, Full Tilt and the Arts Centre Program Manager, Creative Development; Aidan Fennessey, Associate Director, Melbourne Theatre Company.

The focus of the panel was to give an insight into how work is chosen and programmed in Melbourne’s Major Performing Arts Companies. Panelists were invited to share their thoughts and observations about making a pitch to their particular organisation.

The Forum continued with a gracious and hearty welcome from Judith Isherwood, CEO of the Arts Centre. A number of delegates later spoke about how important it was to be invited into the Arts Centre and be given support by them.

The second panel of the evening was 'Three Director’s Visions', chaired by Melanie Beddie. The panelists were Kate Cherry, Artistic Director of Black Swan Theatre Company; Tanya Gerstle, Artistic Director of Optic Nerve and Anne-Louise Sarks, Co-Artistic Director of Hayloft.

Panelists were invited to reflect upon their artistic practice from its beginnings to the present moment. This session brought together three very different visions and aesthetics from directors who work in a variety of settings - the mainstream, the experimental and the independent. Each of them articulated very adroitly their own vision and method within the context of the current theatre environment. This panel was very inspirational and set the tone for the Forum as a positive expression of the work of women theatre directors, their capacity to persevere, to speak articulately about their work, and to lead.

The first evening of the forum was rounded off with drinks and food. This informal gathering was an opportunity for delegates to network and share news and ideas for ongoing communication and support.

]The second day of the forum began early with a panel entitled 'Body of Work', chaired by Professor Peta Tait. Panelists Kim Durban, Maude Davey and Donna Jackson spoke about their own ongoing practice and the people who had inspired them. They each spoke with humour and passion about the assumptions they had made early on in their practice and the realisations they have arrived at now in their third or fourth decade of work. The importance of this panel was to make real the existing history of women’s theatre work in Australia. Ours is an industry which often focuses on the present and is too often forgetful of past achievements. This is doubly true for women artists and this panel was a timely and exciting reminder of the experience, skill and talent we already have in our working artists.

After a short break we continued with the fourth panel entitled 'Creating Change.' This panel was chaired by Jane Woollard and brought together women from theatre and non-theatre backgrounds who are all leaders in the own fields and whose passion is creating change. This panel was designed to allow the delegates to reflect on their own industry/community from new perspectives. Panelists Sarah Houseman, Executive Officer for the Victorian Association for Environmental Education (VAEE), Elizabeth Bennett, a barrister, and Kristy Edmunds Artistic Director of the New York Armoury, explored the notion of change and how it takes place, why we resist it, and how we might think differently about change How can movements for change, social diversity and community connectedness transform our industry and our working lives? These women’s thoughts and observations provoked exciting responses from the audience and very productive dialogues began.

The afternoon of the second day was devoted to the question 'Where to now? Building a practical vision.'

This session was facilitated by Rob Ryan. Rob met with eight group leaders, Marcia Ferguson, Liz Jones, Gorkem Aragalou, Penelope Bartlau, Jude Anderson, Naomi Edwards, Yvonne Virsik and Adena Jacobs, and outlined the process for the afternoon session. Each group leader sat at a table and delegates joined them. Each delegate was asked to consider “What are the changes we would like to see which will improve our working lives beyond the Forum?” Each delegate was asked to write down 8-10 ideas for a practical vision. The groups then selected the best 3 ideas from around the table which were then ‘published’ on flip charts for the consideration of all delegates. Then a shortlist of the best ten ideas to build a practical vision for change for women theatre directors was generated. Small groups further explored one each of the six most popular ideas. We investigated each idea with the following questions:

What are the component parts of this goal?

What actions are needed?

What do we do now to enable this idea?

Actions: Who will do what and when?

To lobby for the establishment of medium sized theatre companies in Australia.

A lobby group to establish a medium sized company which has long term funding. Models discussed included: 3 independent companies to have the support of a manager and a publicist for 1-3 years; adopting an artistic directorship model that provides programming experience; finding partnerships or forming alliances with a 150seat theatre (the size of Napier Street) or ‘flexible space’.

Developing a resource hub.

The need for a hub was identified to provide independent theatre makers administrative and production support to allow more energy for the creation of artistic work. The hub would have an orientation to independent theatre, with a focus on support for women as part of the mandate. The idea of a venture capital model was discussed in terms of the gaps that exist in marketing, the role of the creative producer/entrepreneur and material resources (such as rehearsal and performance space.) Ideally the Hub would be

part of a virtual network.

7 Shows by 7 Women Directors in Major Festivals in 4 years.

To develop a rough set of ‘rules’ to begin and then in 2 ½ years, identified 7 pieces of outstanding work. Individual women create and fund their own work, with ‘Fresh Directions’ lobbying for State Arts Festivals to look at the projects. The group agreed to meet again in a fortnight to flesh out the idea.

NB: This group has been active since the Forum, with one sub committee meeting and another meeting scheduled for late November.

Mentorships and training across a career.

Develop pathways to mentorship and fields of practice. TNV was suggested as a place for centralization and consolidation of opportunities. Possibility of approaching The Athenaeum Club and The Australian Council and Arts

Vic for support. The need to lobby major arts funding to change the structure of mentorship was identified.

A Directors Network.

Workshops and professional development and spaces suitable for development of work. The need for a website to profile directors and list employment opportunities. Regular meetings, lobbying issues, developing a social networking model and utilizing the Internet more

effectively. NB: At the most recent AWDA meeting it was decided that AWDA will continue as a lobbying and networking organization and that AWDA meetings and one-off events could be convened in response to need.

Conclusion

The Forum concluded with a challenge from the four convenors for delegates and AWDA membership to take up the task of lobbying and driving actions for change. The convenors expressed their desire for others to take on a leadership role within the Alliance. The Forum tackled many subjects in a limited time frame. In hindsight, perhaps we attempted to cover too much ground. The task of identifying areas of practical change and further work for professional lobbying, sub-committees and leadership development was difficult to achieve in the last session on Saturday afternoon.

However, the response to the Forum was overwhelmingly positive. Many delegates spoke of feeling uplifted, empowered and described how they had discovered a new energy for their work. This can be attributed to the feeling of solidarity in the room – that delegates benefited from hearing other women directors speak about their practice, and that being in a room with other women directors made them feel supported. One delegate said she felt good about her work for the first time in a very long time. This could be attributed to the sense of failure many women directors might feel as they struggle to break into MPAB structures. Is it because I am not good enough? Not sexy enough? Not skilled enough? To feel affirmed in our practice was empowering and positive.

The acknowledgement of difference and diversity of practice, method and aesthetic was also a positive aspect of the exchange. Delegates were affirmed in their own unique practice, however, there was no intention to discover a female aesthetic working in contrast to the male norm. Our gender is not a problem in our art making, rather the professional challenges we face are

related to professional development, employment opportunities and accountability to equal opportunity legislation in funded organisations.

The challenge for us all is to find new ways of working in a challenging profession, to propose new models rather than replicating the old, and to respectfully attend to the demise of old ways of thinking about leadership and art making. We are committed to being ready with strong arms and hearts to midwife the birth of energised, diverse and subversive theatres for the 21st

century.

‘Tell me what it is you plan to do with your one wild and precious life?’

Mary Oliver

FRINGE FESTIVAL

Wonderful work happening at the Melbourne Fringe Festival. Check out the posts below for more information on some work to go and check out....

LAST CHANCE TO REGISTER FOR CREATING CHANGE FORUM

Friday 10th September 4:30-8.30 and Saturday 11th September 9.30-6.30 @ the Arts Centre.

Registration fee: $40 covers Fri/Sat and includes opening night event, lunch & tea/coffee (Fri only $20 / Sat only $30)

The AWDA Creative Change Forum is shaping up to be a dynamic and inspiring event for our industry.

The focus of the event will be a celebration of the practice of women theatre makers and the possibilities for change and transformation in the theatre industry as we move towards greater diversity and inclusion in our companies and in our work.

Concepts and questions the forum will address include:
What is frightening about the notion of equal opportunity?
How do we challenge major companies to think about diversity in positive and energizing ways ?
Why do existing structures which currently control resources fear to grant women artistic and financial leadership?
Do women make different kind of leaders to men?
How will the inclusion of a broader range of artistic perspectives contribute to the dynamism of our cultural life?

These issues will be explored positively through panel discussion and break out groups. Leaders in other sectors of the community will speak about change, diversity and inclusive structures of work in their own area of practice. Women directors will reflect on their past and ongoing practice and the development of their aesthetic as artistic leaders. The forum will conclude with a facilitated series of discussions about the issues that delegates would like to address. Recommendations for future actions will come out of this discussion.

CLICK HERE TO REGISTER or email directors.alliance@gmail.com for more information

PHILANTHROPIC GIFTS & TAX

The arts guide to philanthropic gifts and tax:
http://www.australiacouncil.gov.au/philanthropy/tax_guide

The guide was developed by Artsupport Australia in response to the ongoing requests from artists and arts organisations for information associated with receiving tax deductible gifts.

Please circulate to others you think may find this useful, and let us know your comments!

Best regards,
Ivana

Ivana Jirasek
Projects coordinator, Artsupport Australia
Australia Council for the Arts
Tel: +61 2 9215 9315
Mob: 0403 702 422
Fax: +61 9215 9062
i.jirasek@australiacouncil.gov.au

Sidney Myer Performing Arts Awards

Nominations are now open for the 2010 Sidney Myer Performing Arts Awards.
We welcome nominations for the following awards:

- Individual Award $40,000
- Group Award $70,000
- Facilitator's Prize $15,000

The Awards were created in 1984 to commemorate the life and cultural interests of Sidney Myer, and are primarily intended to enhance the status of the performing arts and artists in Australia. The Awards recognise past achievement, and consideration is also given to the potential of an individual or group to continue their contribution to Australian society through the performing arts.

We encourage you to submit a nomination, or nominations, for the three Awards. Please feel free to distribute information about the Awards to your networks.

A nomination form can be downloaded at .

Further information on previous winners can be found at .

Nominations close Friday 12 November 2010. Winners will be announced in early 2011.

Please don't hesitate to phone if you have any questions about the Awards or nomination process.

Best regards,

Debra
---
Debra Morgan
Program Manager
The Myer Foundation
Sidney Myer Fund
Level 18, 8 Exhibition Street
Melbourne, Australia, 3000

T: 61.3.9207 3042
F: 61.3.9207 3070
E: debra@myerfoundation.org.au
W: www.myerfoundation.org.au

LEADERSHIP FORUM: CREATING CHANGE

The Australian Women Directors Alliance Leadership Forum: Creating Change will be held in Melbourne on the evening of

Friday September 10 and all day Saturday September 11

The Australian Women Directors Alliance has been active since mid last year, raising public awareness for women theatre directors.

This event will be a positive and energetic conference that looks at new models of practice and alternate structures and methods of work.

We will be having speakers from all over Australia to come join us - keep posted for details on who they are!

This Forum on Creating Change is designed to be a one and half day event, for female directors and anyone interested in inspiring change in the arts.

Places in the forum are, however, limited as the focus will be on interactive discussion. Application to attend is through an expression of interest process.

Regional funding is available via RAV quick response grants.

Please fill in the expression of interest below.

All written submissions and the results of the day will collated and distributed to participants and contributors after the Forum. If you are unable to attend the forum but would like to receive this documentation, please indicate your interest on the form.

CLICK HERE TO FILL IN EXPRESSION OF INTEREST

APHIDS' OPPORTUNITY FOR YOUNG AND EMERGING ARTISTS

APPLICATIONS CLOSE SOON FOR APHIDS' EXCITING RESIDENCY OPPORTUNITY FOR YOUNG AND EMERGING ARTISTS WORKING WITH THE MOVING IMAGE.

Applications for this residency in Castlemaine are now open. This is a quick response residency round. Applications due 5pm, 4 August, 2010

Aphids (based in Melbourne), Punctum (based in Castlemaine) and Castlemaine State Festival are joining forces to assist 2 young and emerging Australian artists working with the moving image (video/ animation / film/ machinima/ expanded cinema and more) to undertake unique professional and creative development hosted by Punctum at its Incubator space.

REMOTE SENSE will see a period of invention and intervention within Castlemaine’s metallurgic landscape, and conversation with the local film community, with potential outcomes generated through the mentorship potentially leading to exhibition and screenings as part of the Castlemaine State Festival.

Mentoring and Residency Dates:
The mentorship period falls between September 30 – November 20, 2010

For more details about the mentors, host, eligibility and how to apply, visit http://www.facebook.com/l/bd393vZjxtYnZYQPeCqnzVGnSwA;www.aphids.net

Incubator Residency | Vitalstatistix | South Australia

Applications are now open for the 2011 Incubator residency program at Vitalstatistix.
Submissions are invited from directors, devisors, performers, designers, new media artists, playwrights and creative teams to develop new performance, installation or hybrid arts work. Based at Waterside, Port Adelaide, Vitals’ large and flexible space, Incubator residencies provide a highly sought after opportunity for creative development in a supportive producing environment.

INCUBATOR residents have opportunities to feature in Vitals’ future programming and in 2011 they will be hosting two residencies over the year.
Applications are welcome from artists across Australia.

A copy of the application form & guidelines are available on the Vitalstatistix website - www.vitalstatistix.com.au

APPLICATIONS ARE DUE 31 AUGUST, 2010.

UpRiver | Incbator Residency for development of New Australian Performance Work

Riverland Youth Theatre (RYT) has a wonderful gift of space in our venue to share with artists in South Australia and from interstate. The recently upgraded Renmark Institute is a comfortable and versatile rehearsal and performance space.

A new partnership with Australian Landscape Trust has given RYT access to a range of accommodation options at Calperum Station, a 250,000 hectare former leasehold sheep property with frontage on the River Murray and, further north, an expanse of mallee country. The Riverland offers an inspiring environment conducive for creative dreams to take shape.

UpRiver provides groups of artists with in-kind accommodation and workshop space towards the development of new performance works. Residencies of one to four weeks will be open to young, emerging and experienced independent artists across all art-forms.

Through this residential program RYT will bring creative teams of writers, actors, directors, designers, dancers and other performing artists to the Riverland during the creative development stages of arts projects. In receipt visiting artists will be asked to share their skills with young people and the community in a gift-back workshop arrangement.

Please contact RYT’s Artistic Director Julie Waddington for more information and application forms.
ryt.org.au
P 08 8586 3437
F 08 8586 3475
E julie@ryt.org.au
PO Box 100 Renmark 5341
54 Ral Ral Ave

Art Start Grants | Australia Council | Fertiliser for Budding Artists

ArtStart Grants
www.stonnington.vic.gov.au
Australia Council for the Arts- Information Session

FERTILISER FOR BUDDING ARTISTS AND MORE
Tuesday 25 May 2010, 6-8pm
Old Council Chambers,
Trades Hall, Carlton

FREE

Come find out if ArtStart is for you.
ArtStart is a new grant initiative helping budding artists move from studying their atform to earning an income from it.

This info session is a great chance for you to:
· hear from successful ArtStart recipients about how they are using ArtStart to fertilise their careers.
· ask questions and find out what activities ArtStart could fund.
· find out other ways the Australia Council can support you and your art.

Old Council Chambers
Level 1, Trades Hall
Corner Lygon & Victoria Streets, Carlton VIC 3053
(entry off Lygon Street)

RSVP: Melissa Habjan, ArtStart Administration Officer,
on 02 9215 9162 or at m.habjan@australiacouncil.gov.au

2010 ArtStart Grant information
Closing date: 4 October 2010
Applications available online from 23 August 2010

www.artstartgrant.com.au

Arts Funding Forum | Arts Victoria e news | May 2010

We are pleased to invite you to an upcoming arts funding forum hosted by the Australia Council for the Arts in partnership with Arts Victoria. The forum will provide an overview of the ways that Arts Victoria and the Australia Council for the Arts can support your organisation or your work.

Invitation

Arts Funding Forum

Date: Friday 28 May 2010
Time: 3-5pm
Venue: National Gallery of Victoria - Clemenger BBDO Auditorium, 180 St Kilda Road, Melbourne.

Please RSVP by Tuesday 25th

Please feel free to pass this invitation on to your networks. RSVPs are essential. Please register via www.australiacouncil.gov.au/forums