INVESTIGATION PROCESS – OPEN HOUSES

The initial objectives:

The investigation conducted by the participants of Open houses had the main objective of generating knowledge about the role of young people in cultural institutions and social experimentation initiatives.

On one hand, this investigation aimed to better understand the challenges faced by young people in terms of cultural citizenship, as well as to identify the obstacles and difficulties they encounter, particularly in their relationships with professionals and cultural institutions such as theaters. The desired results aimed to generate knowledge about the cultural engagement of young people, issues of civic participation, the connections between popular and institutional environments, as well as democratic concerns.

On the other hand, this investigation sought to critically examine the project and its implementation as it progressed. The goal was to analyze and understand the roles played by the participants, as well as the relationships they established with the project stakeholders, including youth workers and theater professionals. To achieve this, participants were encouraged to reflect on their project experience, analyze their relationships with professionals, and evaluate their roles in different stages. In this regard, participants were invited to consider the potential gap between the recognition of their position and the one they actually assumed and occupied. The expected outcomes aimed to develop the participants’ capacity for experimentation and engagement.

The methodological framework implemented in the three countries:

The members of the three collectives were invited to take on the role of actor-researchers, meaning they conducted an investigation into their own experiments. Each collective, accompanied by youth workers and Coop Eskemm, defined a research question, conducted literature research, collected data, and produced shareable results. This process also included an artistic dimension, as the young people collaborated with artists commissioned by theaters to narrate their collective story and showcase their results.

Below is a summarized table outlining the steps undertaken by the collectives within the scope of their investigation.

Open-Houses-Investigation-game1

The implementation of this method, which will be discussed in the following sections, varied depending on the young people and the facilitators. The youth collectives carried out various actions, including formulating research questions, collecting data, and producing shareable results. Additionally, analyses were conducted to address the gathered information. However, it is important to note that each group experienced this method in a unique way, based on their own dynamics and interactions with the facilitators.

Investigation Processes

During the 8 months of Open Houses, each collective was locally supported by the youth organization, allowing them to cooperate and experiment in order to produce a cultural action presented in the partner theater. At the same time, the three youth collectives conducted an investigation into their cooperation experiences with the theaters. This investigation aimed to examine their relationship with the cultural institution, (re)discover it, question its functioning, and find their place within it through a collective experience perceived as learning, commitment, or a step towards their professional development. On the other hand, the professionals were interested in the practices, desires, and knowledge of the young people in order to contribute to the development of the cultural offerings of the theaters. Thus, throughout this adventure, the three collectives were able to experience research by investigating, observing, and questioning their relationship with the theaters.

Mobility to support and accompany local investigations:

During the first three transnational meetings, which took place between March 2022 and June 2022, three training sessions on investigation were offered to the collectives.

In March, in Sibiu, a part of the mobility was dedicated to understanding the project framework. The young people participated in a role-playing game where they interviewed youth professionals to better understand the project’s scope. They took on the roles of journalists working for different types of newspapers (economic journal, daily newspaper, political journal, satirical journal). During this mobility, the first workshop aimed to define the framework of an experiment and its stages, based on the desires and knowledge of the young people. The second workshop focused on collective organization. The young people learned tools such as group facilitation techniques, distributing speech and space, to better organize themselves as a collective. Finally, the researcher’s game was proposed to familiarize the participants with the investigative process. In this workshop, they were encouraged to form small groups to investigate in public spaces. They then had to agree on a problem and a question to address, formulate hypotheses, and find ways to investigate. The objective was to familiarize them with the investigative dynamics that they could replicate in their respective contexts.

In April, the second mobility in Hamburg aimed to take stock of the experiment and research objectives. During this period, two sessions focused on the investigative process were offered. The first session covered the methodology of investigation through the game “The Investigation Game.” The objectives were to introduce the young people to investigative methodology and familiarize them with the necessary tools. They were also able to identify the main stages of an investigation. The second session focused on how to narrate a project like Open Houses, drawing on B. Roux’s book “The Art of Narrating Our Collective Experiences.” The workshop emphasized the importance of keeping records, telling stories, and transforming reality. Titled “Big Story / Little Story,” this workshop aimed to individually and collectively raise awareness among the participants about the influence of lived experiences, encounters, and life events. It also highlighted the degrees of influence that the grand History exerts on life paths. The idea was for young people to position themselves within the Open Houses experiment. Finally, in June, in Sibiu, the last training session was dedicated to analyzing the initial results of the investigative process. The young people also participated in a cultural urbanism workshop dedicated to pocket spaces. This workshop allowed them to reflect on the architecture of theaters and the impact of facades and doors. Sensitive maps were created to facilitate the presentation of the work. In parallel with these transnational meetings, each collective was able to develop its own investigative approach to better adapt to the realities of the territories.

Account of the Local Investigations Conducted by Youth and Youth Professionals:

At the local level, after a phase of mobilizing young people to form collectives and an initial exploratory phase based on observations, feelings, and discussions with theater professionals, the collectives formulated an issue and initial hypotheses related to their context. They then conducted investigations using various tools that allowed them to develop concrete proposals. Below, you will find a brief presentation of the investigative process in each country.

Romania:

Mobilization and initial observations:

The mobilization and formation of the Romanian collective took place online due to the Covid-19 pandemic. The initial exchanges occurred via Zoom, which did not facilitate team-building activities. Moreover, RESET professionals deliberately chose to engage young people who had not yet participated in projects offered by the organization.

The first in-person meeting took place during the inaugural meeting at the theater, which included a venue tour. Among the group members, some had never been to the theater and had no preconceived opinions about the place, while others were attracted to the theater due to their generally positive perception of it.

The young people started reflecting on the following question: “Should we bring young people to the theater or bring the theater to young people?” This question was inspired by the proverb “If the mountain will not come to Muhammad, then Muhammad must go to the mountain.” They observed that the theater was positively perceived in their city but that few young people frequented it due to its lack of appeal. They also noted the lack of young people in theater audiences and lamented the lack of connection between theater programming and current events.

Formulating an issue and hypotheses:

After this mobility in April, the Romanian youth expressed their desire to take action to verify their observations and address several issues:

The use of informal spaces within the theater.
The demystification of theaters.
Inequalities in access to culture between young people in urban and rural areas.
Modernizing proposals (current topics) and communication methods.

The collective chose to work on the following issue: “How can we bring the theater to young people?” They formulated the following hypotheses to be tested during their investigation, aimed at addressing the challenges of engaging young people in theaters:

Using informal spaces such as secondary schools, cafes, clubs, pubs, and shopping centers would foster connections to theater practices.
Addressing current topics to engage young people.
Developing a modern marketing strategy on platforms such as TikTok, Instagram, Facebook, and YouTube could address the lack of youth engagement.
Action-based investigation:

Fairly quickly, the Romanian collective wanted to investigate while taking local action through cultural activities. For this purpose, the young people were supported by the RESET association and Kampnagel. Vincentiu Rahay, an artistic consultant associated with TNRS and Sibfest, provided them with advice on stage presence, capturing audience attention, and public speaking, among other things.

The first cultural action aimed to test the four formulated hypotheses. It took place on the city’s tourist train, an activity offered in Sibiu. Two young people in the group were already involved as volunteers in this small train project called “Mocănița.” They proposed the idea of reciting poems aloud during the train rides. To verify these hypotheses, the young people conducted interviews with passengers after the actions. Alongside the launch of this first action, the collective organized informal outings, strengthening the group’s cohesion.

Additionally, the collective self-organized the video capturing of testimonials from young project participants. This involved “shooting” sessions that staged characters and emotions inspired by the theatrical realm. These sessions took place in August 2022. The resulting photos were presented in an exhibition titled “CHARACTERS” in October 2022, as well as during the Open Houses presentation at TNB in November 2022. Furthermore, the train action was also proposed in the Rennes subway.

By opting for an action-based investigation, the collective not only strengthened itself but also generated data on young people’s relationship with the theater while establishing connections with cultural institutions.

France:

Online mobilization and theater exploration journey:

The first stage took place from February to May 2022 with the aim of forming a collective and familiarizing it with the theater environment. The mobilization of young people continued throughout January. Despite the health constraints, several interviews were conducted to meet the volunteers, primarily using online meetings.

From the project’s launch, specific journeys were proposed to the young people to familiarize them with the world of theater. They had the opportunity to attend several performances throughout the year to discover different forms of plays. Additionally, they met theater professionals through journeys focused on theater professions. Within the investigation framework, these journeys had a dual objective: on one hand, to continue getting acquainted with the theater environment by exploring different professions and potentially sparking vocations; on the other hand, to allow young people to conduct investigations on theater-related topics.

Findings, issues, and hypotheses:

Following this initial exploration, the collective shared several findings:

TNB ticket prices can be a potential barrier.
The temporal aspect of theater does not suit everyone, as access to shows cannot be spontaneous.
Theater is often considered secondary to cinema or social outings with friends and is not seen as a place for socializing.
School background and/or family environment play a role in young people’s sense of legitimacy or illegitimacy regarding theater.
There are few young artists on stage, making it difficult for some young people to identify with actors.
Plays often tackle heavy subjects, limiting the ability to escape from everyday life.
Theater is a place for questioning, addressing societal issues, and intellectual stimulation but does not resonate with the majority of young people.

These findings led to the following issue: How does the Théâtre National de Bretagne (TNB) interact with young people aged 18 to 30? Like the other collectives, the Rennes group formulated several hypotheses to validate throughout their collaboration with the theater:

The current ticket prices are not suitable but could be overcome.
Going to the theater requires anticipation and proper organization.
Young people often have to choose between their social life and personal life.
The absence of family and/or school support makes theater less familiar.
The programming does not meet young people’s expectations.
Theater is perceived as reserved for a cultured and aging audience.
Communication is not adapted, whether on social media, signage, or access to information.
It is necessary to create moments and opportunities for interaction with artists.
Multilevel investigation:

During the second stage of the local process from May to July 2022, the collective had its first meeting with “Les Ateliers du Bourg,” an association of artists supporting independent micro-publishing and promoting artisanal printing techniques. Some group members focused more on the research part, which involved parallel meetings, discussions, exchanges, and analyses. Simultaneously, interviews with theater professionals continued while investigating the place of young people at TNB.

The third significant stage took place from August 2022 to November 2022 and involved implementing cultural action and telling the story of Open Houses. After the fourth mobility in Hamburg, the French collective decided to organize an exhibition titled “Comme à la maison” (Like at Home). The idea was to make the different aspirations of the collective members visible in one space. The name of the exhibition emerged from the initial results of the local investigation, where the collective members expressed their wish for the theater to be a place where they feel “like at home.” They emphasized their interest in greater interaction between people and spaces. Several proposals were made, such as board games and book boxes. Through the exhibition, they explored how far the doors of the building could be opened, with the idea of creating a welcoming and friendly environment resembling a home within the theater, by setting up different spaces. This exhibition took place in November 2022, simultaneously with the TNB festival.

Throughout the process, the collective adapted based on individual interests. Some focused on carrying out cultural actions, others were more involved in the investigation, while some contributed to both aspects. Several difficulties were identified by the collective throughout the process: understanding the scope of a complex project, relations with the theater institution, making collective decisions, and tensions among collective members. Despite these obstacles, the collective remained mobilized to successfully carry out the cultural action.

Germany:

A mobilization in two stages:

In Germany, in Hamburg, the collective went through several stages. Between March and June, there were several reshufflings of the group as some young people did not fully realize the commitment required for such a project. They were also busy with their studies and other activities, which contributed to their departure. Some of them had a partial vision of the project and considered it solely as a theater project.

After these departures and the reconstitution of the German group, the true collective life and investigative process began in June 2022. It also took time for the German group and Kampnagel to get to know each other. The German group primarily focused on observation within Kampnagel.

The German group was invited to participate in the activities of Kampnagel’s youth club. Through these exchanges and observations, the collective discovered that Kampnagel saw itself as an interdisciplinary meeting place offering open and social programs. However, a place like Kampnagel still faces obstacles, and continuous work is essential to remove them and make it more accessible.

Findings, issues, and investigation:

The Hamburg youth collective identified various potential barriers, such as young people’s interest in theater, symbolic violence, the perception of privilege, and money. To validate their hypotheses, they conducted interviews with theater staff. During the events scheduled at Kampnagel, they continued their observations while reflecting on the geographic location of the venue in the city of Hamburg. Their issue was thus formulated as follows: How can a cultural institution attract and retain new spectators from marginalized groups?

Therefore, the German group aimed to address the inclusion of queer individuals in the cultural context of Kampnagel. This aspect was integrated into their reflections and discussions on how a cultural institution can acquire and retain new spectators from (multi)discriminated groups. Following various meetings and interviews, they proposed an immersive exhibition accompanied by QR codes linking to sound capsules. These capsules aimed to invite visitors to deepen their reflections in collaboration with the collective.

Simultaneously, the collectives conducted an investigation into their cooperation experiences with theaters to examine their connections with the cultural institution and contribute to the development of the cultural offer. The collectives received transnational training to address research methodologies and share their knowledge. Each collective then developed its own investigative approach adapted to its local context. In Romania, the collective questioned how to bring theater to young people. In France, the collective explored how the Théâtre National de Bretagne interacts with young people. In Germany, the group focused on welcoming spectators from discriminated groups. The collectives also carried out cultural actions to put their hypotheses into practice and established links with cultural institutions