A Conversation with the Naughty Corner Collective about their experiences working in THE DPS LAB

Next up on my local artists segment I will be interviewing three independent theatre companies and collectives who have been working with Dead Puppet Society on professional developments as a part a professional development program called THE DPS Lab. First up is the Naughty Corner Collective, a Brisbane based theatre collective founded in 2017 by local creatives Bianca Bality, Jess Bunz, Claire McFadyen and Joe Wilson that is dedicated to creating independent contemporary works that are visceral, provocative and which explore the intricacies of human relationships, and the choices and situations that connect and bind our communities. Through heightened design elements and investigative storytelling, The Naughty Corner explores what it is to be human through works that uncover the underbelly of the ordinary. Here's what they had to say...

VIRAG: Firstly, a big congratulations is in order for being invited to partake in this program. From my previous experience of seeing work by your company/collective(s), I can remember that your niche so to speak of work doesn't always reside in the realm of visual theatre. What has it been like to potentially move between different styles and disciplines and delving into a form of theatre which you may not have had much experience in before?

THE NAUGHTY CORNER: Thank you! We're definitely thrilled and incredibly grateful to Dead Puppet Society for inviting us into this program. It has been such a treat learning from them, and developing new work alongside other creatives in our local industry.

With regards to our work, while we haven't fully explored the different applications of the visual theatre form up until this development, we would say we have always instinctively leant toward creating dynamic work with strong visual appeal. In our opinion theatre is most exciting and memorable for an audience when it ignites their senses and invites them to experience something visceral. When we applied to the DPS Academy it was our intention to explore new applications of the artform, and to see how embracing these applications could further enhance our audiences experience.

We've found the DPS Academy incredibly eye opening with regards to our own process and the different ways creatives make work, but for the most part it felt very organic for us to embrace this style of performance. We've also been lucky enough to work with DPS as individuals in the past, so it was exciting to have the opportunity to apply our knowledge of visual theatre to our own work as a collective.

VIRAG: What has the creative process been like for each of your respective works? And what was it like developing your ideas with the guidance of the team at Dead Puppet Society?

THE NAUGHTY CORNER: This process was very collaborative and while as individuals we aren't new to collaborative processes, we did come to realise that as a collective we seem to favour quite a structured approach when creating work. Each member brings something unique to the table. Joe and Bianca often create the story and premise of the work, Claire works her magic on design and Jess directs the performance. Our first Independent production at Metro Arts, Something in the Water, definitely followed this model.

The collaborative nature of the DPS Academy, particularly in the initial development stages of the work, meant we had to throw this traditional approach to the wind. While this was at first foreign and a little challenging, it's been quite liberating finding ourselves in a supported environment where we have been encouraged to explore new ways of working together as a collective. We feel that this new approach has lead to the creation of a much more holistic piece for the showing, in what was a much shorter time frame than we would have usually managed. It's also just really nice to build something together from start to finish that we can really call our own as a collective.

Working with the DPS team to flesh out, what was a very loose initial concept, into a full showing has been an incredible experience. We feel that the techniques and logistical insights they have provided about process and application, will be something that we can continue to utilise and learn from throughout our careers. It's honestly been a privilege to be invited into their processes, and we can't wait to show everyone what we've pulled together with their support.

VIRAG: What has been like working in a rehearsal room again collaboratively? I imagine that after co-vid lockdowns and restrictions it's been a huge relief.

THE NAUGHTY CORNER: It's been so great to be in a creative space again! It's always a pleasure getting into a room with other creative minds, but considering the year everyone has had (and is still having) I think we're all feeling particularly lucky to be able to be creating and performing in a physical space with others. Theatre is obviously such a shared experience and the pandemic has made it very difficult for artists to make and showcase their work. We realise we're very fortunate to even be able to share this showing with audiences in the upcoming weeks.

VIRAG: What does the next chapter look like for this work you've made? What do you hope to do with these works in the future?

THE NAUGHTY CORNER: Ideally, we will wow our industry audience and they will share our enthusiasm for the potential of this work for large scale production. This would allow us the opportunity for funding and financial assistance to fully realise the work for performance on the main stage, or potentially for performance within the festival circuit.

The great thing about this re-telling, is that it sits within the framework of a familiar story. Audiences will be able to revisit a mythology that they are potentially already connected to, and consider how a story created by the Ancient Greeks can still hold so much relevance to the flaws in our modern humanity.

We may be a little biased, but we believe there could be exciting things in the pipeline for this work.

VIRAG: Lastly, how can we support your companies and collectives during these times? Any upcoming works we should look out for?

With regards to the general public offering support, the easiest way to support local independent artists and companies is to buy a ticket to their shows or fundraising events. After all we'd be nothing without our audiences and their support, much independent theatre wouldn't happen without them. Also if you are a theatre goer, encourage someone who may have never been to a show to come and share in the experience.

As for upcoming works, we're cooking up some things behind the scenes and will be back again soon. If people reading would like to stay connected with us and our events, we'd love a follow on facebook and/or instagram (handles at bottom of interview).

Outside of audience support, the most important way our community and industry can assist artists and companies such as ourselves is through much needed programs like DPS Academy. These smaller funded programs provide essential financial support and tangible showcasing outcomes for early career companies and artists who aren't yet eligible or recognised enough for larger opportunities or larger state funding. Brisbane has a lot of great opportunities for established and emerging/young artists, but this type of funded middle tier support is at the heart of what we feel is missing for most semi-established artists in the local industry.

Facebook: The Naughty Corner Collective

Instagram: @thenaughtycornercollective

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