THE FUTURE INTERSECTS WITH THE PRESENT S t r at egic Pl a n Horizon 2020
A D O P T E D O N S E P T E M B E R 3 0 , 2 013
Planning entails adaptation, reinvention When Jodi White, then Chair of the Board of Directors of the National Theatre School of Canada (NTS), revealed her intention in the spring of 2011 to launch a long-term strategic planning process, I have to admit that I immediately expressed some reservations. I reminded her that for over a decade we had been preparing a rigorous three-year Business Plan, in addition to responding to strategy evaluations commissioned by the granting agencies, and even private partners on occasion. I also pointed out the many impediments to any high-quality prospective exercise: ever-accelerating technological changes, abrupt economic fluctuations, changes in government policies, the growing number of alternatives to theatre for audiences, and the ongoing reconfiguration of our artistic and administrative teams. Obviously, I changed my mind after a period of reflection and discussions. At our Annual General Meeting on October 28, 2011, Jodi White announced the launch of a planning process that became one of my de facto tasks as CEO and one of the priorities of Bernard Amyot, who was elected Chair of the NTS Board of Directors in February 2012. After a mandate was defined, a Strategic Planning Committee was formed from members of the Board of Directors. Attentively presided over by Linda Caty, this committee included Alan Bleviss, Kathryn Brownlie, David J. Daniels, Caroline Mulroney Lapham, Paul Robillard and Jodi White. Bernard Amyot and I were, ipso facto, members of this committee. The work achieved by this committee since its first meeting in June 2012 has been remarkable in many respects. It first reviewed the current literature on planning methodology, as well as each of the major issues affecting the School and professional theatre. With discipline, calm and fine critical thinking, it then undertook a rigorous process of consultation, analysis and definition of objectives and directions. Accompanying us in this process was Daniel Charron, Ph.D., C. Adm., from the firm Octane Strategies. The work of this committee, of course, was supported at each stage by an internal committee composed of members of the NTS staff, and at the end of the process by our Artistic Directors, Alisa Palmer and Denise Guilbault. I would like to thank the School’s managerial staff and personnel who nurtured and clarified this project, grounding it in our everyday reality, lucidly evaluating the present while boldly dreaming of the future. The Strategic Plan you are about to discover was also enriched by the views expressed by our governors, full-time and part-time employees, alumni, numerous funding partners and colleagues from the professional theatre community. Over the past eighteen months, we have collectively navigated and incorporated the complex notions of prospective planning, adaptability, social impact and organizational resilience. We have examined, unhesitatingly and uncompromisingly, our strengths and weaknesses in an effort to identify the risks and opportunities between now and 2020. The priorities, directions and objectives established were debated until we were convinced that they were ambitious yet realistic enough to keep the National Theatre School of Canada relevant, innovative, attractive and a major contributor to society. Resolutely projecting ourselves towards a horizon that is as reachable as it is difficult to forecast, we are convinced that the future is merging with the present.
SIMON BRAULT, O.C., O.Q. CEO
Simon Brault, O.C., O.Q. -2-
Introduction: Planning in a swiftly evolving environment The National Theatre School of Canada (NTS) has established itself over the past five decades as a centre of excellence in the field of theatre training. It has earned this reputation through pedagogical practices that are constantly questioned, re-evaluated and adjusted, equally divided between tradition and modernity, transmission and creation. The NTS has managed to adapt and reinvent itself without deviating from the rigorous and innovative path set out by its founders. This adaptability is the School’s greatest asset. In no way accidental, it stems from a determination to look far ahead, to set a high value on creation and discovery, and to keep pace with the latest developments and transformations in theatre arts and society alike. While offering its students first-rate curricula and services, the School’s management attempts to anticipate the direction of theatre and other artistic and cultural practices, formulating a vision that is both up-to-date and inspirational. It is in this spirit that the Board of Directors launched, in the fall of 2012, a strategic planning process that would channel the energy generated by the 50th anniversary of the NTS, taking it to a new level of excellence as it approaches its 60th anniversary. A strategic planning committee, composed of Board members, the CEO and an experienced consultant, was formed to map out a path that would meet the key challenges —artistic, cultural, pedagogical, demographic, ethical, technological, economic, communicational and organizational—looming on the horizon over the next seven years. The School’s management and staff also offered their input, clarifying or endorsing the hypotheses proposed by the strategic planning committee. Surveys and consultations were also useful in gathering the views and ideas of various stakeholders of the School. The entire process was guided by a desire to formulate a strategic plan firmly rooted in reality, one that identified the key issues and set out concrete and measurable objectives. Carrying out this plan will require constant analysis of the internal and external parameters, which will be in a state of constant flux over the next seven years. Our goal is to take advantage of all opportunities that arise, minimize the impact of problems and risks, and move ahead with resolve and intelligence.
The mission of the NTS is to increase the recognition, scope and development of the theatre arts by training professionals in all disciplines in a national school that is co-lingual, diverse and open to Canadian society and the rest of the world.
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A diagnosis of the NTS’s strengths and weaknesses The strategic planning process began with a consultation phase involving some forty people connected with the School. Their reflections helped to place in perspective our principal strengths and weaknesses. It was also an occasion to identify the major opportunities and risks.
Strengths
The vast majority of people consulted pointed to the School’s excellent reputation as its principal strength. In particular, mention was made of the widespread recognition of its conscientious approach and the original and productive training methods it has perfected over the decades. Also cited was the reputation and renown of the School’s graduates, who have helped to raise the profile of the institution both nationally and internationally. The consultations further revealed that the School possesses a resilient organizational culture that values pragmatism, discipline, efficiency and flexibility. It has also set itself apart through the quality of its staff, as well as its facilities and equipment like the Monument-National, which compare favourably with those used in professional theatre. Its location in Montreal, a city known for its flourishing artistic and cultural sector, both in French and English, is also a magnet for attracting talented teachers, directors and students.
Weaknesses
Although the vibrancy and international reputation of Montreal and Quebec theatre has contributed to the School’s success since its inception, the physical distances in Canada have necessitated additional efforts to reinforce its ties and collaborations with the theatre community from coast to coast to coast. We also have to take into account the reality of Aboriginal and francophone theatre across Canada. Given the richness of Canadian theatre nationwide, the School will pay close attention to it —in its global nature and its diversity— to better fulfill its national mandate. Internally, there is a need to increase synergies between the French and English sections, for they lie at the heart of the School’s unique pedagogical and organizational model. By continuing to renew its programs and teams of trainers, the NTS will ensure continuity, maintaining the high level of institutional skills and expertise for which it is known. Finally, that it was pointed out that the School is dependent on a limited number of funding sources, a problem that affects most, if not all, non-profit cultural institutions in Canada.
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Opportunities
Throughout the world, there is an increased demand for artistic and cultural products to fuel a growing number of local, national and international platforms, both real and virtual. This demand also stems from the expectations of a diversified and fragmented public, who are looking for more meaningful experiences, more direct interactions and more opportunities for sharing. This reality has induced thinkers, producers and artists to experiment and innovate in all aspects of professional theatre. The impact of digital technology—on the creation, production and presentation of theatre and other art forms—is thus becoming better understood, as are the new needs in training professional artists and performers. In a world thirsting for cultural products, artists and creators are becoming increasingly valued and recognized as key players in socio-economic development. This was reflected in the recent decision by the United States to include research and development expenses, as well as artistic creation, in GDP calculations. With regard to funding, there has been a substantial change in the approaches and expectations of our public and private partners. The efficiency of the School’s management, its reputation for excellence and contributions to the cultural production chain have placed it in an advantageous position, at a time when everyone is increasingly attentive to accountability, good governance and the impacts of long-lasting government and philanthropic investments. Finally, there is an increasingly strong desire to become associated with the School on the part of cultural leaders in Montreal and across Canada.
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Risks
Changes underway in the cultural sector in general and the theatre world in particular, as well as socio-demographic transformations and upheavals in the public’s cultural habits and preferences, are creating various risks that must be taken into account when planning for the future. The School is concerned by the renewal of new audiences, without which theatre cannot exist. Clearly, baby-boomers are over-represented in today’s audiences. Moreover, there has been a substantial migration of the Canadian population to the suburbs, where the theatrical infrastructure is less developed, varied and innovative than in the large cities. At the same time, it should be noted that youth in Canada is increasingly ethnoculturally diverse. We also note that it is in the Aboriginal communities that we find the highest growth. Cultural preferences are influenced by the all the promises and attractions of the digital era, including dematerialization, immediacy, interaction, facility and free access. The fragmentation of audiences has also weakened the traditional economic model of professional theatre, which is currently suffering from stagnating or declining public subsidies, private donations and sponsorships. With regard to openings for theatre graduates, the job market is considered to be relatively saturated, particularly for actors. This impression, offered by numerous theatre professionals, complicates the recruiting of new students, especially with the increased competition from colleges and universities. These institutions offer programs that are less costly per capita, along with credits and diplomas that are transferable to other fields.
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KEY DIRECTIONS Following this diagnosis, five key directions were established. Each of them corresponds to a specific issue whose ramifications will guide the School’s development. The image below summarizes the strategic plan, illustrating the complementary nature of the “external” priorities (excellence, contribution, and outreach) and “internal” priorities (value, performance). The central role of synergy reflects our resolve to act in a concerted and consistent manner, deriving maximum potential from all initiatives.
Excellence
valUE synergY performance
contribution
outreach Adopting the adage “What gets measured gets done,” this strategic plan is accompanied by a series of performance indicators that will allow the School to implement the plan on a daily basis. These indicators are not presented here, but are integrated into a scoreboard that each NTS unit will use over the next seven years. Each unit will prepare a progress report that will be reviewed by the Board of Directors.
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DIRECTION 1 AIM FOR EXCELLENCE Only by renewing its commitment to excellence in theatre training, both nationally and internationally, will the School succeed in meeting the evolving needs of students and the growing expectations and requirements of its close partners, and of society as a whole. Excellence is woven into the School’s reputation and training methods, allowing it to remain a leader in the field. The desired model is a virtuous circle, where one successful solution leads to another, in a chain of cause and effect that improves an entire system. Specifically, this means attracting and hiring the most innovative artists, who will generously share their knowledge with students, who in turn will be inspired to build successful careers and artistic works that validate the School’s programs. Theatre in particular and society in general are thereby enriched.
Establish evaluation criteria for our training programs and initiatives, and compare them with our competitors in Canada and abroad.
Objective 1
The pursuit of excellence requires constant vigilance. To maintain its position as a leader in the field, the School must be able to accurately measure the artistic and pedagogical merit of its programs; it must also develop them in innovative ways, drawing inspiration from the best initiatives of other institutions. •
The School will undergo a self-analysis, comparing its training programs with other establishments through a “competitive watch.” Each program director will analyse the various issues on an annual basis, focusing on the curriculum, instructors, clienteles, job placement statistics and promotional strategies.
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The School will also make periodic evaluations to update its program-assessment policies. To benefit from the viewpoints of all stakeholders concerned, the School will call upon its program directors, teachers, students and recent graduates.
Form and maintain partnerships with other cultural leaders, capitalizing on the distinctive nature of our training methods.
Objective 2
Always closely connected to its environment, the School strives to be in constant dialogue with the theatre community across Canada, remaining responsive to its needs. It is always on the lookout for innovations and experimentations that are transforming the theatre professions. It does not, however, always have the means or resources to incorporate the necessary technologies and infrastructures. The School’s special relationships with Canadian institutions and artists provide sources of expertise and resources that can improve its training programs. •
The first step is to identify those partnerships most likely to bring the greatest value added to each of our programs. There are a number of criteria at play. In particular, the School is seeking internships for its students, as well as partnerships that could be incorporated into our educational programs over the long term, involving institutions in Montreal and across Canada.
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Publicize independent testimonials and objective confirmations of the School’s excellence and influence in Canada and abroad.
Objective 3
The excellence of the School’s training programs has to be confirmed by peer evaluations, job placement statistics and success rates of graduates, as well as prizes and distinctions awarded by the School itself. •
The first objective is to publicize the successes of our greatest ambassadors: our graduates, teachers and directors. To this end, the NTS will compile and disseminate information on an ongoing basis on the most prestigious prizes and nominations rewarding their accomplishments.
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Because recognition is not limited to official distinctions and awards, the School will also document and publicize the artistic achievements and other significant accomplishments of its alumni and staff, present and former, recognized by audiences and critics.
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Finally, the School will enhance the prestige of the Gascon-Thomas Award. This prize is offered to individuals who have made an exceptional contribution to the growth of theatre in Canada, and whose careers are a source of inspiration for students poised to join the professional ranks.
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DIRECTION 2 – PUBLICIZE THE ENTIRE RANGE OF OUR CONTRIBUTIONS Much more than a simple training institution, the School is a breeding ground for talent and an active laboratory for the development of the theatre of today and tomorrow. It is in this spirit that the School is training versatile artists, designers, actors and production specialists who are open to all forms of artistic creation and innovation. NTS graduates are thus enriching not only professional theatre but all the performing arts and cultural industries (opera, dance, circus arts, music, song, humour, variety, performance, etc.), in addition to excelling in such fields as cinema, television, radio, web TV, literature, exhibition scenography, and so on. Some of our graduates have also gone on to become entrepreneurs, producers or presenters. It is important, therefore, to stress the role of the School and its graduates as contributors to our society’s innovation capacities, which are fundamental to its economic and social development.
Integrate the new technologies into the School’s teaching programs and mission.
Objective 1
In theatre, as in all the performing arts, technology is revolutionizing what takes place both on stage and behind the scenes. It is crucial that our students receive practical training in the use of the new digital tools and their inclusion in the creative process. This presents challenges, in terms of both available expertise and access to the equipment. •
Given the increasing speed with which new technologies are being developed and integrated—and sometimes abandoned—the School will establish and revise, with the help of its students and teachers, a list of precise criteria and priorities in this regard. It will thus be able to develop specialized courses designed to master and incorporate these new technologies in creation, presentation of works, production and acting.
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At the same time, the School will seek to develop partnerships through which its students will have continuous access to software and equipment on the cutting edge of performing-arts technology. Certain companies, in fact, have already expressed an interest in sharing some of these tools, even if they are in the development stage.
Reinforce the entrepreneurial and communicative skills of our students.
Objective 2
In a context of limited resources, numerous graduates will be called upon to assume tasks for which they were not specifically trained, such as fundraising, marketing and communications, personnel management, etc. To better prepare them for all facets of a professional career, the School will add theoretical courses and practical initiatives to the curriculum of all its programs. This will allow students to acquire the entrepreneurial and communication skills that have become essential for long-term careers.
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In all programs, we plan to include awareness courses focusing on the realities of the profession. These courses and workshops, which will rely on the active involvement of students, will centre on individual initiatives and responsibilities, as well as the development of interpersonal and managerial skills.
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The School also plans to expand its Theatre Engaging Communities (TEC) program, the aim of which is to encourage students and recent graduates to innovate artistically by forging alliances with the communities they wish to reach.
Ensure that basic skills taught at the School are transferable to other fields.
Objective 3
In keeping with its humanist tradition, its desire to avoid overspecialization and its affirmation of the priority of art over technique, the School will ensure that the skills and knowledge imparted to its students are transferable to other domains. While fulfilling its primary mission of training actors, artists, designers and production specialists in theatre first and foremost, the School will make sure that its training can be applied to other disciplines, including non-artistic fields. Far from existing in a vacuum, the training provided by the NTS is adaptable to other contexts and global situations. •
The School is fortunate to have at its disposal the largest theatre documentation centre in Canada: the Bleviss Family Library. This library could become a unique matrix for a rich intellectual life, a dynamic and unifying force within the School.
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In a similar vein, the School will encourage its teachers and students to take their knowledge and reflections outside the classroom, and engage in broader discussions on theatre, the arts and society. Forums, conferences, publications, national and international events: all platforms for exchanges will be seen as opportunities for sharing our expertise and interacting with the community, promoting and enriching our training programs in the process.
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As a complement to its own programs, the School will also encourage access for its most motivated students to workshops, training courses and various training experiences that are offered in Canada and internationally
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DIRECTION 3 – REACH OUT BY SHARING
Among the School’s special features is the co-existence of French and English programs, each with its own artistic director. Over the next seven years, the NTS intends to strengthen the artistic, pedagogical and logistic synergies between the two sections, raising the School’s profile even further in a world of vanishing boundaries. Aware of the importance to increase its civic footprint, the School will strive to understand the realities of the communities, groups and organizations with which it will engage. By responding to their needs, the School will foster their development, while benefiting in turn from their knowledge, expertise and resources.
Objective 1
Share the reflections and practical experiences of the two sections, so as to determine the best avenues of development for each program and make efficient use of the School’s resources. The NTS’s Executive Management Committee (consisting of the CEO and the two artistic directors) will assess the distinct features and differences of each section, the quality of the training programs offered in each language, and the possibilities for collaboration and exchanges between the two sections. •
The spirit of emulation will extend beyond the “official” courses or workshops. The School will encourage the directors, teachers and students to discover the accomplishments and inner workings of the other section.
Ensure that the School and its Heads of Programs are involved in exchanges and reflections with the various theatre communities nation-wide.
Objective 2
This approach, open to all practices, aesthetics, nationalities, languages and ethnocultural origins, will help to build a student population that reflects the diversity of society as a whole. It will also help our graduates to integrate into the profession, and reinforce and clarify our positions on the major issues affecting our sector. •
The School will invite the theatre community’s leading figures to take part in its student recruiting process.
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It will also encourage its representatives to participate in conferences and public discussions of interest to the profession. Depending on the event, spokespersons will be selected from among the School’s teachers, directors, administrators or students.
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Objective 3
Address, through joint efforts by the School’s two sections, the major strategic issues relating to diversity, public involvement in theatre, and new approaches to artistic creation. The School is fortunate to have two sections whose leaders, trainers and students come from different cities and regions throughout Canada. They thus have direct knowledge of the diverse realities affecting theatre and the demands it currently faces. It is essential that the two sections share their contextual knowledge, analyses and experiences—successes and failures alike—in order to reinforce the School’s ability to address its own challenges with regard to diversity, as well as theatre’s ability to resonate with the public and draw new audiences. In so doing, the School will help to build the future of the art it serves. •
The School will offer customized workshops for candidates with diverse backgrounds, including Aboriginal candidates.
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Making the most of its participation in the Journées de la Culture (Culture Days), the School will experiment with new approaches to attract audiences that it does not normally reach (children, teenagers, cultural communities).
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Among the pedagogical activities of the NTS is the presentation of various shows and performances. These are showcases with the potential to reach larger audiences than the theatres at our main campus on Saint-Denis Street.
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We will therefore encourage creative extra-mural initiatives, in particular for the graduate productions.
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The School will encourage its students to play an active role in reaching out to the less fortunate in our society by giving them access to theatre experiences of the highest quality, notably with the support of its Theatre Engaging Communities program.
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Each year we would like to devote a portion of the revenue generated by our endowment funds—Creation & Technology, Diversity, Cinema and new media and Theatre Engaging Communities—to research and development.
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DIRECTION 4 – BUILD FINANCIAL SUSTAINABILITY The prestige of the School stems from its artistic and pedagogical successes. What should not be overlooked is the importance of sound management and a robust financial model—absolute prerequisites for the excellence of its training programs and far-reaching reputation.
Ensure stable funding from governments.
Objective 1
In the context of fluctuating economic growth, public funding can never be taken for granted. Governments, moreover, are rightly demanding increasing accountability. The NTS must demonstrate the value and relevance of its mission and impact of its activities, while showing exemplary discipline in the management of its subsidies and resources. •
The School will attempt to bolster the public funding of activities related directly to its core mission (teaching, recruiting, and national outreach). In addition, it will increase and diversify its private funding namely by growing its endowment funds and raising support for special projects.
Increase the number of donors, be they individuals, foundations or companies.
Objective 2
The School has known for a long time that it cannot rely exclusively on public funding to develop its new projects. It is therefore essential that the community be made aware of School activities so that it will support them through long-term donations and sponsorships. •
To ensure that the School secures donors from diverse economic and geographic sectors, additional efforts will be devoted to raising awareness in philanthropic circles of the School’s activities and its value as a cultural and training institution.
Identify and effectively manage an increasing number of sponsorship opportunities.
Objective 3
The School must also ensure that it seizes sponsorship opportunities, while providing the best possible return on the investments of its partners and respecting its own values and management policies. •
To derive the maximum potential from private funding, the School will inventory all potential sponsorship opportunities, including activities and infrastructure at the School and the Monument-National. This will be done in consideration of the ethical and logistical challenges inherent in private sponsorships.
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At the same time, the School will develop initiatives to maximize its visibility, and to make proactive use of social media in particular, so as to increase the value of its sponsorship proposals, both present and future.
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Develop high-quality, long-term relationships with donors and sponsors, with a view to optimizing their contributions to the School.
Objective 4
Private funding involves its own special demands and rules. A true intellectual, emotional and organizational commitment is essential in securing donations. The School can rely on a long tradition of private funding, not to mention the outstanding success of its 50th anniversary fundraising campaign. In the years ahead, new donors must be enlisted, be they individuals, foundations or corporations, whether they are mandated to fund Arts and Culture or simply have an appreciation of the mission and values of the School. •
Inspired by the initiatives of several non-profit organizations, the School will implement an efficient and productive program of planned giving.
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With the objective of increasing the number and quality of partnerships, the School will aim to go beyond the strictly transactional relationship and to offer new possibilities for making contributions, including the opportunity to be more closely involved in some of its specific projects.
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In addition to respecting the highest ethical standards, the School will develop tools to identify and adopt the best practices with regard to long-term partnerships. These tools will be progressively improved upon, providing the framework for new initiatives.
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DIRECTION 5 – COMBINE PERFORMANCE WITH ORGANISATIONAL RESILIENCE For both the administrative team and faculty, there is one constant: learning how to surpass oneself, to adapt, to be innovative, and to always do better. The School must therefore be organizationally flexible, inventive, productive and resilient, so as to maintain its course and develop, despite all the changes or upheavals in its surroundings. This applies to the School’s organization, governance, recruiting and personnel development.
Optimize internal management and work organization.
Objective 1
The School must offer a framework that allows its staff to accomplish its work in the best possible conditions, while at the same time daily incorporating the strategic directions of the present plan. •
The School must foster ingenuity, imagination and flexibility in its training and outreach activities. It will combine a decentralized budget model with effective internal controls and a project management approach based on merit and availability of private funding.
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To make optimum use of this Strategic Plan, the School must pay particular attention to adapting and improving its internal structures. This also applies to the School’s other management tools, in particular its three-year Business Plan.
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Naturally, this will involve creating conditions conducive to an open and collaborative work culture. Many of the priorities outlined in this plan presuppose teamwork and collaboration. The School’s present and future management and personnel should master this approach.
Maintain the best practices in governance.
Objective 2
As is the case with all non-profit organizations, the Board of Directors, made up of volunteers, oversees the institution’s long-term viability. It establishes the framework for governance and ensures that management and all parties concerned respect it. •
It is of utmost importance to continually reinforce and renew the Board of Directors, and to ensure that its four standing committees operate in optimal fashion. This process must take into account the diverse skills required to understand the issues affecting the School and the theatre community, and reflect the diversity of Canadian society.
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Board members are selected as much for their expertise and vision as for their belief in the School’s mission. More often than not, they unfortunately work in the shadows. In the future, the School will ensure that they have a very active role of ambassadors, whether it is in on-campus activities, nationwide collaborations or fundraising campaigns.
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Promote leadership and personal initiative at all levels of the organization.
Objective 3
Although it has passed the half-century mark, the School is more vibrant than ever, due in part to its capacity to renew its management team and faculty. It must continue to choose carefully the members of its administrative and pedagogical teams, and to instil such principles as initiative, team spirit, and loyalty to its mission. •
Illustrations: Adam Provencher (Set and Costume Design, 2012) Photos: Maxime CĂ´tĂŠ
Aware of the importance of its personnel, the School will make provisions for a competent and committed succession, in its departments and senior management alike. To this end, a training and skills-transfer plan will be implemented, along with increased use of mentorships.
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