What the world might think

Every two years Farnham Maltings, working with Brighton Festival, invites over 60 international festival organisers and programmers to a curated three-day programme of new theatre made across England under the banner of caravan. We have done it four times now, every other year, when the British Council showcase isn’t happening.

Since we started, our ambition has been to create the conditions that allow conversations between artists and presenters, not just about the work, but about purpose and ambitions. We are less interested in selling work than we are in introducing artists and their ideas – although more than 60% of companies who have participated in caravan have gone on to work internationally. What we have noticed is it’s as likely that a programmer will be curious about future work, or a collaboration with a ‘local’ company, or inviting the artist to make a new version for their audience as they are in ‘buying something off-the-shelf’.

We spend a great deal of time and energy preparing companies to make the most of the opportunity. For example, just doing a scan of the internet can do much to inform a potential programmer about a company – and you can be sure that most will start with a Google search to gain a first impression. We also work at building a spirit of co-operation between the presenting companies, encouraging them to see and champion each other – which is far more compelling than just talking for yourself.

But the real gain has been in encouraging artists to understand their work within the world. To look up and see their work within an international context, to take stock of how they present themselves to all of their audiences, not only overseas but also in the UK. Equally, we are as curious to know what is happening around the world in theatre, what challenges presenters are facing, why they do what they do and how they are reaching new audiences with new work.

It is both provocative and insightful to hear Ron Berry from Fusebox in Austin talk passionately about making his entire programme free (this is a festival that only relied on 10% box office) and how it has led to larger audiences, more people taking risks and an increase in donations. And then to hear Jay Wegman from the Abrons Arts Center speak equally articulately about why that won’t work for a New York audience.

We also noticed – as a reflection of a changing world – an eastwards shift in where programmers are coming from, towards Korea, China and Macau. Which, inevitably, resulted in a conversation about translation and how to more imaginatively make text-based work available to a new international audience.

So, yes, people do tour as a result of caravan. Companies are diversifying their income and finding new markets overseas. But as important is the discussion about our place in the world, what is truly distinctive in the work we make and what the world might think about who we are and what we do.

More information about the caravan showcase can be found on caravan's website. Gavin Stride is Director of Farnham Maltings. Caravan is supported by the British Council, and you can follow the Theatre and Dance team on Twitter @UKTheatreDance.