A month later, and being ill off work, I finally have the time to update my blog about (what I can remember of) my marvellous week working at the V&A.
I really had such a great time- I learnt so much, and was treated incredibly well by all the staff and visitors- it was like EVERYTHING I did was a massive personal favour to them. And such a creative atmosphere- I loved it.
My first reaction was what a large department it was. I was initially filled with confidence and comfort when I saw not only that there was such a large 'backstage' team to the theatre and Performance galleries but that it was almost entirely populated with women in their mid-twenties. 'Perhaps the V&A is not as hard to work in as I always thought' I naively pondered, feeling inspired by the fact that I was surrounded by interesting people getting paid to do interesting things, and they were all only a few years older than myself.
It was only as the week progressed that I realised about 4 members of the department were paid, and ALL the rest were interns.....
Dreams shattered.
I talked to the lovely girl who was 'in charge' of me (one of the few who was actually EMPLOYED there, and may I say so, did an amazing job at juggling what seemed like everything in the universe).
She revealed when I asked how she'd got such an amazing job so young, that it had only been the result of something like a year's unpaid internship. I just don't understand who can afford to do that.
So although I felt bad for all the free-labour interns, they seemed to be enjoying themselves, as was I, and everyone I met was just so nice and friendly- and all the office talk was about theatre and performance, it was so nice being surrounded by people who were clearly passionate about the same things as you.
On my first day I got to look around the galleries and the exhibition in as much time as I wanted. The current exhibition was a condensed version of the work on display at the SBTD 'Transformation and Revelation' conference and exhibition in Cardiff. It was really nice to have a proper look at some of the works, and I immediately recognised some from before. This time round I especially enjoyed the works of Richard Hudson, and Paul Brown with Naomi Wilkinson's Set Design proving my favourite.
I also got a chance to go on the free daily tour of the Theatre and Performance galleries which was really interesting and I met a lovely old woman who invited me to her house in the New Forest.
I also did some work on a new top secret exhibition which will be one of the main V&A exhibits in 2013, which just happens to be exploring on of my favourite things ever to have existed ever in the world ever. But I can't tell you what. shhhhh....
So that was amazing, doing work on something I was already so passionate about, even if it is slightly frustrating that I can't tell anyone about it.
Other highlights of the week include:
- Doing some curation work on an exhibition of photos documenting the 1960s- I got to help decide which to include and which not to include, plus research in the V&A archives to see if we had any relevant supporting memorabilia.
- Helping-out a company doing an abridged production of Twelfth Night in the Performance Galleries, this involved making them a poster and finding them some leaves.
- Getting in all the exhibitions for free. Loved the Heatherwick Studios one- the rolling bridge and the seed cathedral were awe-inspiring. Was Majorly disappointed by 'Ball Gowns' I counted less than 5 dresses that weren't totally hideous. Was TOTALLY IN LOVE with the British Design one- and plan to go back asap. It was like the Post Modernism exhibition BUT BETTER.
- Getting to go up hundreds and hundreds of stairs to the roof where none of the public have access- getting a panoramic view of all of London (and further) on a beautiful sunny day. If only I'd had my camera!It was just magical, I felt so privileged to be allowed up there. Seeing a view only appreciated by few.
- Being sent to Christie's to blag a free catalogue of the Daphne Guinness Collection that was being sold that night in aid of the Isabella Blow Foundation. Not only did we manage to blag a free catalogue (which were otherwise I think £30) but we also got invited to peruse the items going up for auction which were displayed beautifully in a gallery to the back of the auction house. I couldn't believe my luck, it is so rarely that someone like me is allowed anywhere near somewhere like Christies LET ALONE being able to touch and inspect statement clothing from the likes of Alexander McQueen and Prada. Especially when i thought I'd be spending the day in the office. It was great.
Low-light of the week:
Casually trawling through the V&A archives to find some artwork to use for our Twelfth Night posters, I just happen to stumble-upon, by COMPLETE coincidence, photos from an old production of Twelfth Night.... set in India.... with a blue set..... and a washing line intersecting the stage...... I think this is something I'll have to get used to, but at the moment I am absolutely fuming that there seems to be absolutely no remote possibility of original thought ever in the world ever. First the RSC pinch my concept, closing on the SAME NIGHT that our version closes, THEN I discover that my set design is totally unoriginal and has been used before, not just for something random, but for Shakespeare- SET IN INDIA! argh!
It's so annoying because I specifically remember the organic progression of ideas and the train of thought that lead me to the seedlings of my set design. I remember the time, the place, why I suddenly decided to have a washing line... it was a real Isaac Newton moment haha. So it's not like I subconsciously saw any photos from this other production and thought: 'yeah that's what I'll do...' , it was instead, totally organic.
I can't find ANY photos on the internet of this production however, so it can't be that notable (although I'm not sure if this is a good thing or a bad thing for me....) and I wasn't allowed to publish the photos I found in the V&A archive.... so maybe I can just pretend it never existed.. I never saw the photos... I guess everything has always been done before. But maybe it can be my life goal to do something that hasn't been.....
BUT overall, it was a really fantastic week, and would happily return there any time. Wonderful staff, wonderful environment, interesting work.
Also whilst completing my placement here I saw 2 productions- neither of which I knew anything about before going:
CANTINA
The first was 'Cantina' part of the London Wonderground, which my friend from the Wimbledon Costume course took me along to. OH MY GOSH it was soo good. Normally, I'm not a big circus fan, but everything that company Cantina did, they did with a nod to the Bygone era. There was no spangle and loud abrasive noises and colours, everything was understated and overstated at the same time. Set magnificently in the Speigel tent (a venue I am not unfamiliar with), the vintage backdrop complimented the night perfectly, as you sat back and watched incredibly talented performers tight-rope-walk in stilettos, conduct death-defying acrobatics, and Charleston the night away to a live soundtrack of swing music.. all in 1940s costume. It was just like a dream. I will definitely try and go again before it leaves in October. It was so refreshing to see something without safety nets, or harnesses, or any modern day health and safety adherence.... everything was real, the danger was real, the dancing was real, and the humour was real.
It was just such a wonderful night.
The second I saw was 'Democracy' at the Old Vic, which I ducked into almost by accident as I tried to make the most of a spare evening in London. If you imagine how much Cantina was 'my sort of thing'.... Democracy was in fact the pole opposite.
I could tell it was quite a good production, but the fact of it was really that it just didn't appeal to me on any level. I'd like to say that it was worth the ticket price. I'd like to say that I now know a lot more about the East Germany/West Germany conflict. I'd like to say I wasn't remotely bored and instead cherished every moment of genius.
But alas, I found it dry, dull, and pretty unimaginatively staged.
Now that I am writing about it over a month later, I can remember very little, including the name... which I had to look up. Never a good sign.
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