Theatre for Early Years

Last updated October 04, 2024

Theatre for Early Years or TEY is a blanket term for theatrical events designed for audiences of pre-school children (aged under five or six years of age). TEY is considered to be a sub-category of Theatre for Young Audiences (TYA). TEY is known in the US as Theatre for the Very Young, or TVY.

It has been defined as “professional theatre led by adults performing for an audience of babies from months old to toddlers approximately one and a half to two years old accompanied by a parent or adult companion. Babies usually sit on their caregiver's lap or in a stroller, and watch a play - usually between 30 and 45 minutes long - designed especially for them”.^[1] In addition, performances for newborns, centring on bonding and attachment, and more participatory productions which invite children to enter the performance area for a time^[2] have become common. Even productions aimed at foetuses and expectant mothers have been created.^[3]

History

TEY arguably emerged in 1978 with the work of two London-based companies, Theatre Kit and Oily Cart. Chris Speyer, founder of radical children’s theatre company Theatre Kit, described the epiphany which led to the earliest experiments in TEY:

The move into under fives theatre was prompted by an occasion when we took [Speyer’s wife] Katherine [Ukleja]'s niece Annie, then aged three, to see a performance of one of our shows for children. Finding that various aspects of the show frightened Annie, Katherine decided that we should develop a form of theatre tailored to the needs, interests and concentration spans of under fives.^[4]

Several members of Theatre Kit went on to make Oily Cart's Exploding Punch & Judy in 1981,^[5] and Oily Cart have gone on to produce at least one show a year for under-fives, although it was not until 2002 that they began making work for the youngest audiences (six months to two years), with Jumpin' Beans. In 1987, the first performance for newborns, Joëlle Rouland’s L'oiseau serein [The Serene Bird], was presented in France,^[6] at the same time as Italy’s La Baracca – Testoni Ragazzi began their career with Acqua [Water].^[7] La Baracca's founders, Roberto and Valeria Frabetti, were invited by staff at a Bologna nido [creche] to develop a workshop, and later a performance, for their children aged from 3 months to 5 years.^[8] This project, which became Acqua, has a claim to be the first non-English production staged for this age group (specifically, a target age of two to four years). Over the following 25 years, La Baracca has been at the forefront of research and creation of theatre experiences for ever younger audiences, with almost thirty different plays now produced for the under-fives.^[9]

Notable companies

Notable theatre companies now producing TEY performances include:

Polka Theatre
Magnet Theatre (South Africa)
Children's Theatre Company and Alliance Theatre for the Very Young (United States)

Other organisations

There are also several organisations and campaigning groups whose influence has been key to the growth of TEY, especially ASSITEJ (the international organisation for the promotion and research of theatre for children and young people),^[10] the EU Programme of Culture 2000 Glitterbird Project^[11] and the Small Size network.^[12]

Forms of Theatre for Early Years

Almost all mainstream performance art forms have been adapted for Early Years audiences, including theatre, dance, opera, musical theatre, classical music, art installations and puppetry.^[13] In theatrical productions, forms vary widely. Fairy tales, picture books and traditional children’s literature have all provided inspiration for narrative productions,^[14] as have commercial TV and film franchises, such as Sesame Street and Disney on Ice .^[15] Other productions create original stories or use more abstract, postdramatic forms.^[16] Francoise Gerbaulet, French theatre maker, has noted "I am always deeply surprised by the seriousness of infant spectators. Babies do not understand, they absorb, the sound of voices, the music of words, anxiety, fear, grief, violence, love, they absorb them all... Babies are ideal spectators".^[17]

Techniques associated with Theatre for Early Years

Despite occasional productions derived wholly from the suggestions of very young children,^[18] TEY tends to be created by adults and never features professional baby performers, although in the UK this is technically allowable under the UK Government’s The Children (Performances) Regulations 1968.^[19] The presence of chaperones is universal, due to the obvious ethical impossibility of separating a very young child from all caregivers. Productions tend to be intimate in scale, with small audiences.^[20] There is often no fourth wall in TEY, as actors are communicating with spectators throughout.^[21] Multisensory experiences use sound, light, touch, smell and taste to engage with their audiences.^[22] The needs of the very young, including feeding, sleep and going to the toilet, are carefully considered by TEY practitioners.^[23] TEY can be defined by its purposeful design, with experiences carefully crafted especially for babies and their adult companions; this may mean attending to practical issues such as seating layout and minimising blackouts,^[24] employing knowledge from developmental psychology, neuroscience and cognitive science to tailor productions to the capabilities of a tightly prescribed audience (such as the pre-verbal but mobile stage between 12 and 18 months).^[25]

Related Research Articles

The performing arts are arts such as music, dance, and drama which are performed for an audience. They are different from the visual arts, which involve the use of paint, canvas or various materials to create physical or static art objects. Performing arts include a range of disciplines which are performed in front of a live audience, including theatre, music, and dance.

Punch and Judy is a traditional puppet show featuring Mr. Punch and his wife Judy. The performance consists of a sequence of short scenes, each depicting an interaction between two characters, most typically the anarchic Mr. Punch and one other character who usually falls victim to the intentional violence of Punch's slapstick. First appearing in England in 1662, The Daily Telegraph called Punch and Judy "a staple of the British seaside scene". The various episodes of Punch comedy—often provoking shocked laughter—are dominated by the clowning of Mr. Punch.

<span class="mw-page-title-main">Outline of theatre</span> Collaborative form of performing art

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Puppetry is a form of theatre or performance that involves the manipulation of puppets – inanimate objects, often resembling some type of human or animal figure, that are animated or manipulated by a human called a puppeteer. Such a performance is also known as a puppet production. The script for a puppet production is called a puppet play. Puppeteers use movements from hands and arms to control devices such as rods or strings to move the body, head, limbs, and in some cases the mouth and eyes of the puppet. The puppeteer sometimes speaks in the voice of the character of the puppet, while at other times they perform to a recorded soundtrack.

Julie Taymor is an American director and writer of theater, opera, and film. Her stage adaptation of The Lion King debuted in 1997 and received eleven Tony Award nominations, with Taymor receiving Tony Awards for her direction and costume design. Her 2002 film Frida, about Mexican artist Frida Kahlo, was nominated for five Academy Awards, including a Best Original Song nomination for Taymor's composition "Burn It Blue". She also directed the 2007 jukebox musical film Across the Universe, based on the music of the Beatles.

A marionette is a puppet controlled from above using wires or strings depending on regional variations. A marionette's puppeteer is called a marionettist. Marionettes are operated with the puppeteer hidden or revealed to an audience by using a vertical or horizontal control bar in different forms of theatres or entertainment venues. They have also been used in films and on television. The attachment of the strings varies according to its character or purpose.

Puppetry of the Penis is a comedic live performance-art show featuring a series of genital contortions. The show was initially conceived as the title of a highbrow art calendar released by Australian Simon Morley in 1996. The calendar showcased twelve penis "installations". In response to increasing requests for live demonstrations, in 1997 Morley enlisted fellow Australian, David "Friendy" Friend, to devise a performance show consisting of body-based genital comedy.

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Shadow play, also known as shadow puppetry, is an ancient form of storytelling and entertainment which uses flat articulated cut-out figures which are held between a source of light and a translucent screen or scrim. The cut-out shapes of the puppets sometimes include translucent color or other types of detailing. Various effects can be achieved by moving both the puppets and the light source. A skilled puppeteer can make the figures appear to walk, dance, fight, nod and laugh.

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A hand puppet is a type of puppet that is controlled by the hands that occupies the interior of the puppet. A glove puppet is a variation of hand puppets. Rod puppets require one of the puppeteer's hands inside the puppet glove holding a rod which controls the head, and the puppet's body then hangs over most or all of the forearm of the puppeteer, and possibly extends further. Other parts of the puppet may be controlled by different means, e.g., by rods operated by the puppeteer's free hand, or strings or levers pulled the head or body. A smaller variety, simple hand puppets often have no significant manipulable parts at all. Finger puppets are not hand puppets as they are used only on a finger.

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<span class="mw-page-title-main">Karin Schäfer</span>

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Oily Cart is a London-based national and international touring theatre company founded in 1981. The company specialises in creating original, immersive, multi-sensory productions for babies and very young children under 5, and for children and young people who have profound and multiple learning disabilities, are on the autism spectrum, or are deafblind/multi-sensory impaired. The emergence of Theatre for Early Years (TEY) has been credited to Oily Cart and Theatre Kit. The company is a registered charity.

References

↑ Goldfinger, E (2011). Theatre for Babies: a new kind of theatre? In S. Schonmann, ed. Key Concepts in Theatre/Drama Education. Rotterdam: Sense Publishers, pp. 295–299. p.295. ISBN 978-9460913303.
↑ Fletcher-Watson, B (2013). "Child's Play: a postdramatic theatre of paidia for the very young", Platform7(2), pp.14-31
↑ Babies, bumps and lullabies. Polka Theatre. Retrieved 16 May 2014.
↑ Speyer, C (2004). Every child has a story to tell if we just listen. The Newcastle Journal. 29 June.
↑ Brown, M (2012). Oily Cart: All Sorts of Theatre for All Sorts of Kids. Stoke on Trent: Trentham Books. ISBN 978-1858565101.
↑ Ben Soussan, P; Mignon, P (2008). Les bébés vont au théâtre. Toulouse: Editions Erès. ISBN 978-2749206776.
↑ Frabetti, R; Manferrari, M; Marchesi, F; Vassuri, P (2000). Il nido e il teatro. Adulto e bambino: un rapporto da soggetto a soggetto. Bologna: Edizioni Pendragon. ISBN 978-8883420245.
↑ Churchill Dower, R (2004). International Creative Practice in Early Years Settings. London: Arts Council England.
↑ Frabetti, R et al. (2000).
↑ van de Water, M (2012). Theatre, Youth, and Culture: a Critical and Historical Exploration. New York, NY: Palgrave Macmillan. ISBN 978-0230120198.
↑ Young, S; Powers, N (2009). See theatre: play theatre. Edinburgh: Starcatchers.
↑ Belloli, J (2009). Small size - a space to grow. Bologna: Edizioni Pendragon. ISBN 978-8883427367.
↑ Fletcher-Watson, B; Fletcher-Watson, S; McNaughton, MJ; Birch, A (2014). "From cradle to stage: how Early Years performing arts experiences are tailored to the developmental capabilities of babies and toddlers", Youth Theatre Journal28(2), pp.130-146. doi:10.1080/08929092.2014.940075
↑ Maguire, T; Schuitema, K (eds.) (2012). Theatre for Young Audiences: a critical handbook. London: Institute of Education Press. ISBN 978-1858565019. p.94.
↑ van de Water, M (2012). p.121.
↑ Reiniger, R (2011). Clouds are made of white! Cross-over of live-art and puppetry as an approach to post-dramatic children’s theatre. Puppetry and Postdramatic Performance. University of Connecticut.
↑ van de Water, M (2012). p.126.
↑ Ball, S; Belloli, J; Burn, S; Wynne-Willson, P (2007). Charting Antarctica: Another stepping-stone across the landscape of early years theatre. Birmingham: Birmingham Repertory Theatre. p.7.
↑ The Children (Performances) Regulations 1968. Accessed 16 May 2014.
↑ van de Water, M (2012). p.140.
↑ Young, S (2004). It's a bit like flying: developing participatory theatre with the under-twos: a case study of Oily Cart. Research in Drama Education9(1), pp.13-28. doi:10.1080/1356978042000185885.
↑ Brown, M (2012).
↑ Kiraly, I; Orsolya, K (2005). Theatre for Tiny Tots. Glitterbird Seminar, Budapest. 25 Oct.
↑ Young, S; Powers, N (2009).
↑ Young, S (2004).