Amateur theatre is theatre performed by amateur actors. These actors are not typically members of Actors' Equity groups or Actors' Unions as these organizations exist to protect the professional industry and therefore discourage their members from appearing with companies which are not a signatory to an Equity Agreement or Code.[1]
Amateur Theatre is common in most urban centres; notably, it is staged in summer schools (usually organised by a professional practitioner, such as a director) and in formal amateur companies. Amateur theatre is a convenient way for lay people to gain acting and stage experience, for pleasure and amusement.
Other examples of amateur theatre are school Christmas plays, low-budget plays, and musicals staged in local venues in much of the Western World.
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Opinions vary on how to define "amateur" in relation to theatrical practice. Technically speaking, an "amateur" is anyone who does not accept, or is not offered, money for their services. One interpretation of this is"One lacking the skill of a professional, as in an art." [1] Another is "A person who engages in an art, science, study, or athletic activity as a pastime rather than as a profession." [2]
An amateur actor is unlikely to be a member of an Actors' Union, as most countries have strict policy in place. For example, British Actors' Equity "are pleased to welcome into Equity anyone who is currently working professionally in the field of entertainment." Actors' Equity - Britain. The Actors' Equity Association of America, likewise, states "You may join the Association by virtue of employment under an Equity contract." American Actors' Equity These rules are in place to protect the professional industry, and professional artists.
Whilst the majority of Professional stage performers have developed their skills and studied their craft at recognized training institutions such as the Royal Academy of Dramatic Art (London), Juilliard School (New York) or National Institute of Dramatic Art (Sydney), amateurs usually lack professional training. As a result, amateurs work outside of the industry itself, in community run plays and revues, and there is very little flow from the amateur world to the professional. Most amateur actors work at non-theater professions and rehearse and perform in their spare time.
Many amateurs do provide a source of entertainment for their local communities and amateur theatre can be a fun and exciting hobby, with strong bonds of friendship formed through participation in community organized theatrical events. Many of these performers reject the "hammy" or "incompetent" label and re-label themselves as Pro Am. Many others reject the elitism of the professional industry entirely, and are pleased to just have fun. There are amateur actors and groups who claim to strive for excellence, study their craft and take their performance as seriously as trained professionals, though opinion remains divided as to their level of success.
Scottish theatre-maker and writer Andrew Mckinnon acknowledges that "whether we like it or not, and whatever its original root meaning -- the word "amateur" now has a negative, often pejorative significance in modern English usage when it applies to theatre and art. In theatre specifically, "amateurism" is regularly used to imply muddled and botched work, low standards, lack of preparation, and so on; indeed, some amateur theatre companies in the UK, being aware of this, are even following the American usage by re- branding themselves as "community" groups. Regretfully, I believe that this is an irreversible change" but he questions the definition of "Professional" in purely financial terms and argues ""'Professional behaviour' is measured by your self- discipline, collaborative skills, level of commitment, and by your ability to solve problems creatively, making constructive use of available help and guidance. It is taken for granted that you will always be punctual and prepared and conduct yourself maturely and thoughtfully in rehearsal and performance. These are the minimum conditions for the creation of satisfactory theatre work." ( Al-Ahram Weekly 21–27 September 2006 Issue No. 813)
Mckinnon, then, makes a distinction between "amateurism" and "professionalism" in more than purely financial terms. He cites it as a difference in attitude, ability and intent.
The relationship between amateurs and professionals in a theatrical context is the subject of debate in many countries. Professionals argue that the amateur community devalues the art form and damages the industry, through the promotion of unskilled performers, directors and crew. By drawing an audience that would otherwise pay for high-quality, professional theatre it has been argued that amateurs hurt the industry as a whole. Their inability to attract new writers and new work highlights this. In his article, 'The Amateur Theatre in Great Britain', Edwin R. Schoell notes that "There is, particularly in professional quarters, a deep-rooted suspicion that amateur theatre is really an institution that exists in order to give significance to "amateur dramatics" a frivolous kind of amusement with no pretention to art" or "as a base for starring the most popular and politically astute members" (Educational Theatre Journal, Vol. 15, No. 2 (May, 1963), pp. 151–157)
On the other hand, amateurs continue to argue that they perform a community service,[2] and many practitioners accrue considerable experience and skills, which may be transferred to the professional industry, if they are lucky. There are a considerable number of "jobbing" actors who had their start in amateur theatre, and amateur companies provide a more-constant source of income for less active playwrights.
People throughout Great Britain participate in amateur theatre as performers, crew or audience members and many children first experience live theatre during local amateur performances of the annual Christmas pantomime. Amateur theatre can sometimes be a springboard for the development of new performing talent[3] with a number of prefessional actors having their first stage experiences in amateur theatre such as Liam Neeson (with the Slemish Players in Ballymena) and James Nesbitt (with the Ulster Youth Theatre).[4]
A survey carried in 2002 by the major UK umbrella organisation for amateur theatre, National Operatic and Dramatic Association ("NODA"), noted that "Public support in the UK for amateur theatre is patchy"[3] but highlighted the activity for that year:
Further, in England alone a sample investigation of activities in five English cities and districts revealed that only 19% of amateur drama groups active there were affiliated to a national "umbrella" organisation[5] suggesting that the figures above could be underestimating the level of grass roots, community involvement with amateur theatre.
There are many local festivals of amateur theatre within the United Kingdom with two major national festivals and one international festival:
There a number of UK wide competitions that are organised by different bodies:
is dedicated to the memory of Nan Nuttall, a long-standing Secretary of Manchester & District Drama Federation.[9]
In the United States Amateur Theatre is generally known as Community Theatre. As of January 27, 2009 there are 923 member organizations of the American Association of Community Theatre.[10] Membership in this organization is voluntary so the actual number of community theatre organizations in the United States is uncertain.
While the performers in Community Theatre are typically non-professional there is a provision of the Actor's Equity Association which allows up to two paid Guest Performers in a Community Theatre production.[11]
Community Theatre organizations in the United States are eligible for non-profit status under article 501(c) of the United States Internal Revenue Code.[12]
The origins of Community Theatre in the United States are not well documented. A history of Community Theatre in the United States is available on the website of the American Association of Community Theatre.
The American Association of Community Theatre is the major umbrella association for community theatre in the United States. According to their website:
The mission of the American Association of Community Theatre is to foster and encourage the development of, and commitment to, the highest standards by community theatres, including standards of excellence for production, management, governance, community relations and service.[13]
Among other activities the AACT sponsors a national theatre festival called AACTFest in odd-numbered years.