Emails sent to the schools

This is the email Ria and I have sent to the schools regarding our piece and possibly leading some workshops. What does everyone think? What would you change? 

For the ones who mentioned lack of budget we sent this one but for the rest of the schools we did not mention it would be free of charge in case we would be able to organize some sort of payment rather than offering for free instantly. 


My name is Amy Monks and I am writing on behalf of StageJam Touring Company. As a touring theatre company we are interested in performing to your Key Stage 2 students to educate them the ethos of morality and equality as well as concepts that they might often overlook.  We would like to know if you would be open to the possibility of having a group like us to come to your school and perform about relevant subject matters to your students. So in terms of what your Key Stage 2 students are learning, would it be beneficial for a group like us to devote some time to your students to demonstrate some valuable life skills through the means of entertainment? We are offering this free of charge. Also, if you were to have us in, when would be the most convenient time for you? If you have any questions for us please do not hesitate to contact us either via this email address or on our company mobile number: 07960304519.  Thank you for your time  Kind regards  StageJam Touring Company

This is the first draft of the budget, which shows the amount of money we need to fund our piece under where it says TOTAL COST, and above where it says Total Minus Contingency for if we sold a certain amount of tickets, and even if we sold all the tickets we would be at a loss (see PROFIT/LOSS). 

What do you guys think we could do to spend less money on props, costume, etc? For example we know we can get student techies for free who don’t require payment, and we are getting a PA system for free from Claire. Are there any other areas we could save in? Comment below with suggestions! :) 

Complicite exercises

> Developing devising skills
> Inventing games

1. Divide your students into groups of about six to eight
and give each group a few objects: a rope, a ball, a
couple of chairs or waste paper baskets.

2. Ask them to invent a game using the objects they have
been given and, as they play it, to refine and re-write
the rules.

3. Get the students to present their games to each other.

> Questions
Which game is most appealing and why?
What makes a good game?
What is the structure of the game?
Is there a clear end point and a clear winner?
Do different players have different roles in the game? 

Does the game develop any particular skills?

improvising and working together.
> Exercises:
Play co-operation games, particularly those in which there
are physical problems to be solved. These are crucial for
building a sense of ensemble.

1. In groups of five or more, move to the four corners of the
room. Get the participants in each group to knot themselves
up in a ridiculous position. For example, they must all hold
one individual’s ankles and at the same time link arms with a
neighbour. Then, without breaking their position and
contact, they must move to the opposite corner of the room.

2. Cross the room without losing physical contact with the group,
but this time only one person is allowed to move at a time.

3. Cross the room with two people not being allowed to touch
the ground and with the rest of the group not using their
arms to carry these individuals.

4. Move together as a group without touching, so that from
the outside you can’t tell who’s leading.

5. Simply ask the group to walk in space. Frequently the
group ends up walking in a circle, or dispersing as two
individuals take different decisions simultaneously. 

It is important that the group should move naturally, not in a
choreographed line or holding hands. They should begin to

sense the other participants’ movements: to listen to
each other and to anticipate how they want to move as
a group.

> Questions

1. How easy is it for the group to take a decision to
change speed or direction? When is the group united?
Does one person take the lead all the time?

2. When a good sense of ensemble has been established
ask the group to take on specific characteristics. Can
they move like chickens, cows or custard? Does this
unite or disperse the group?

Catherine Alexander. (unknown). TEACHERS NOTES - DEVISING.Available: Last accessed 3rd Feb 2014.

These are some of the exercises which are practised by Complicite theatre company. They also do that thing with the bamboo sticks where two people have to move around the room with their fingertips on either end of the stick, and moving around the room making eye contact. All these exercises promote working together as a collective which is what complicite company is all about. They are good ways to become in tune with your other company members and to be connected to the other actors in the room, and to be responsive to the bodies around you.

I think the first exercise where a game is created with different objects would be something   we could explore to discover new games which we can incorporate into our workshops, using the questions to make sure what we’ve developed is suitable for and appealing to junior school children.

Nobody's interested! D:

So Ria and I got together this database and emailed all of the schools the email we showed up, but we got hardly any replies. We called the schools up and asked if they had received the email, and whether they would be interested in us coming into their schools to put on a fun, interactive piece promoting equality and diversity, and the possibility of leading a workshop as well. Some of the responses were ‘we’ll get back to you’, 'send us a website and we’ll get back to you’ and we waited and did and got nothing back, some of them said they lacked budget so we offered it for free, but still we didn’t get a response. Many of the schools were like thanks but no thanks, if they already had a theatre company who they were comfortable with, if they weren’t interested point blank, or who didn’t have the time. 

What do you think we could change in our approach to generate more interest? Any suggestions and comments, please stick 'em below! :) 

Complicite research
Complicite, whose name “is derived from the French word for partnership,” (Raymond) began in 1983 by a small group of actors influenced by the French mime artists, Jacques Lecog and Phillippe Gaulier. They decided to use their training in theatrical movement and to start a traveling “physical theatre” performance group. By focusing on mime and clowning, the actors told their stories through text-less, movement-based performances. This was the beginning of what would become one of the most experimental devised theatres groups in the UK.

Complicite is unique in the fact that all of its productions are created and devised by the company. The company’s website emphases that, “There is no Complicite method. What is essential is collaboration”

Nine years after its creation, Complicite introduced text into its routines and shifted to “disruptive theatre.” That is, they began “seeking what is most alive, integrating text, music, image and action” to create a unique theatrical experience (Complicite).

unknown. (2008). Theatre de Complicite’s Mnemonic: a Post-Modern Smorgasbord. Available: Last accessed 3rd Feb 2014.

WhatI find interesting about this company is that they create all their work as a company and are not particularly led, and all have a shared input. This is quite hard to achieve as a company without a given power sovereignty, and it’s a good way to establish a shared ownership of the work they produce. I find this inspiring as is shows that self  within a group can be done. 

I like how their name originates from the French term for ‘partnership’, suggesting that the work is created by working together and everything is done as a collective and ensemble, and it really highlights how the company works by being a unit.

Having taken inspiration from Jack LeCoq and Phillipe Gaulier, French mime artists, a lot of their work was mime and clowning based without text. This is an interesting approach to take to theatre as they abandoned words in order to tell their stories with only their bodies and faces as tools, which is quite a challenge and must be quite a skilled practice.