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fairly young team and utilise the popular modes of communication along with the standardised marketing strategies in an attempt to reach a varied audience base. We also pay attention to our programming in order to offer fresh highly professional groundbreaking work that seeks to hold a dialogue with the modes of expression previously assumed to be traditional theatre. The work we produce tends to be multi-disciplinary multi-lingual and generally multi-generational. PM DavidMametisquotedashavingsaidIftheaudience membersdidntlaughitwasntfunny.Iftheydidnt gaspitwasntsurprising.Iftheydidnotsitforward intheirseatsitisnotsuspenseful.Doyouanticipate audiencereactionsinyourartisticprogramming WS To some extent. There is obviously a decision taken in programming that relates to how one assumes the public viewing the piece will respond. However people respond in varied ways to events and action and some may laugh at moments of suspense some suck their teeth where one found laughter and others clap their hands once at a surprising moment. All we can hope for is that our programming contains strong narrative inspired visualssymbolsaesthetics and that it will solicit a response from the audience. What that response will be will be gleaned during individual performances. PM There is a mindset among some South Africans that a career in theatre is not a real profession How would you go about challenging that mindset WS I think that currently theatre is experiencing a growth in black independent producers in finding creative spaces and opening up independent theatres e.g. The Plat4rm and Olive Tree Theatre. As such I think the theatre-makers are actively shifting this perception and it is truly an exciting time to be in theatre. However much can be done in the skilling of theatre-makers in the various needs of the value chain involved in the production of a theatre piece. A diversification and specialisation of skills is necessary to ensure that independent companies are sustained and can produce work. PM What does the white paper mean to you as an industry player and what role has it played in the evolution and preservation of arts in South Africa WS Once the artists input has been included and implemented I will be in a better position to respond to this question. PM Does fundraising play a role in the sustainability of the arts in South Africa How so WS Yes. Funding determines whether or not a project goes ahead. However what I have been hearing a lot is the community stating the need to change our vocabulary when it comes to raising capital for the work we create. PM In your opinion has the availability of funds from the various funding bodies i.e. government the National Lottery the Arts Council corporates international donors and so forth facilitated an attitude of dependency ratherthan entrepreneurial thinking among industry practitioners Please elaborate on your answer. WS No. I think its all in the framing. When a car manufacturer seeks out investors they approach them with a conceptproduct and seek investment. This relates to the answer above that we need to start changing our vocabulary when we talk about financing our productions. We need to devise new funding modelscapital raising models in order to properly sustain our companies and continue to produce work. However this shift although not at a large scale has begun in South African theatre. PM What role has the arts played in the history of South Africa and is it still relevant in facilitating conversation in the socio-political context continued