The Linguist

FEBRUARY/MARCH The Linguist 7 @Linguist_CIOL FEATURES The big idea Q What is Theatre Sans Accents? A A theatre company based in Edinburgh with an educational programme that aims to promote language learning to children and adults through the arts. We direct new pieces of theatre by diverse artists, so either there is a multilingual element to the show or the team is international. We try to have community work around our productions, and vice versa. Q How did it all begin? A I studied English at school in France but trained as an actor at RADA in London. This showed me how valuable acting techniques can be in terms of improving pronunciation and looking at language learning as a performance, rather than just grammatical exercises or exams. Working in London I was often type-cast because of my accent, so I decided to set up my own company. Q How did you establish the pedagogy? A In London I ran a drama workshop for kids. When I set up Theatre Sans Accents (TSA) in 2016, I developed these techniques with Bilingualism Matters, part of the University of Edinburgh. I look at the methodology from a theatrical perspective: vocal exercises, physical exercises, paying attention to pronunciation and how to embody the language. Building confidence was also a big element. Q What new skills did you need to learn? A For a long time it was a one-woman band; I was doing everything from accounts to admin and business development. Bilingualism Matters connected me with people in higher education, and Edinburgh Performing Arts Development set me up with a mentor, who advised me on legal and financial matters. I got help with funding applications too, as they are quite detailed and technical. Q How are you funded? A We've been accessing pockets of money for certain projects. I haven't been paying myself a salary, so I have to juggle several jobs: I still work as an actor, I still teach drama for other companies. As a sole trader I haven't been eligible for a lot of funding, but we're in the process of changing the business status. Q Who works for TSA? A We contract people for specific projects, whether that's a producer or someone to help with marketing. Before the pandemic we had volunteer assistants and interns working on Marion Geoffray reveals the determination that goes into establishing a bilingual, educational theatre company our courses. For productions there's a creative team, including a director and other actors. I also got someone to help with the website. Q How has Covid affected the company? A From a production point of view it's been a disaster. Our shows have been cancelled or postponed. Our workshops have moved online, but we've lost a lot of interest. We got emergency funds from Creative Scotland, but I'm worried about this year as we work a lot with schools and they can't have visitors. Q What are your plans for the future? A Changing the legal status to a limited community interest company will allow us to become a sustainable business with our own premises. I could then work full-time on TSA as artistic director. I'd like to do the Avignon Festival followed by the Fringe; French theatre is not well represented in Scotland and vice versa, so I would love to bridge that gap. theatresansaccents.co.uk LEARNING AS PERFORMANCE Marion performs in Knots (left); and (right) a TSA workshop prior to lockdown

• Cover