GHOSTS
Tess Farley
I've lost the sense of connection, excitement and joy I get from making work in a room with others: when one idea triggers another; the clash of lot's of people's input in real time, in a shared space. All that infectious energy...
I've found joy and meaning in supporting others to make work remotely, in knowing that still means something, even though I can't see the process unfolding for the people I'm working with - which is what I take so much from when working with others.
In terms of my own work, my own self-portrait: I've found a platform for my own voice. My own story. That’s something I've wanted to do, but have never had time for pre-pandemic! My work is so focused on other people's stories and voices, that often I quite forget I have my own: that my voice is important.
I specialise in the work of Augusto Boal, who founded Forum Theatre and Theatre of the Oppressed. When he writes about the birth of Forum Theatre, he talks about a 'light bulb moment' which occurred for him after he'd performed a play about farm workers 'rising up' against the brutal regime in Brazil at the time. Boal recounts how the play lit a fire under the audience: so much so that they expected the actors to take action in solidarity with them, to start a revolution with them!
At that point, realising he had no intention of storming the oppressive government armed with pitch forks, Boal saw the hypocrisy of his work: that theatre-makers should never ask of others what we aren't prepared to do ourselves.
I often work with others to tell their stories: this is the first time I've told my own in a professional commission. That's felt vulnerable and exposing at times! I've often spoken about my own experiences, and am very open: but this is the first time I've made professional work about them: we should never ask of others what we aren't prepared to do ourselves, so I'm grateful I've found time, space and the opportunity to make my own self-portrait and explore how that feels.
GHOSTS
About
Tess is Artistic Director of Out From Under. She's a story-teller and maker: usually she makes theatre, sometimes she makes films, increasingly her work is digital (but not how Rishi wants). She's a woman. She's working class. She's worked “successfully” in theatre for almost ten years and still doesn’t usually feel welcome.
Some of the hats Tess wears include: Participatory Artist, Writer, Director, Dramaturg and specialist in Theatre of the Oppressed. She is Associate Artist at Mind The Gap and has worked extensively with and for Cardboard Citizens, as well as with other leading theatre and arts organisations: co-creating theatre and facilitating participatory arts processes with and for communities in a range of places: from Mental Health settings, to prisons.
Tess believes we need to do more. She’s passionate about smashing the glass floor, the glass ceiling and every profound barrier in place, for people who are underrepresented, to engaging with and forging careers in the arts.
With over thirteen years’ experience of working with the 'hardest to reach' communities (she prefers to think in terms of 'let's make it easier to access'), Tess is passionate about working with disadvantaged and underrepresented groups to use theatre as tool for social, personal and political change. Alongside this, she also creates bold and urgent new work: always with a socio-political focus, often in unusual spaces. Recently, her film, We Still Believe In Love, won an award for Best Writing in the Top Indie Film Awards, as well as nominations for Best Experimental, Best Original Idea and Best Soundtrack in a range of film festivals.