5. Exploring existing methods & strategies
5.0 Introduction
Introduction
In our quest to blend instrumental music and theatre in family performances, a critical aspect is setting up a solid framework as a qualitative method approach. This part of our investigation focuses on the methods already in use, aiming to identify effective ways these art forms can come together seamlessly for family performances. My aim is to map the existing framework, and therefore I will interview (transcribing) people who are familiar with directing or performing in family performances. More about that in chapter 6. In this chapter, I chose two outstanding organizations, which are fitting and contributing to my research: Oorkaan and Het Houten Huis. In both explorations of the existing methods, I will zoom in on the following points:
- Mission & vision
- Artistic signature
- Working method (process of a production)
- Different departments of the organization
- Side projects of the organization
5.1 Oorkaan method
1.Mission & Vision
Oorkaan aims to open young (and older) ears to experience the power of live classical music from all over the world from the past and present, performed by outstanding musicians. They call it classical music from all over the world because they do not only focus on western classical music, but they also have productions with jazz music, improvised music, world music, contemporary music. As long as the music is rooted in a certain tradition, and it has a certain complexity. So, for instance, they wouldn’t do a production with pop music. They see music as a structured space-time, so a place where space and time meet, that gives room for imagination, for wonder, for emotions, for connection and for movements and a lot of other things. They are an arts creating company with an artistic aim, so they don’t see themselves as an educational company. Of course, schools also visit our concerts, but their aim is to make art. They create two or three new productions each year, and they have five or six productions that are still touring each season. They perform worldwide in concert halls, theatres and festivals. (Oorkaan - Theatrale Concerten met Topmusici Voor een Jong Publiek - Page - Oorkaan-methode, z.d.)
2. Artistic signature
The Oorkaan Methode from Caecilia Thunissen is an example of a method that is focused on the physical aspect. It is a popular approach to treat theatre and music like synchronized dance partners rather than separate entities. This means making sure that the music isn't just an add-on but is an integral part of the story, creating a more powerful and unified performance. Oorkaan has been the only institution in the Netherlands specializing in youth music for twenty years, creating youth music performances at an internationally high level. ‘The Oorkaan method' approach defines Oorkaan's unique artistic identity, where all performers are musicians, and the music takes center stage. The principles of the Oorkaan method are:
- Only musicians are on stage, no other performers.
- The focus is on the music.
- The performance style is physical.
Figure 6: The Caecilia-Driehoek (Oorkaan)
3. Working method (process of a production)
So, when they start a production, they always start with the music. They do not start with a story or a children’s book or a theme, but they really start with the music. They think you can use all kinds of music, every piece of music is possible as long as it has a certain variety, a certain theatrical quality and that there are enough layers in it. After this they add the musicians, who perform the music, always by heart. With this music and with these musicians they go in the studio and start creating. So, they look at the structure of music, for instance: ‘is there a question and answer in the music?’, ‘Is there one instrument playing solo when the others are supporting?”. ‘Is there a line that one instrument has and that another instrument takes over?’. Based on these things, they go on the floor and start creating and adding action. Starting to create small scenes, but really based on the structure of the music. And if you put that in space in the right way, than you really have a production based on music. And then when you have this triangle, you can fill it in with a situation, with a location, with a theme, with a story. They hardly use any spoken word, because they think it really does very easily get in the way of the music. They use a physical performance style, cause they think it suits the best for a young audience. They use theatrical elements to support the music, so they add a set, lights, costumes, but it really supports the music and does not stand in front of it. The structure of the music may be altered slightly, it’s not holy, so you can for instance take one line out or you can repeat certain phrases or take a little part out of the music and not play it. And humor is welcome which always works very well for children.
Creative process in six steps:
- Artistic team Oorkaan selects creative team, repertoire and develops the concept
- Long creation process follows
- Physical training and co-creation of musicians
- Dramaturgy compared to dance or physical theatre
- Involvement of children in creation process
- Multi-layered concert, also interesting to parents.
The Oorkaan method is an internationally recognized approach to creating a theatrical concert with acoustic, global classical music. The method focuses on both creating scenic material based on the music and musicians and developing the musician into a versatile performer. Makers and musicians can adopt this method through Masterclasses led by Caecilia Thunnissen and her artistic team.
All over the world you can find similar attempts in the fusion between music and theatre, zooming in at the physical side. An example is the Vargkatten Produktion (Sweden), where Anita Santesson is director and producer of. They made the physical performance ‘Bach in the Street’. For this research keep focused on the working field in the Netherlands.
4. Different departments in the organization:
1. Production. This is where they create the productions. Usually they work with existing ensembles in the Netherlands, and they add directors or choreographers. Usually people who work in the field of physical theatre or mime, which is not the same as pantomime, but mime corporeal. So the creative team can exist of:
- Stage directors
- Choreographer
- Scenographer
- Costume designer
- Light designer
- Arrangers
- Composers
2. Research and development. Working on the genre development for young audiences. For example they developed a method in where they create these concerts over the years, which they call the Oorkaan Method. Also very important is talent development of musicians and directors. The musicians who perform in their concerts have to play by heart and are the only people on stage. They give them performance training, which is actually a physical performance training. In this training they become aware of things like physical awareness, spatial awareness, physical performance, so not method acting but really just being present and interacting with their colleagues and with the audiences. They also have a training for directors, cause directors at drama schools don’t learn how to work with only musicians on stage or create starting with music, and they found it difficult to find the right director, so then they decided to train them their selves.
3. Education. For their school concerts, they always perform them in a concert hall or in a theatre. They think that it is very important that children get the experience of going somewhere that’s something special and that they see it under the best circumstances. So, they never perform in classrooms or in schools. Around their concerts, they develop an educational program and sometimes they give workshops in schools.
4. International exchange. They try to develop partnerships with concert halls and festivals and theatres where they perform, so that they do not only come there once. They also do some co-productions.
5. Side projects of the organization
‘Making the Connection’ was a one-day event exploring the high quality and accessible music experiences for children, families and schools.
5.2 Het Houten Huis
1. Mission & vision
Het Houten Huis creates theater for young people, although Elien Van den Hoek, artistic leader, has also produced 'adult' performances. Ideally, she envisions a mixed audience of both young and older individuals, based on the belief that it is possible and a waste not to have people in the audience simply because they think, "This is not suitable for me." Currently, we use labels such as 'not suitable for children under six years old,' but we have also used '6+, 13+, 42+, and 86+'. (Elien van Den Hoek Over de Beeldende Kracht van het Houten Huis, z.d.)
2. Artistic signature
The performances of Het Houten Huis are layered, carefully crafted worlds that introduce children and adults to the boundless possibilities of imagination. Distinguished by nearly textless theater, we address painful subjects through visuals and music in a light-hearted manner. With attention to detail, expressive acting, and poetic design, we consistently create a "living picture book" open to diverse interpretations. Our productions delve into an inner struggle, portraying characters grappling with setbacks. The focus is on exploring hopeful ways to navigate challenges. (“Activiteitenplan-2021-2024”, z.d.)
Rather than following a linear narrative, our stories are emotionally and associatively accessible. We present a world where pain, humor, and beauty converge. Music, absurd imagery, and characters on stage, often hybrids of humans and animals, collectively serve as metaphors for experiencing the world. Elevating the theme beyond reality, the imagery invokes both alienation and recognition, evoking humor while making the painful palpable.
We appeal to a highly diverse audience, performing in theaters for children and adults, schools, asylum seeker centers, bridging classes, special education, and audiences facing financial challenges. Embracing diversity, we aim to reach as many people as possible, sharing what we consider valuable stories. The varied responses from audiences and the sense of connection resulting from a theater visit motivate our outreach efforts.
3. Working method (process of a production)
Craftsmanship and quality are inherent in our approach. Alongside our core team, we collaborate with a pool of professional freelancers, including musicians, actors, dancers, choreographers, dramaturges, technicians, designers, and educators. Starting with a self-written (visual) script, self-composed music, and self-designed masks, costumes, and sets, we integrate music, visuals, and physical play through various phases. Experimentation and preliminary research pave the way for exploring uncharted territory. The script, compositions, and overall design are then developed based on improvisational discoveries on the floor. Regular showcase sessions during rehearsals help gauge our material with diverse audiences and professionals. Decor, a key element in our predominantly textless pieces, plays an essential role akin to music and acting. Attention to detail remains a central focus until the final moments. Post-production evaluations keep us sharp, driving continuous improvement in our methods. Artistic Director Elien van den Hoek emphasizes the significant roles of music and visuals in the creative process. The collaboration involves experimenting with visual scripts and scenes on the floor, with the musician composing on the spot. The live performance, with the musician often playing a role, adds a layer of excitement.
Decor based on sketches
A similar approach is employed for decor and design. While initial detailed sketches guide the concept, the collaboration with designers enhances and intertwines with the script. The consequences of design choices on the script and the reciprocal interaction between design and narrative are considered crucial. For each production, they explore new sounds. Their in-house musician and composer, Martin Franke, devises a new (self-made) instrument for each show, collaborating with both familiar and new musicians/composers.
4. Different departments of the organization
Over the years, Het Houten Huis has evolved its organizational structure. Initially started with four theatre makers handling artistic, business, and organizational tasks, the organization has now professionalized.
5. Side projects of the organization
The thematic content of our productions serves as a starting point for our educational programs. Focused on "imagination training," these programs encourage children to shape their thoughts and feelings, discovering the joy and infinite possibilities of creativity. Addressing sensitive topics presented in the performances, the programs provide new perspectives for children and adults, prompting contemplation on complex matters. By enhancing imaginative thinking, we aim to contribute to effective communication, self-reflection, career pursuits, and various essential aspects of life.
5.3 Conclusion
In conclusion, the analysis of both Oorkaan and het Houten Huis offers valuable insights into the framework and methods used in creating family performances. Both organizations show clear missions and visions, with the approaches emphasizing artistic craftsmanship and quality, layered, carefully and coherently created worlds in a theatrical concert or performance. Both organizations focused on genre development by distinguishing themselves through an almost textless form, exploring the limitless possibilities of imagination. Both organizations have a different starting point for creation, but both further develop the concept/theme based on improvisational discoveries on the floor. Together with a fixed core team and a selection of creative team members around it.
The working methods applied by Oorkaan focus on the physical embodiment of music (theatre and music as synchronized dance partners) and careful creative processes. They are an art-creating company with an artistic goal, so they do not see themselves as an educational company. The 'Oorkaan method' approach defines Oorkaan's unique artistic identity, where all performers are musicians. They use music as a starting point to then be able to create scenic material based on that music. The musicians develop from musician to versatile performer in a theatrical concert of acoustic global classical music.
The working methods employed by het Houten Huis underline diverse approaches such as craftsmanship, quality, diverse audiences and narrative depth within this artistic domain. Instead of linear storytelling, they tend to bring an emotionally and associatively accessible narrative. Music and absurd imagery to lift the theme beyond reality. As a starting point, they take a self-written (visual) script, self-composed music and self-designed masks, costumes and sets. Based on this, they integrate music, visuals and physical play in different stages. Emphasizing the important role of music and visuals (set) in the creative process. with the musician composing on the spot.
By prioritizing collaboration, innovation and connection with audiences, these organizations offer a rich variety of practices and knowledge that contribute to the development of a comprehensive framework for the seamless integration of instrumental music and theatre in family performances.