All-England Theatre Festival

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All-England Theatre Festival
All England Theatre Festival.jpg
All-England Theatre Festival Logo
LocationLocation of participating festivals varies
Founded1947
Type of play(s)One Act Plays
Festival dateFinal – June
Website http://www.aetf.org.uk/

The All-England Theatre Festival ("AETF") organises the only country-wide eliminating contest for one-act plays in performance throughout England. It provides an opportunity for Amateurs to compete against like-minded groups and to benefit from the adjudication they receive to improve the quality of their performance. The AETF also maintains contact with other leading bodies involved in Amateur Dramatics throughout the United Kingdom by means of its membership of the Central Council for Amateur Theatre, The Drama Festivals Consortium and the British Finals Standing Committee. The festival is also involved with the Geoffrey Whitworth Trophy Competition, in conjunction with the other 'Hosts' of the British Festival, to judge Original, unpublished Scripts that are first produced within the relevant Festivals. [1]

A One-Act Play Festival is a festival of one-act plays, often in a competitive format. Plays are usually presented over a weekend, week or longer period. If the festival includes a competition, plays are normally judged by an independent adjudicator, such as a member of GODA.

Contents

History

British Drama League

The history of the All-England Theatre Festival dates back to 1919 when the British Drama League was formed. The public inauguration of the League took place at the Theatre Royal, Haymarket on 22 June and was said by the first director of the League, Mr. Geoffrey Whitworth, that "Drama was par excellence the art of the people, and the Theatre everyone's business". There was a wide range of individuals on the first committee. The Drama League was in essence an association composed of individual co-operators in amateur drama and affiliated amateur dramatic groups. It was very active in the pursuit of the creation of a National Theatre. One of the main planks of the Drama League was its Education platform. This evolved into a strong commitment to new writing and eventually the establishment of competitive Festivals. It provided a central organisation for amateur societies throughout England (despite the name "British"), it conducted drama schools and ran a drama library. [2] By June 1923 there were 360 affiliated societies which included amateur and professional bodies. In 1926 professionals were expressing concern that the rapid growth of amateur drama was likely to cause problems with too many people trying to enter an already overcrowded profession. A Council Meeting was held to discuss this and in 1927 it was noted that the League's monthly journal 'Drama' was selling 3000 copies. This interest had started a British 'Festival of Community Drama' which was used to find an entry for the American New York Little Theatre Tournament. Other aspects of the League's work included the making of a substantial contribution to the Stratford-on-Avon Memorial Theatre, visits to Europe to help establish Festivals and the organisation of summer schools. [3]

Geoffrey Whitworth English academic

Geoffrey Arundel Whitworth CBE was an English lecturer and author who sought to promote amateur and professional theatre through the formation of the British Drama League, acting as its director for many years. Whitworth was instrumental in the founding of the National Theatre, and served the committee lobbying for this as its secretary. Though not an actor, he was praised by George Bernard Shaw as one of the most important figures in the history of British theatre. The library he assembled is a large and important collection, now held at the Theatre Museum at Covent Garden.

Royal National Theatre Theatre in London, England

The Royal National Theatre in London, commonly known as the National Theatre (NT), is one of the United Kingdom's three most prominent publicly funded performing arts venues, alongside the Royal Shakespeare Company and the Royal Opera House. Internationally, it is known as the National Theatre of Great Britain.

The early festivals

It has been argued that 1926 is the most important date in the history of the revival of the one-act play. [4] The reason being that it was in 1926 that the British Drama League held its first experimental festival of one-act plays. In its first year seven societies took part in the competition, or festival as it was known. The next year the number was up to one hundred and fifty. In 1930 the number was 400, in 1932 600, and by 1936 seven hundred and forty seven groups had entered. [2] Very quickly a system of rounds had therefore been developed to cope with the numbers of entries. There was a first round at a regional level from which adjudicators would send their selections forward to a second round. Another set of adjudicators would then send a selection forward to a final round held annually in London. [2] This final round, started in 1927, included Scottish entries, thus there was no English Final as such.

In 1927, the Scottish counterpart of the British Drama League, the Scottish Community Drama Association, had set up their own annual knockout festival which experienced similar success and by 1937 was attracting around three hundred and fifty entries. [2] The Scottish festival had its own Scottish final, which went on to the London final to compete with English teams.

Scottish Community Drama Association


The Scottish Community Drama Association (SCDA) is an association of amateur dramatic clubs throughout Scotland. It was first founded in 1926. Amateur theatre companies in Scotland have generally presented repertoire in English, Lowland Scots and, more occasionally, Scottish Gaelic.

In 1938 the final of the National Festival was held outside London for the first time following the invitation of the Scottish Community Drama Association. The war brought a significant reduction in the League's membership but activities continued as best they could throughout. The emphasis changed somewhat to encourage Youth clubs and military units for educational purposes.

The English only finals

After the Second World War the regions started to organise their own Festivals and the first England only Final was held in 1947. Until 1957 the organisation of subsequent annual Finals continued to be run by the British Drama League and eventually became the remit of the All England Theatre Festival. After 1957 the role of the British Drama League gradually faded away to be replaced by a mixture of support groups. The British Drama League became the British Theatre Association, with effect from 1 November 1972 [5] and for financial reasons was dissolved in 1990. Its collections of play scripts (presented by Annie Horniman) are held in the most part by the Theatre Museum in London [6] with the remaining part of the collection held by the Drama Association of Wales.

Annie Horniman British theatre manager

Annie Elizabeth Fredericka Horniman CH was an English theatre patron and manager. She established the Abbey Theatre in Dublin and founded the first regional repertory theatre company in Britain at the Gaiety Theatre in Manchester. She encouraged the work of new writers and playwrights, including W. B. Yeats, George Bernard Shaw and members of what became known as the Manchester School of dramatists.

Theatre Museum former national museum of the performing arts in London, England

The Theatre Museum in the Covent Garden district of London, England, was the United Kingdom's national museum of the performing arts. It was a branch of the UK's national museum of applied arts, the Victoria and Albert Museum. It opened in 1974, and closed in 2007, being replaced by new galleries at the V&A's main site in South Kensington.

Structure

The All-England Theatre Festival organises an eliminating series of Festivals which leads ultimately to the English Finals. The winner of the English Final goes on to compete in the British Final Festival of One Act Plays against the winners of similar Festivals in Wales (Drama Association of Wales's Wales Final Festival of One Act Plays), Scotland (Scottish Community Drama Association's SCDA Festival) and Northern Ireland (Association of Ulster Drama Festivals's Ulster One-Act Finals). This "British Final Festival of One Act Plays" is the culmination of the National Festival of Community Theatre in the United Kingdom.

England is divided into 4 Areas for the purposes of this Festival. Each Area is also divided into a number of Divisions according to the size and / or history of the individual Areas. Each division has a number of festivals and, dependent on the festival, either the winner or the winner and runner-up will proceed to the Divisional Quarter Final. The winners of the Divisional Quarter Finals go forward to the Area Semi-final. The winners of the four Area Semi-finals go forward to the English Final. The member festivals in 2008 were as follows:

The Shropshire Drama Festival

The Shropshire Drama Festival is organised annually in Spring by the Shropshire Drama League. It seeks to showcase the best in amateur theatre from around the county and is an initial round of the "All England Theatre Festival" . The competition is organised into both adult and youth sections and each competing team presents a one-act play. A professional adjudicator from the Guild of Drama Adjudicators judges the teams and announces winners. The winning team is then eligible to represent Shropshire in succeeding rounds of the knockout competition which culminates in the British Final in June.

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References

  1. ↑ "About the All-England Theatre Festival". Archived from the original on 24 July 2008. Retrieved 5 August 2008.
  2. 1 2 3 4 John Bourne, The One-Act Play in England in William Kozlenko, Ed., The One-Act Play Today: A Discussion of the Technique, Scope and History of the Contemporary Short Drama, p229, (Ayer Publishing, 1970)
  3. ↑ "History of the All-England Theatre Festival". Archived from the original on 24 July 2008. Retrieved 5 August 2008.
  4. ↑ John Bourne, The One-Act Play in England in William Kozlenko, Ed., The One-Act Play Today: A Discussion of the Technique, Scope and History of the Contemporary Short Drama, p228, (Ayer Publishing, 1970)
  5. ↑ Victor Bonham-Carter, Authors by Profession (Society of Authors, 1978)
  6. ↑ Sarah Stanton, Martin Banham, Cambridge Paperback Guide to Theatre, p45 (Cambridge University Press, 1996)
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