Open letter from theatre directors: 'Spectators want human contact'

“Over the past year, we, Annemiek Lely and Susanne Visser, heard various noises about boring introductions and useless fringe programmes that would add nothing. Such comments pass the revue in the artist foyer, at the bar or find their way onto social media. 'I want afterthoughts led by a local presentation talent instead of a drawling dramatist,' wrote an already established director in a column in early February. "Ouch!" was our first reaction, but somewhere we understand this committed theatre-maker's comment. We too experience someone reading up on an uninspired story from an A4 page. But this is not the main issue. We see (young) dramatists who give well-researched and interesting introductions with great enthusiasm and love for the theatre profession. And just as important: an interested and enthusiastic audience attending these introductions.

Yet previews in theatre anno 2019 are no longer taken for granted. Indeed, they are increasingly being cut out or replaced by digital alternatives. This development worries us. We advocate retaining introductions to theatre performances by professional previewers.

Without spoilers.

Previews are there to give the audience a broadening and deepening context to a theatre performance. As an introducer, you guide the audience in the transition zone from everyday concerns to the theatre performance. The audience is given and takes time to learn about creation processes, the subject matter and - where necessary - the historical context of a play. Dramaturgists offer the audience tools to understand and experience the performance - without spoilers.

Dramaturgists are trained theatre scientists with a broad knowledge of art and culture. When a spectator at an introduction - but also at an afterparty - has a concrete question such as "what is conceptual dance?", a professional previewer can answer it directly from his background and thus make the artistic idea behind a performance more understandable and accessible. An introduction allows room for questions, interaction and jokes with the audience. The combination of an introducer's professional savvy and social skills can contribute to the visitor's aesthetic, intellectual and emotional experience and thus a subsequent theatre visit.

Personal contact.

In times of digitalisation, it is obvious to spread depth online. Think about interviews with theatre producers or by letting thematic experts of the play speak. A well-written programme booklet or 'day sheet', a content video or podcast are just as important to pique the curiosity and enthusiasm of the audience, but do not replace personal contact between the previewer and the audience. This does not alter the fact that there may be discussion about the content or form of previews. Especially the previewers and dramaturges can play an important role in that development.

If the industry chooses not to employ introductions by professional previewers, you do the field and certainly the audience a disservice. The audience demands theatre introductions. The theatres are well filled and we regularly get compliments from audience members about the substantive and social service we provide. During the introduction, the audience gets to know the dramaturge and ensures that a spectator is included in not only understanding but also experiencing the performance.

Summer guests.

In practice, it turns out that the previewer fulfils a function of hostess or host in addition to being a dramaturge. Often enough, people know where to find him or her after the performance to talk afterward. It is precisely the gathering before and after the performance that the audience experiences as added value. Especially as a regular previewer of a theatre, you build a bond with the audience. It is the sum that ensures that a visitor visits a performance enthused and informed, has a certain context in which a performance can land and has impact.

This letter was written to respond to the audience's need for in-depth and broadening fringe programming. During the television programme Summer guests director and artistic director of ITA Ivo van Hove stressed the importance of being together in this increasingly digitalised society. 'Theatre is perhaps the most important art form because it is live.' said van Hove. 'Theatre brings people together and provides an opportunity for good conversation. As far as we are concerned, that togetherness is not limited to the auditorium, but rather the conversation takes place outside as well.'

A podcast will soon appear on this site in which we will explain in more detail the added value of theatre introductions and share experiences. In addition, we think it is important not to attack each other within the sector, but rather to emphasise that we can complement each other. We are looking forward to reactions!

Threatened theatre directors speaking: 'It literally hurts me when I hear that something like this is going to be abolished.'