I had an interview with the Graphic Designer, Clare Booth, and Michelle Morton, Programmes Editor from the RSC. It was really interesting to get some answers based on the research I conducted, and to know how their design process works with the programmes, and the restrictions they have and also what they are looking to achieve for the future.
Click HERE for the PDF of the transcription of the interview.
Thursday, 26 April 2012
Thursday, 19 April 2012
2.1: Inside the Programmes
As noted from the analysis of my parents' interviews, my mum preferred the older programme covers, stating they were more inspiring and imaginative, particularly referenced the 1985 "Merry Wives of Windsor" programme, saying that the cover theme was a really strong, playful 50's illustration that developed through the content of the rest of the inside of the programme.
This made me wonder what the insider of some of the other programmes looked like, whether they represent their cover image as well, and the comparison of the newer ones with the older ones.
Merry Wives of Windsor (1985)
This is my Mum's favourite, and you can see how the inside looks like an old 50's women's magazine, with all the informative content within the structure and 'articles'.
All's Well That Ends Well (1980s)
As one of the earlier programmes, this was one of the most colourful. Most of the others are only two tone, and a few pages long. The illustrative style of the cover follows through quite effectively in the inside.
Twelfth Night (1990s)
This is another example of the earlier programmes. Again the cover illustrations are found throughout the programme and the colours are monotone.
Othello (1990s)
Another programme from the 90s, again with only monotone colours. The inside reflects the cover to some extent but it is not as obvious as the previous examples. It also reminds me of being quite 'retro' and seems to be a good example of the popular graphic style at the time!?
A Midsummer Night's Dream (2000s)
This is one of the first programme covers which started using the red logo block in the corner and the typical A4 (ish) size format. This one uses traditional artwork as the cover, which is used throughout the inside of the programme, but doesn't influence the complete look and feel of it like the 80's Merry Wives of Windsor one does. This is also when the RSC started using more colour, and when I think they discovered InDesign!!!
Macbeth (2000s)
Again, an example of the more modern programmes. Same format, richer use of colours and application of the photographic cover image, also heavily used inside, which is effectively displays the mood of the theme throughout the inside, with experimental type, but the images remain strictly formatted and separate from the text content. Rehearsal images are commonly used now instead of images from previous same plays done.
Anthony and Cleopatra (2010s)
The modern programme style, with a new form of type based on the cover theme of this 'series'. And again the images keep relatively separate from the text content, also still photographic.
The modern programme style, with a new form of type based on the cover theme of this 'series'. And again the images keep relatively separate from the text content, also still photographic.
King John (2012)
This is the most current programme my parents now have in their collection. It is still the modern style in the modern format, with the use of photos and stylised running typography. The different I found in this is that the colours and images are even more eclectic, and they have tried a more relaxed, collagey look and feel, starting to integrate the text and images slightly more. This style seems quite youth orientated. I saw the play and the theme of it had this 50's, casino, wedding party vibe, with balloons, and whilst that is 'young' and fun interpretation of it (I suppose), it doesn't quite match with the look of this programme, which I believe mainly just follows the guidelines of the theme of the World series they are doing.
SUMMARY AND ANALYSIS
The main differences that I've noticed are that the older programmes with a lot thinner (Less pages), with usual only a maximum of three colours used throughout the inside. The newer ones are more structured, formal and similar to each other, but they are also more colourful and eclectic, with more freedom of content, with more references and interesting facts relating to the content of the play and current issues in the world at the moment, such as political relations made. Perhaps the RSC has had an influx of funding and increased it's promotional output since the 2000's and the quality of the content and materials has increased.
However, my Mum liked the 1985 Merry Wives of Windsor programme because it literally looked like a 50's catalogue throughout the whole thing, really being playful and investing in the theme. I don't think any of the other programmes really achieve this same effect, even amongst the older ones. Maybe this programme is an example of how the themes of the programmes can really be taken far in mimicking and complementing the play rather than just being a series. Each programme could be a one off piece to go with the play. Maybe the RSC has lost the freedom to do this? As mentioned before, there is possibly an opportunity to really push the boat out with visual ideas for programme designs, in my opinion.
2.1: Survey and Interview Quotes
I've selected quotes from both sets of primary research and highlighted them into colour coded relevance, based on them as comments on the comparison of the newer programme covers against the older ones.
Positive comments
Negative comments
Neutral comments
Points for Future reference
2.1: Survey Monkey Questions
As well as interviewing my parents, I wanted to see what the general consensus was of other peoples' perceptions of the RSC programmes, and how people, who maybe never have been to the RSC, viewed the progression of the designs.
In hine-sight, I think I directed too much of much of my questions towards the design of the covers, when I should have perhaps kept it more neutral and based around the perception the covers give of the company. Either way, it was interesting to glean whether people noticed a change in the designs, and whether they were positive or otherwise.
Click HERE for a PDF of the results.
Summary and Analysis
The majority of the people who answered the survey were within the 16 - 26 age range, which is within the RSC Key programme they provide (discount tickets etc etc), and there was a good mixture of those who have and haven't been to the RSC before, so the results should have reflected a balance of approach.
Only a small amount had actually bought the programmes before, for various reasons such as the character lists, plot overview, art work or retrospectively of the play. Those that didn't purchase them is because they wanted to avoid spending more money and would research the play before hand.
In comparison of the newer covers to the older ones, most people found them more photographic and experimental, however, the other option of 'more illustrative' was not much different in it's responses. It was obvious that they have become more corporate, but whether this is a good of bad thing was not conclusively decided. An agreement was seen that they appeared more professional and worked as a 'collection' that tied in together well, and possibly the contemporary design appeals to younger audience more. Some stated that the logo is needed to keep the programmes relatable as the designs are so experimental. However, some found this same trait constraining and less appealing, being less inventive and lacking a proper interpretation of the play and the experience involved. But on the whole, the changes noticed were not disagreeable.
This shows that the strong opinions that my Mum had about the newer programmes might have been a one off. Most people liked the format of the modern, corporate programmes, and that they are just as artistic, and could be seen as more of a collection. However, if most people of that age range don't buy programmes anyway, then what is the point? It was split opinion, and there were others expressing the same views of my Mum, and who noticed the same concerns of a lack of appreciation of interpreting the play in as much of an experimental way.
The only thing I could point out is that strong opinions came from the older designs and the new designs remained nonchalant. If the RSC wanted to strike more of a chord, maybe they should try and push the boat out a bit more to at least provoke more of a reaction?
2.1: Summary of my Parents' Interview
My Dad was more accepting of the corporate, newer programme designs than my Mum, who preferred the older approaches.
Both started attending the theatre out of circumstance and keep going to enjoy the interpretations of the plays. The programmes are bought a souvenirs and for the extra information provided, such as the cast lists. They like how the programmes complement the play and how they give you an idea of the approach and influences involved. They like being able to remind themselves about the previous plays they've been to.
Opinions of the covers with photographic approaches seemed to be that they were a more literal translation of the plays. My mum, particularly, think the the photos are somewhat lazy and artist illustrations more inspiring. Dad has no particular strong disagreements with the current form of the programme, however, Mum feels that Shakespeare shouldn't be corporate and neither should they be. The new programmes are slick and make the RSC more professional.
A consensus of future approaches to the programmes or marketing is expressed, saying development into making more parts of the programme could be explored in video form could be advantageous. Progression is important, without seeming patronising to the younger audience.
Tuesday, 10 April 2012
2.1: Interview with my Parents! (MUM)
- MUM'S ANSWERS
- How long have you been going to RSC?
I first went as part of my O Level English course (O Levels were what we took before they intoduced GCSE's) I think I went twice, from my grammer school in Wales - one of which was Macbeth. So either 1975 or 76.
Why did you start going?
Covered above.
What has made you keep going?We'd studied the text in depth before coming to see the play. Seeing it performed by the RSC brought the text alive and far more understandable. I was hooked!
Why do you buy the programmes for the plays you see?
Souvenir, artwork, sometimes the history or story, info on cast and also all the RSC staff listed.
Do you think the programmes are important?
Yes. Because they are a way of providing information but also setting the scene. Giving you a feeling for the production, does that make sense? Quite often there are rehearsal photos and things like that, so you get an idea of their approach and influences.
Why did you keep all the ones you bought?
Souvenir, also reminder as to what we've seen. I suppose we're a bit blaze about it really - we go so often. I try not to take it for granted, especially when I see vistors who are clearly in awe about where they are.Would you describe it as a collection. And if so, was it intentional as a collection?
I suppose it is, but I don't think it was intended as such.
Will you keep buying them in the future?
Of course.
What's the most important part of the programme in your opinions?
That's tricky. If it's a new play then the story line. If not then it's hard to say. TBH I often read it after seeing the play - retrospectively it can be more informative - a bit like seeing a film for the second time and seeing all the important little bits that you missed the first time.
What's your favourite parts of the programmes?
I think that changes from programme to programme - it depends on what connects with the performance.
Do you think the cover images reflect anything (on an obvious level) about the current times or social influences? Refer to my blog if it helps! Or are they purely decorative?Probably, but I think that depends on what is being depicted in the play. I always feel that the cover should give a hint as to the influences of the direction of the play itself.
hic covers, or the older, more illustrative ones?
Do you think the cover art often reflects the feeling of the play well?
Sometimes, but not always. The photos, I don't actually like the photos, particularly because they are often just the actors in their costumes. You get much more of a sense of the production if it is from an artist's perspective, if you like, much more inspiration from it. The photos are the lazy option in my opinion, it doesn't provide the sense of the production. It's more imaginative having an illustration, rather than just photos. There was a lovely "Merry Wives of Windsor" programme illustration set in the 1950's. The WHOLE programme was influenced by this 50's inspired style, and you instantly knew what the production would be like.
Do you prefer the newer, more photograpThe illustrative style for me. Answered above.Do you like how the programme covers have progressed into this corporate form and remained unified in that way?
No. Because it's too corporate and Shakespeare isn't corporate. It may be corporate in the background, in this day and age I suppose it has to be, but I don't it needs to be outwardly portrayed. For example, the recent "King John" production, that wasn't corporate. If it is too corporate, young people don't relate it and rebel against it, you want something you can relate to rather than being an establishment (exclusive and clicky).
Do you have a favourite cover that you remember?
The Twelfh Night one, that I have the poster of. No idea where that one is though. We had that before we moved, so may be it was lostDo the programmes represent the company profile of the RSC well?
Human nature never changes, and observations of it are as relevent today as they were then. I guess they need to be 'corporate', but hope it doesn't cause them to lose touch with what makes Shakespeare so appealing. I would actually say less so now, than earlier. Perhaps because they are so slick...
I'd actually say rich in history but still able to relate the text to the modern day.
Do you see the programmes taking on different platforms of media in the future? (Eg, web based, video, emailed etc)
It sounds like a good idea.What kind of image to you get of the company from them?
I would hope that it's not corporate!What do you think of these possible changes? Good? Bad?
Good - the RSC must stay fresh and current and able to connect with young people.Are you aware of the progression of the RSC's marketing through digital means? If so, what are your feelings on it?
Sort of, from what you've shown me, but it's not something I've looked for myself. But then, i'm already a fan! But yes, I think it's terribly important. I can remember being completely dismissive of Shakespeare - it's for old people. it wasn't until I sawe it performed that I realised that he's as relevent today as he was when the plays were first written. New ways must be found to bring this to all new generations attention, without being patronising or being too much about old people trying to be cool and in touch, if you see what I mean...
2.1: Interview with my Parents! (DAD)
As the Typology belongs to my parents, I thought it was important to ask them a few questions about their collection, and also on the theatre company (for further information and as it may help with the direction of my major project). I'll put my Dad's answers then Mum's.
- DAD'S ANSWERS
- How long have you been going to RSC?
Since 1984.
Why did you start going?
Mum got a job as Merchandising Supervisor for the front of house retailing at the RST, and so got free tickets!
What has made you keep going?Lots of reasons. I organise group ticket purchases for IBM. We have rarely been disappointed so we like to try the plays we haven't seen before, however unusual. Sometimes the lure of a big name actor. Sometimes we just know the play and look forward to a different interpretation.g
Why do you buy the programmes for the plays you see?
They provide a nice way to remember what we have seen. It is also nice to brifely remind yourself of the plot before the play starts. Looking through the cast is fun, seeing what else they have done.
Do you think the programmes are important?
Yes. They allow other departments to express themselves and provide a nice complement to the play.
Why did you keep all the ones you bought?
Too expensive to throw away! (joke) They are just a nice collection to have, and allow us to look back on some of our favourite productions and performances.Would you describe it as a collection. And if so, was it intentional as a collection?
Yes, it is a collection, although I don't think we started out with that intention.
Will you keep buying them in the future?
Can't stop now!
What's the most important part of the programme in your opinions?
The synopsis of the plot and the information on the cast.
What's your favourite parts of the programmes?
Sometimes the articles that are related to the play or to social issues from the time of the play are very well written and interesting.
Do you think the cover images reflect anything (on an obvious level) about the current times or social influences? Refer to my blog if it helps! Or are they purely decorative?
I think they have generally tried to reflect the tone of the production, although they used to have more variety in doing this in our early days of going. There is more consistency of design now, although they still manage to capture something ofthe production, as well as the ensemble aspect of the cast.
hic covers, or the older, more illustrative ones?
Do you think the cover art often reflects the feeling of the play well?
Sometimes, yes. I think the 1984 Richard III and the 1985 Merry Wives programme covers really capture the mood of those productions. Later ones do too but they tend to be more literal. The 2012 Shrew cover really conveys the feistiness of the two principle actors.
Do you prefer the newer, more photograpThat's hard to answer. I think some of the earlier more abstract covers are really clever, but aesthetically I like some of the photography and design of later covers.
Do you like how the programme covers have progressed into this corporate form and remained unified in that way?
I think some of the earlier programmes were more playful and that maybe some of that has been lost. I do like the later programmes, but I wouldn't say I prefer them.
Do you have a favourite cover that you remember?
2009 Arabian Nights - It's all in the eyes!
Do the programmes represent the company profile of the RSC well?
The later programmes are more corporate, more consistent, more professional perhaps. I do think that they are unmistakeably RSC even if you take off the logo.
equivalent of Google StreetView for the theatres so that the view from each part of the seating, and from the stage, could be explored.
Do you see the programmes taking on different platforms of media in the future? (Eg, web based, video, emailed etc)
Well, we've seen what Dusthouse is doing with their trailers, which seem designed to portray the mood rather than the plot. I think it would be good to explore other elements of the programme in a video form such as the rehearsal photos, and perhaps interviews with cast members. Maybe a cast members could read an overview of the plot. For those that forget to view before coming to a play touch screens could be provided around the theatre that allow these to be played. I'd like to see anWhat kind of image to you get of the company from them?
It's hard to be objective because we know the RSC so well. You should perhaps conduct a survey among people who don't know the RSC, maybe even masking the logo.What do you think of these possible changes? Good? Bad?
Anything that makes the plays more accessible and appealing is good.Are you aware of the progression of the RSC's marketing through digital means? If so, what are your feelings on it?
Any artistic company must explore new marketing methods to remain vibrant.
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