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DS_SK_au15.mov |
| Description |
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Question: What about audiences, do you think that audience expectations have changed, have they increased in their sort of visual literacy over the last thirty forty years? Answer: Yeah, over the last thirty-four years I guess. Yeah, I think that probably also because of television the audiences will expect to see more, expect to see more spectacle, I think that's why often we've got the so called window-dressing school of designers, because they were giving spectacle to the audiences and competing with television which I personally think is a disaster because I think you can't, it's a different medium and you just should not even try, you know? I hate the fact that the audience is still largely a very white wasp, you know, very white anglo-saxon protestant, I hate that, I hate everything about it and that is one of the reasons why I gave up and that's truthful, straight from the heart, I just could not bear sitting in an audience of white middle class people at the National happily clapping at a pile of crap and it made me very angry and it wasn't what I went into theatre for, I don't think. I think I went into theatre to be some part of some radical happy glorious experimental family and it became a very safe environment for you know somebody to talk about over their dinner and I hated that about it. And I also thought a lot about the stuff I saw on theatre stages in big theatres was just not good enough, you know, it was an excuse for a production. So I guess audiences are getting what they deserve because the audiences haven't changed enough. There isn't enough money put into the grass roots of theatre, you know, the radical ethnic companies, I mean the Tricycle is just about existing, the Young Vic has been taken over by nice middle class white boys, you know, there isn't anything really radical happening out there and I think that's a shame, but then that's reflected in our whole political country so. Even somewhere like the Young Vic, you know, and David, that was one problem I had with David at the Young Vic, that you know, the plays we put on did only really attract white middle-class people still, it never really reflected the local people in that area. We were in South-East London, you know, The Cut, Waterloo, and they never came to the theatre and I think we should have given them, we should have been able to give them free nights to get them more involved, you know they had a drama, a youth group and I remember Joe Fiennes was there with his brother, you know and a lot of very successful middle-class actors now, but it didn't get the local kids in, why not? You know, someone has got to be responsible for that. |
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DS_18_06_02 INT-06 (mini DV tape) |
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Quicktime Progressive (audio) |
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Resource Audio |
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This clip may be used for educational purposes only, any commercial use of this material requires permission from the copyright holders. Misuse or misrepresentation may result in legal action. Copyright holder: Christie Carson, COMPH, Royal Holloway University of London. |
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2 minutes 41.16 seconds |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.