Teenagers take the lead in our youth theatre board
At Figueres a Escena, our Youth Theatre Board gives teenagers a working voice in the artistic programme. Members help choose themes, shape new work, test ideas with peers and explain when a rehearsal or performance is not speaking to young audiences. Their role reaches beyond feedback after the event: teenagers can influence what gets made and how it is presented.
We built the board around a simple principle: young people should see their ideas move through the organisation. Figueres a Escena runs Teatre El Jardí, Sala La Cate and ATEB, its theatre school, so recommendations can travel from a classroom exercise to a workshop, rehearsal or public event. This is how the board turns participation into a practical exchange between young people and arts professionals.
Why teenagers belong in the room
Young audiences often notice things adults miss: a joke that lands badly, a sound cue that feels intrusive, or a story with no space for uncertainty. The board makes those observations part of our creative process rather than leaving them as comments in a post-event survey. We listen for patterns across rehearsals and performances, then discuss what those patterns mean for programming.
Working across theatre, music, dance, cinema, opera and circus gives the board a broad perspective. A teenager may find movement communication more direct than exposition, or need introductory sessions before an unfamiliar opera. These responses reveal access needs as clearly as artistic preferences. They also show the value of keeping one youth group involved with several forms instead of attaching it to a single production.
That wider view is useful because our organisation does not work as a conventional single-show company. Figueres a Escena operates venues, a theatre school and community activities, so decisions sit within an ongoing network. The board can identify a gap across the season, help us plan workshops and suggest practical ways for teenagers to take part. Its influence grows when staff agree in advance which recommendations will be considered, who will act on them and how the board will hear back.
Designing a board with real influence
We invite teenagers through ATEB, school groups, workshops and open sessions rather than selecting only young performers who are already confident on stage. That broader route brings in different levels of theatre experience and makes the board closer to the teenagers we want to welcome. Some members arrive eager to perform; others are more interested in music, film, design or the story behind a production.
Every member receives a plain explanation of how decisions are made, which staff attend, what happens to proposals and how concerns can be raised. A facilitator supports the group without speaking on its behalf. Clear responsibilities give teenagers genuine agency while preserving the artistic and safeguarding responsibilities of professional staff.
Australian youth workers adapting this approach should account for school timetables, paid shifts, transport and the mix of public, private and Catholic schools. A 5 pm session or weekend workshop can reach more people than a meeting held during class time. Regional participants may also need travel support or a rotating online option, especially when regular buses or trains determine whether an activity is possible.
Listening before we build
Each new group begins with listening sessions at ATEB. We ask which stories feel relevant, which performance conventions create barriers and what teenagers would change if they had the authority. Members can respond through discussion, writing or improvised scenes, so nobody needs previous theatre experience or confidence in formal terminology.
Curiosity behind the curtain is part of that process. The account of artisans building our sets helps the board understand how many practical choices shape what an audience experiences. Set construction, lighting, costume and sound can all become starting points for asking how a production communicates with different ages and backgrounds.
Australian teenagers may call a production “heaps good” or say that something is “not really working”. We welcome that directness without trying to copy slang. The important part is the explanation behind it: what worked, for whom, and whether the problem concerned the story, the staging, the length or the atmosphere. Those details give artists something they can test and develop.
Turning ideas into collaborative performance
The board joins artists early, usually when a theme or creative direction is still open. A teenager might suggest replacing explanatory speeches with physical storytelling, altering a sound sequence or giving the audience a more active role. The idea then becomes an experiment in the rehearsal room. Artists remain free to accept or decline it for clear artistic reasons, while the board sees its contribution move from suggestion to discussion.
Collaboration also works better when responsibility is shared. The collective, research-led practice associated with Volvox STNK reinforces the value of sharing questions rather than handing young people a finished script. We borrow that spirit rather than copy the model. Board members take part in devised exercises, talk with performers and help evaluate whether an emerging scene feels inclusive and energetic.
That process only feels meaningful if the outcome is visible. We credit the board’s contribution in production materials where appropriate and give members a clear account of which ideas were developed. The board is not expected to satisfy every request, but it should always receive a response. Understanding the reasoning behind a decision helps teenagers learn how creative judgement works and prepares them to make the next proposal with greater confidence.
Connecting the venue to the community
Public events extend the board’s work beyond internal meetings. The mix of performances on our performance agenda allows members to attend unfamiliar forms, compare how different audiences respond and identify opportunities for new workshops. A discussion about dance in one production might lead to a movement workshop, while a question about opera might inspire an introductory talk.
Teatre El Jardí and Sala La Cate also host workshops, talks, rehearsals and community activities. We encourage board members to help create welcoming ways into these spaces, including introductory sessions and informal conversations after selected performances. Their perspective helps us understand which information is missing and which adults might unintentionally make a young person feel like an outsider.
For Australian communities exploring a similar model, meeting where teenagers already gather is important. Council libraries, youth centres, school halls and community hubs can be more accessible than a central arts building. A group in Melbourne or Adelaide can use local networks, while regional participants may face lengthy bus journeys or limited evening services. Ticketing, school-holiday periods, council grants and season tickets all shape participation. Planning with those realities in mind prevents a youth board from becoming exclusive by default.
Trust, safeguarding and honest feedback
Clear boundaries help teenagers contribute freely. We explain how personal information is handled, establish consent for photographs and recordings, and follow the relevant Working With Children checks and state education requirements in Australia. Young people know they can raise a concern, withdraw from an activity and speak to an appropriate adult without having to justify themselves. Safeguarding concerns follow established protocols rather than being debated in an open meeting.
Feedback needs honesty as much as positivity. The board collects observations from peers, artists and audiences, including criticism that may be uncomfortable to hear. We then explain which suggestions led to changes, which did not and why. This closes the loop without pretending that every idea must be adopted. A teenager who sees careful consideration and a useful response is more likely to trust the process and return with another idea.
The practical shift is clear:
| Area | Adult-led approach | Youth board approach |
|---|---|---|
| Story and season | Staff select themes before seeking young input | Teenagers propose themes and help test their relevance |
| Rehearsal | Adults set the route and explain each step | Young people suggest experiments and question choices |
| Communication | Campaigns are created for teenagers | Board members shape the language, images and channels |
| Feedback | Audience comments arrive after the event | Peer feedback informs decisions during development |
| Accountability | Staff decide whether ideas proceed | Responsibilities, outcomes and reasons for decisions are shared |
Make the next step together
The Youth Theatre Board welcomes teenagers who want to make cultural spaces more responsive, more accessible and more welcoming. Participation can begin at ATEB through a workshop, a conversation with the team or an introduction through a school or community group. No prior acting experience is required. Curiosity, honest observation and a willingness to collaborate matter more than knowing how to read a script.
Adults can also play a useful part. Teachers, youth workers, families and artists can help make participation possible by sharing opportunities, listening to young people’s priorities and giving board recommendations a fair hearing. This collaboration keeps teenagers involved in the wider cultural life of Figueres rather than isolating their ideas inside one advisory group.
Bring your curiosity, your strongest idea and a willingness to share the stage. Join a Youth Theatre Board session at ATEB, or contact the Figueres a Escena team to help shape the next production.