1st – “Do anything and everything, amateur or professional, from design to heavy lifting. You never know who you will meet or what skills you will gain. Obviously, the closer to your chosen field the better, but theatre is a team and an understanding of every part of it will help you in the long run. You may even find you enjoy an area you’d never previously considered.”

2nd – “My one piece of advice would be to persevere. This is a highly competitive industry and it can take lots of determination to succeed in getting doors opened. Having a good all round education in hair and makeup for theatre and film is invaluable – a course that includes prosthetics and wig making is ideal. Practice hard and make sure your skills are the best they can be.”

3rd – “Go out and see as much as possible, not just puppetry but all manner of performance and art. Puppetry is a vast and malleable practice. You would be amazed how many things tie in or lend themselves to it, so it’s good to be knowledgeable of other areas. Immerse yourself in what’s happening and what’s going on: learn to know what you like, what you don’t and what really interests you.”

4th – “I would recommend sitting in a room and watching an experienced director at work. An aspiring director needs to completely focus on what theatre they want to create, making every effort to secure experience and contacts that will assist the development of their career. In my area, which is text based, I would recommend identifying the work you admire, finding out who directed it and contacting those directors to see if you could assist them or observe them in rehearsals. This will give you an understanding of how a professional rehearsal process operates, particularly the relationship between the director and actors.”

5th – “Sometimes the most hair-brained ideas are the ones that work out the best. This is probably because the more nuts and unrealistic it is, the more love and willpower you will put into making it happen. If you want to make work that sits outside of conventional theatre spaces and producing models, my advice is: be brave.”

6th- “Everyone in theatre automation tells a different story of how they started. Some were on technical theatre courses, others became dazzled by scenic effects while many were working in the electrical or mechanical trades and discovered they could transfer their skills to theatre. What do they all have in common? They all did lots of work experience in theatres.”

7th- “Producing is all about understanding risks, creatively and financially. To understand creative risks you have to see a lot of theatre and understand what’s risky (and what’s safe) in the way the show has been put on. It’s hugely helpful to read the scripts of plays before and after seeing them, to better appreciate how a particular text has taken flight in production.”

O artigo é do Guardian e pode ser lido aqui.