The fundamentals of theatre

The prospect of yet another youth drama education programme might initially seem barely worth noting. Such programmes have been growing increasingly popular on the local scene, and there would seem to be little to distinguish one from the other. However, Kneeplays Youth Theatre, being launched over the coming months, promises to be something distinctly new. After only a few minutes of speaking to Michael Fenech, the artistic director of the theatre company, the unique nature - at least within a local context - of this programme becomes apparent.

Mr Fenech is at pains to point out that although Kneeplays Youth Theatre, a project aimed at 13- to 25-year-olds, will have an educational component, it is not meant to be a drama school, but represents an entirely different concept. "The members of the company will learn through an apprenticeship approach - they will be learning through doing theatre with experienced directors, obtaining theatre craft by putting up a performance rather than through lessons. No fees are involved, and all expences related to productions and workshops have to be covered by sponsors."

Working under the direction of a professional crew and a number of directors - Mr Fenech stresses that theatre practitioners of the highest calibre are involved in the programme - the members of Kneeplays Youth Theatre will learn through a mentoring process, observing the professionals at work, working under their direction, and through active participation in different theatre projects as they take on some of their tasks and responsibilities.

Members will be immersed in every element of the performance. "Part of the way we intend to work is that every member will be exposed to all aspects of the production, and not only in their own chosen role. Everyone is expected to be part of the whole process, so it is necessary that they become familiar with every element of the whole. "

As Mr Fenech insists, "the performance is a whole community effort".

To further emphasise this philosophy, the company will hold regular workshops for its members covering different technical aspects of the theatrical production, such as lighting, sound, costume and stage design and make-up. "Instilling an understanding of all these aspects is crucial. Of course, these workshops will not make them 'experts' in these areas. But whoever is interested in developing particular areas of stage-craft will have the backing, again through an apprenticeship structure, to develop their skill in these aspects."

Mr Fenech's plan for Kneeplays Youth Theatre is forward-looking and decidedly ambitious. The project is not limited to one production, but is envisaged, as Mr Fenech explains, as an ongoing process. "Applications will always be open and auditions will continue to take place at regular intervals - as long as we can accommodate more people."

The first set of auditions were held earlier last month. "In these auditions," Mr Fenech says, "we were primarily looking for two things. The first of these is talent - as a theatre company, we are obviously scouting for talent. The second is a commitment towards the company. I believe that talent is important but discipline is at least as important, if not more - everyone knows art is made up of a small percentage of inspiration and a large percentage of perspiration. So maintaining a level of discipline, of regular attendance and participation, is essential."

"These auditions will now be followed by eight weeks of workshops, giving the selected members some time to bond and develop a sense of team spirit. In September we will hold a three-day residential workshop; after that we will start working on a number of plays leading up to a festival of youth theatre - a weekend of theatre for youth - that will be held in December. So that's our short-term aim."

In the longer term, however, even this is only the beginning. Mr Fenech explains that, by the end of the year, as the strengths, abilities and character of the team reveal themselves through the long months of training, rehearsals and performances, he hopes to be able to develop a three-year programme built around a number of productions. Mr Fenech notes his intention to put these productions in the hands of a range of directors who will each bring in their own touch.

"The aim is to expose the members to a wide variety of theatrical styles. For instance, some directors might opt for a traditional style of theatre, while others might go for a more experimental style. The members will be exposed to different performances, styles and approaches, and I think that helps greatly in the development of one's sense of theatre."

Mr Fenech also stresses the point that each of these productions will involve the programme's entire team. "Our members will be part of a team," he says. "Perhaps in a particular production someone wouldn't have any acting to do except to support the rest of the team by taking on a backstage role but you're always part of the team, you always have a responsibility towards your fellow members."

Above all else, Mr Fenech emphasises the fact that the idea behind the programme is for its members to actively develop all the necessary skills to be able to independently put up their own productions. "What we would consider the ultimate success of Kneeplays Youth Theatre would be if in a few years' time, a group of our members would leave and set up their own company and be able to work in a 'professional' manner, because they've obtained the stage craft and the attitude they need."

If the programme is to succeed, Mr Fenech concludes, the members themselves must be the driving force of the company - and it is this that sets it apart from other drama education programmes.

"Kneeplays Youth Theatre must belong to the members. It must be made to succeed by its members. Ultimately the energy must come from them... if I had to come up with a slogan for the project, it would be 'make it yours'."

• Applications to join Kneeplays Youth Theatre are currently open. For further information, visit www.kneeplaysyouththeatre.org.mt.