Christopher Rees

Education

Equipment

My Equipment/Kit:

I can use:

About me

I am committed to making "the Arts" accessible for everyone, firmly believing in Community and Arts for all, regardless of background. I believe that Theatre can be fundamental in the personal, social and educational development of people, especially young people, as well their artistic and creative development. For 25 years I have worked extensively with young people as a Teacher, Youth Leader and Director. I have invaluable experience of working with a wide cross section of the community including young offenders, adults as well as young people with special needs, vulnerable and disenfranchised young people, community groups and organisations as well drama students. Using the tool of Forum Theatre, I have delivered projects focused on drug abuse, coping with single parenthood and the influences on youth culture to name but a few. This involved working in partnership with many organisations (voluntary & professional) such as Social Services, the Prince's Trust, the Local Authority's Education Department and Youth Services, and Communities First. This work explored many delicate and controversial issues that brought about fundamental changes to the participants. Teaching is the biggest part of my work - formally and informally. I believe in making the process organic allowing students to explore genres, styles and spaces. Making the connections and cross-references that are important to seeing the bigger picture. Making Theatre Studies not just an academic subject but also a fully rounded and developed one encompassing analytical skills, written, performance as well as communicative skills. Supporting the student's opinions, sensations, explorations, discoveries and experiences of their learning. Always being taught by the process, myself.The medium of Drama and Theatre as an empowering tool enables people to acquire skills for life as well as giving an insight into the profession. This is Theatre as educator and reformer, creating at grass roots level the opportunities to acquire the necessary skills and providing a strong base from which to build: individually, in teams, ensembles, organisations and communities. I have learnt that creating a strong base is essential in life and the skills acquired are necessary to life itself. I have been fortunate in collaborating with fellow colleagues in building a strong team of players in the projects that I have coordinated and the productions that I have directed. Creative, collaborative and forward thinking have been essential to the success of the organisations, companies and productions I have led. Strong management teams I have nurtured for LYT and Pukka include: The Business Team, Personal & Social Development Team, PR & Marketing Team, Project Development Team, The Production Team and The Youth Council. Setting up a youth council in 1998 brought a voice that was not represented or heard on the board, management committee or at a team level. They now play an active role in determining the future of their youth theatre and are responsible for running their own affairs as well being represented at every level of management in LYT. This gives them ownership as well as a sense of pride and achievement. Collective responsibility adds to their understanding of the function of Theatre and the power it can produce. Many members of LYT and other projects that I have led have prospered into the profession as Actors, Designers, Technicians, Musicians, Writers, Practitioners, Instructors, Researchers and Directors. "Youth Theatre" is a medium, which can be best used to understand the needs of young people and to deliver the necessary skills that equip them for life. My experience advocates the importance of nurturing such skills, which are transferable to their chosen careers as well their life's journey, enhancing the quality of life along their way. Since training at Aberystwyth University and having specialised in directing, I have directed over 150 productions to date, encompassing a diversity of styles and genres, feeling as much at home with Shakespeare as Musical Comedy, Promenade Theatre as much as Proscenium Arch. The diversity of work includes Arden, Albee, Beckett, Chekhov, Ibsen, Pinter, Rodgers and Hammerstein, Sondheim and Shakespeare. Styles have varied from German Expressionism, Naturalism and Realism, Brecht to Musical

Comedy, and Revue. I am open and visionary in my approach to directing as I believe it is necessary to entertain but also vital to challenge both audience and performer not only in the breadth of works and styles undertaken, but also in spatial relationships; Studio Theatre, Proscenium Arch, Promenade, Thrust, Open Air etc., I am committed to exploring new and innovative ways of producing Theatre that is rich and alive, entertaining and informative, relevant and educational, challenging and accessible, while engaging the audience to participate. I would like to think that I have been able to achieve this in my work with the many collaborations I have developed, managed and coordinated. At the core of my work is the fundamental belief that the theatre needs to constantly evolve and change. This change needs to be at grass roots level, if we are to move forward. That is why I believe that a strong "Arts" community, one that adapts to the needs of that community, is not only necessary, but also vital, for a better society, providing knowledge, understanding and tolerance. The "Arts" are synonymous with culture, and Governments, local, regional and national, are only beginning to openly acknowledge the contribution of having a strong arts culture can provide. Whether it is arts for arts sake, to engaging with social issues, to the regeneration of communities, towns and cities, to tourism or to education. The Arts make a difference to the quality of life.We need, however, improved facilities and a leadership both for the Public and the Development of the Arts. A leadership that will demonstrate that the Arts are as necessary as the air we breathe, providing the public with open access to the Arts, providing quality, choice and diversity in an atmosphere which is safe, entertaining, stimulating, challenging and attractive. I see the need to coordinate youth activities and training in the performing arts. Linking schools, educational establishments and community organisations, with mainstream venues providing the necessary opportunities to enrich and enliven the lives of our young people as well as the public. I have always believed firmly in what I do, without colouring my focus. I have a deep passion for the Theatre, which is grounded in having experienced the impact and influence this tool can have on individuals and communities. I have a great deal to offer, taking my achievements to date into the work that I do, and yet knowing that I have the capacity to further develop and learn. Energy, efficiency and self-discipline are what I consider to be the driving force behind my high standards and I demand no less from others. After twenty five years at grass roots level I believe that my working ethics and ethos have brought many changes and benefits to the communities, participants and young people I have been privilege to share them with. During the last couple of years I have had the opportunity to consolidate my experience and my reputation and work has been widely acclaimed across Wales. The Youth Theatre was invited by Arts & Business Wales to perform highlights from a new work Buggerall, at the Senedd in Cardiff January 2007 (the Welsh Assembly). We were the only non-professional company performing in front of representatives from the Welsh Theatre, TV and Film Industries as well as Assembly Members. My production of A Bridge To The Stars was seen at the National Theatre July 2007 on the Olivier stage as part of the NT Connections Scheme. My new writing company, Cut The Cr*p Theatre Company, in Cardiff was chosen as part of the incubation project to develop a new play, The Prince Of Wales, in July 2007 and was performed at the Wales Millennium Centre in October 2007. I have currently trained in The Theatre Of The Oppressed (2008 & 2009). By using the techniques of the Theatre of the Oppressed which begins with the principle that theatre, like language, can be appropriate to anybody so as long as the methods are passed on to them. Through a series of exercises, games, techniques and drama forms the aim is to understand social reality, to then be able to change it. I have always believed firmly in the work that I do and the training I have undertaken in Theatre of The Oppressed confirms my working ethos and ethics. This training has reinvigorated me professionally and personally speaking and would welcome the opportunity to further this work and share the good practice and techniques.

Additional skills:
Theatre of the Oppressed Techniques.


Referees:
Dr.J.S. Hartley
Theatre Practitioner, Director, Writer, Lecturer,Facilitator
Director and Founder of Theatre versus Oppression
removed and / or
removed
Additional information:
Artistic Director
Cut the Cr*p Theatre Company,
Pukka Theatre Company
Llanelli Youth Theatre

Skills

Secondary Job Title	Drama Facilitator
Job Titles	Director, 1st AD (Assistant Director), Creative Director, Teacher
Years in industry	6+ years