In this toolkit, we'll take a look at the first step of the verbatim theatre process: choosing a subject. In the broadest possible terms, verbatim plays fall into two categories – those based on events, and those based on a particular theme. We'll be focusing on the former.
How to choose a subject
Your subject is your catalyst. Whatever you set out to explore, the process is about asking questions and being open to the answers, rather than approaching it with a preformed ‘story’.
It is not surprising that many of the most famous verbatim plays are inspired by a singular event, or series of events. Be it a natural disaster or a more personal event, the verbatim play allows an audience to hear the testimony of those eyewitnesses – the people who were there, who saw it happen and felt (or feel) its consequences.
Plenty of plays are based on real events, written to present a particular angle or point of view. But verbatim is different. The material you will need has not been collected or collated yet, some of it won't even exist yet, so it is impossible to come to any definitive conclusions until you have asked your questions and begun your investigations.
Current events
The immediacy of verbatim theatre makes it an ideal forum to explore an event that is current and relevant. It may be that you are spurred on by an event that has happened in the last few days; it might also be true that although the event is in the past (perhaps still within living memory), the consequences are still keenly felt.
The first question for us is: what is the subject of your story? Once we know the answer to this, we can then begin to move forward.
Activity: The search
News sources: We have to start somewhere, so why not with the news? What are the stories that are perhaps dominating the media, or perhaps those that are hidden away in the middle pages? In small groups or individually, take one of the following news sources:
- Local and national newspapers
- Television news
- Internet news site
Speed-read: Set a time limit to go through the source, relatively quickly, and highlight or bookmark all the stories that spark your attention.
Review: Read back over your selection of stories and choose just one to investigate further. Keep the other stories to hand; you are allowed to change your mind, or indeed may want to revisit them another time.
Read in detail: Now focus on the one story you have selected. Read and re-read, making notes of any key information.
Share your findings: Have two or more people or groups chosen the same story? Is there a link between them? If so, discuss why you might have been drawn to the same or similar stories. Discoveries will be made in the debate, whether it's with collaborators, students or critical friends, so share your ideas and test your thinking.
Ask ‘why verbatim?’: Finally, ask each group to summarise in a few points why their chosen story needs to be told using verbatim theatre, instead of using any other theatrical form.
Historical events
You may prefer to investigate an historical event. Offered the opportunity of real verbatim material and eyewitness testimony that opens a window into the past, an audience is able to get closer to ‘what really happened’ and, perhaps more importantly, what it was really like to be there.
The range of historical subjects is so vast it could be quite daunting just thinking about where to start! Ask yourself why it is interesting or necessary to explore something historical. It could be a personal interest in the life of a particular person, or a major historical event. Equally it may have a wider relevance – local or national.
Whether you decide to take on a current or historical event as the subject for your verbatim piece, both have advantages and disadvantages. While a modern event is current and information about it is readily available, you will also need to be aware – especially if it is a tragic event – that your play may be touching on issues that are still extremely sensitive. On the other hand, with historical events, although the emotional connection may not be as fresh, you may still face challenges – the further back you go, the more likely your source material is to become scarce. Remember, verbatim theatre is ‘in their own words’, so if your subject (or eyewitnesses) are no longer living, you may find it harder to gain access to those words – letters, diaries, speeches, interviews and so on. It may also be the case that information gathered is far less reliable and this may mean you are required to do much more research in order to corroborate your initial findings.
With both current and historical events, you have the freedom to discover which aspects of the event interest you and those that you think will be of interest to your audience. Do you take a broad view and try to report on the event as a whole – the causes as well as the consequences? Alternatively, do you prefer to take a microscopic view on a smaller aspect – shining the spotlight on something that has previously been overlooked, or making a seemingly minor character into the central protagonist?
Why you? Why now?
Hopefully by now you have an idea of the subject that will form the starting point for your piece. If so, the next questions that are worth asking yourself are as follows:
Why this is an important subject for you to tackle: Perhaps it has personal relevance, or is a contentious topic where you live? Perhaps you feel that it's a topic that warrants further investigation?
Why it is important you explore this subject now: Perhaps it follows current (or recent) events? Perhaps it explores an aspect of our lives that seems particularly relevant? Perhaps it is to coincide with an anniversary of an historical event?
However, if you haven't yet settled on your subject, or if you are still wrestling with lots of ideas, here's a simple activity to assist your decision-making.
Activity: The important/urgent axis
List all of your ideas: If you are working with a class or group, you may want to divide them into smaller groups and give one or two ideas to each group. Each group will need one sheet of A4 paper per idea.
Write a one-line synopsis: How would you summarise each subject or story, in just one sentence? Write this synopsis along the bottom of the paper.
Invent a title: Give each idea a title and write it in large letters on the paper so it can be read from a distance.
The axis: Clear a space on the floor, or alternatively use a whiteboard or wall if you prefer. Mark out the two axes (see diagram below) by either laying down some rope, ribbon or string, or simply drawing them out.
Make your judgements: Each group should then place their ideas on the floor (or wall) making a judgement about how they correlate to the two axes. As they do, encourage them to explain their thinking to the rest of the group. Once all ideas have been laid out, you can facilitate a discussion to find out whether everyone agrees with all the placements or whether some need to be re positioned.
One might argue that the ideas placed in the uppermost right-hand quarter are the ones to pursue, those which are acknowledged as being the most ‘important’ and most ‘urgent’. However, the labels of the axes are already dictating the tone of the piece and this may not be appropriate for you. If so, experiment with different labels such as ‘Entertaining’ or ‘Relevant’ and interchange them so as to test and debate your ideas. As we've already discussed, the discoveries will be made in the debate.
© Toby Farrow
The 2015 production of Walking the Chain, directed by Belfield, incorporated verbatim theatre
In conclusion
Like the rest of the verbatim theatre process, doing your research can be as painstaking as it is rewarding. But the foundation of every verbatim play is quality material, so it's worth taking the time to get it right. The next steps – from conducting interviews and editing your material, to rehearsing and making staging choices – will follow from there.
Through my conversations with leading practitioners and developing my own practice I have found verbatim theatre-makers need the following four qualities: rigour, accuracy, clarity and patience. You are part playwright, part director, part practitioner and facilitator, part journalist, part detective – and in all that, these four qualities emerge time and time again, at every stage of the process.
Telling the Truth: How to make verbatim theatre by Robin Belfield is out now, published by Nick Hern Books. The paperback costs £12.99 but you can save 25% and get free UK shipping by entering discount code TD25 at the checkout when you order online at nickhernbooks.co.uk/telling-the-truth