Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
A
student‐focussed,
sustainable
approach
1
An
introduction
from
the
DST
President
My
time
at
Durham
has
been
shaped
by
the
opportunities
and
challenges
that
the
University’s
drama
scene
has
had
to
offer.
As
far
as
I
know,
no
other
university
in
the
country
offers
the
chance
to
study
for
a
full‐time,
high‐quality
degree
from
a
top
institution,
whilst
pursuing
drama
to
the
highest
level.
I
am
incredibly
grateful
for
the
experiences
that
membership
of
Durham
Student
Theatre
has
offered,
and
hugely
optimistic
about
our
plans
for
the
future.
However,
the
continued
success
of
student
theatre
at
Durham
is
contingent
on
a
properly‐funded,
student‐focussed
approach.
At
a
time
when
delivering
‘the
Durham
Difference’
is
so
critical
in
an
increasingly
crowded
higher
education
market,
we
need
support
from
the
University
to
continue
to
deliver
the
level
of
service
and
success
which
is
rightly
expected
by
our
members,
the
University’s
departments
and
colleges,
and
the
wider
Durham
community.
This
report
argues
the
case
for
a
fundamental
shift
in
the
governance
and
financing
of
student
theatre
at
Durham
based
on
a
sustainable
model
that
will
drive
up
the
student
experience,
the
University’s
reputation,
and
levels
of
community
engagement.
I
hope
you
will
feel
able
to
lend
your
support
to
such
an
exciting
proposal.
Hugo
Soul
March
2009
2
About
Durham
Student
Theatre
DST
is
the
union
for
drama
at
Durham
University.
With
over
seven
hundred
members,
fifty
productions
annually
and
twenty‐five
affiliated
theatre
companies,
the
organisation
is
one
of
the
largest
student
societies
in
Durham
and
enjoys
an
outstanding
reputation
for
facilitating
some
of
the
best
student
theatre
in
the
UK,
both
in
the
city
of
Durham,
and
further
afield
at
the
Edinburgh
Fringe,
on
national
tours
and
even
overseas.
This
academic
year
has
seen
an
unparalleled
expansion
of
DST’s
activities.
Our
fundraising
team
has
sourced
£100,000
for
a
refurbishment
of
the
historic
Assembly
Rooms
Theatre
on
North
Bailey,
a
project
that
has
been
completed
over
Easter.
Nearly
6,000
audience
members
have
enjoyed
shows
in
the
theatre
this
year
alone,
many
of
whom
booked
and
paid
online
using
our
new
website.
Our
links
with
Developing
Artists,
a
charity
run
by
a
fellow
of
St
Chad’s
College,
have
led
to
DST
members
travelling
to
the
U.S.
to
perform
in
the
first
off‐
Broadway
production
of
Alan
Bennett’s
The
History
Boys
and
to
Zimbabwe
to
work
on
a
production
of
Oedipus
Rex.
The
Durham
Drama
Festival
saw
industry‐
leading
talent
come
to
Durham
–
including
Matt
Wolfe,
the
theatre
critic
for
the
International
Herald
Tribune,
and
Brooke
Ciardelli,
artistic
director
of
the
Northern
Stage
in
Vermont.
DST
has
also
formed
links
with
Hassockfield
Secure
Training
Centre
in
Consett
with
a
view
to
providing
mentoring
and
drama
therapy
services
to
offenders.
Our
theatre
companies
have,
with
DST
support,
forged
local,
national
and
international
links
and
won
significant
praise
for
their
efforts.
Several
shows
annually
are
taken
to
the
Edinburgh
Fringe
with
many
receiving
‘sell‐out’
awards.
A
recent
tour
to
US
Ivy
League
universities
involved
students
independently
raising
£20,000
and
developing
links
with
Harvard,
Yale,
Brown,
Princeton
and
Cornell
universities.
Local
engagement
has
focussed
on
intensive
workshops,
such
as
a
recent
three
hour
session
hosted
by
the
production
team
of
Guys
and
Dolls,
performed
at
the
Gala
Theatre
in
January.
The
same
production
won
outstanding
media
coverage
with
a
slot
on
BBC
TV’s
Look
North.
3
Function
and
Role
DST
is
not
simply
a
student
theatre
group:
unlike
other
universities
where
a
single
drama
society
chooses
and
produces
shows,
plays
in
Durham
are
selected
and
performed
by
our
affiliated
theatre
companies.
DST
provides
the
administrative
and
material
support
to
facilitate
the
huge
range
of
theatrical
activity
at
the
University:
services
such
as
box
office,
marketing,
properties,
costumes,
set,
technical
hire
equipment,
advocacy
and
advice.
We
work
with
the
Estates
and
Buildings
department
in
managing
the
University’s
Assembly
Rooms
Theatre,
offer
a
wide
range
of
workshops
(led
by
groups
such
as
the
National
Student
Drama
Festival),
and
offer
support
to
students
applying
for
grants
and
funding.
The
services
that
DST
offers
are
unrivalled
at
any
other
UK
university.
Governance
DST
is
managed
by
a
nine‐strong
student
executive
committee,
composed
of
a
President,
Secretary,
Treasurer,
Press
&
Sponsorship
Secretary,
Festivals
Secretary,
Technical
Secretary,
Social
Secretary,
Hire
Manager
and
Publications
Editor.
A
Staff
Treasurer
–
an
academic
member
of
staff
–
maintains
oversight
of
accounts
and
financial
affairs.
In
2008/09
the
society’s
turnover
was
£152,802.
4
Rationale
As
our
range
of
activities
expands,
so
too
do
the
demands
on
the
time
of
the
society’s
executive
committee,
and
on
our
limited
resources.
We
desperately
want
to
continue
with
our
exciting
programme
of
enhancing
the
student
experience
whilst
raising
the
University’s
profile
and
reaching
out
to
the
community,
but
are
limited
by
our
time
and
access
to
funds.
In
addition,
as
our
relationship
with
Durham
Students’
Union
outgrows
that
of
a
normal
society,
there
is
an
urgent
need
for
DST
to
develop
a
strong,
secure
and
sustainable
position
in
relation
to
the
University.
Development
of,
and
engagement
with,
student
cultural
activities
has
been
identified
as
a
priority
by
the
University,
as
specified
in
the
Cultural
Strategy1.
DST
is
keen
to
be
a
part
of
this
exciting
strategy
and
to
drive
a
student‐focussed
step
change
in
the
University’s
cultural
approach
that
will
enhance
opportunities
for
prospective
applicants,
current
students,
the
University’s
staff
and
the
wider
community.
With
this
in
mind,
we
have
prepared
a
report
that
we
hope
will
demonstrate
a
compelling
case
for
a
fundamental
transformation
of
DST’s
structure
and
relationship
with
the
University.
Set
across
a
number
of
key
proposals,
the
report
argues
for
a
better‐managed,
better‐funded
society
that
will
deliver
outstanding
services
and
opportunities
to
current
and
prospective
students,
whilst
enhancing
the
University’s
reputation
both
in
the
local
community
and
further
afield.
1 ‘Durham University Cultural Strategy Report’,
<http://www.dur.ac.uk/resources/about/policies/DurhamUniversityCulturalStr
ategy‐FinalVersion.pdf>
5
Key
Outcomes
The
intended
outcomes
of
the
proposals
in
this
document
span
three
strands
which
directly
correspond
with
the
University’s
cultural
strategy:
2 ‘Durham University Cultural Strategy Report’,
<http://www.dur.ac.uk/resources/about/policies/DurhamUniversityCulturalStr
ategy‐FinalVersion.pdf>,
p3
6
Proposal
1:
The
establishment
of
the
student‐filled
sabbatical
role
of
DST
Manager
Background
The
current
role
of
DST
President
can
only
be
effectively
discharged
by
a
student
with
significant
experience
of
Durham’s
theatre
scene.
Inevitably
this
means
that
the
role
is
filled
annually
by
a
final‐year
student.
The
role
is
extremely
complex
and
demanding,
involving
time‐heavy
tasks
such
as:
a. Setting
the
strategic
direction
for
the
society
b. Liaising
with
E&B
over
the
management
of
the
Assembly
Rooms
c. Liaising
with
the
University
on
a
functional
and
representative
basis,
particularly
groups
such
as:
i. Estates
and
Buildings
ii. Arts
Management
(DUAMG)
iii. Attractions
Group
iv. Cultural
Strategy
Group
d. Liaising
with
theatre
companies:
i. Providing
support
to
DST‐affiliated
theatre
companies
across
the
full
spectrum
of
their
operation
ii. Acting
as
a
point
of
contact
for
external
theatre
companies
wishing
to
use
Durham
facilities
e. Assisting
with
productions
in
the
theatre
f. Providing
a
first
point
of
contact
for
enquiries
regarding
theatre
at
Durham
g. Oversight
of
all
events,
such
as:
i. Freshers’
Play
ii. Durham
Drama
Festival
iii. Workshops
h. Providing
box
office
functions
in
the
Assembly
Rooms
This
list
of
responsibilities
by
its
nature
is
limitless
and
the
President’s
role
is
constantly
expanding
as
the
theatre
scene
in
Durham
becomes
increasingly
7
active.
At
present
the
society
is
hindered
in
its
efforts
to
provide
better
services,
improve
the
reputation
of
the
University
and
enhance
the
student
experience
by
a
lack
of
resources
and
time
on
the
part
of
the
President
and
the
executive
committee.
As
the
University
establishes
its
commitment
to
culture,
and
specifically
to
drama,
through
initiatives
such
as
the
Performing
Arts
Scholarships
and
the
promotion
of
DST
activities
to
prospective
students
via
the
University
website
and
prospectus,
the
need
for
more
significant
involvement
from
DST
becomes
increasingly
pressing.
However,
the
commitments
of
final
year
studies
make
headway
in
this
respect
particularly
challenging.
The
society
and
University
risk
losing
outstanding
opportunities
as
a
result
of
the
lack
of
time
and
resources
available
at
present.
Proposed
That
DST
amends
its
constitution
to
create
a
new
sabbatical
role
of
Manager.
That
the
University
establishes
a
sabbatical
position,
DST
Manager,
paid
at
the
current
sabbatical
rate
and
including
accommodation
on‐site
at
the
Assembly
Rooms.
Outcome
Creating
a
sabbatical
role
would
enable
the
Manager
to
work
closely
with
the
remainder
of
the
executive
(including
the
President,
whose
role
would
be
maintained
but
in
an
oversight
rather
than
management
capacity)
to
deliver
enhanced
services
such
as:
• Year‐round,
effective,
student‐driven
management
of
the
Assembly
Rooms
with
a
focus
on
encouraging
outside
companies
to
use
the
theatre
during
vacations
to
drive
up
funding.
• Building
on
DST’s
role
as
an
advisory
and
stakeholders’
group
that
offers
theatre
companies
resources
that
are
otherwise
out
of
reach.
8
• Improved,
consistent
contact
with
the
University
(most
notably
the
Cultural
Strategy
Committee)
and
academic
departments
in
particular
to
drive
up
awareness
of
the
facilities
and
opportunities
that
DST
provides.
• Drive
up
the
reputation
of
Durham
as
a
centre
for
excellence
in
the
performing
arts
with
media
relations,
school
visits
and
publications.
• Develop
and
maintain
a
strong,
successful
presence
in
local
and
national
media
that
highlights
our
community
relations
and
theatrical
successes.
• Engage
directly
with
the
local
community,
building
on
existing
projects
to
transform
DST
into
a
community‐focused
organisation
that
enriches
the
cultural
life
of
the
city
and
county
by
developing
further
links
with
local
schools
and
organisations
such
as
Hassockfield
STC.
• Work
with
charities
such
as
Developing
Artists
to
provide
further
opportunities
for
DST
members
to
reach
out
to
communities
in
the
developing
world
through
drama.
• Provide
opportunities
for
alumni
to
continue
their
connections
with
DST,
encouraging
their
return
to
Durham
with
regular
contact
and
special
events.
• Engage
with
local,
regional
and
national
arts
bodies
including
local
government,
regional
development
agencies,
the
Arts
Council,
the
National
Youth
Theatre,
the
National
Student
Drama
Festival
and
the
Department
for
Media,
Culture
and
Sport
to
drive
in
expertise,
funding
and
resources
to
DST
and
Durham.
• Improve
the
student
experience
by
providing
a
wider
range
of
opportunities
for
involvement
in
the
performing
arts.
9
Proposal
2:
Transfer
in
status
to
department‐level
student
organisation
Background
At
present
DST
provides
a
wide
range
of
services
to
the
University,
many
of
which
are
similar
to
those
that
a
support
or
service
department
might
be
expected
to
provide.
A
primary
focus
is
our
role
in
the
management
of
the
Assembly
Rooms:
DST
is
the
only
student
society
which
plays
a
part
in
the
management
of
its
own
building.
This
service
includes
box
office
provision,
technical
assistance,
advice
to
users,
booking
systems,
ticketing,
and
out‐of‐
hours
security
through
DST
executive
members
living
on‐site.
The
society
has
also,
independently
of
the
University,
secured
funding
for
a
£100,000
refurbishment
of
the
auditorium
and
foyer
of
the
Assembly
Rooms
and
has
overseen
the
implementation
of
this
project.
DST
makes
no
charge
to
the
University
for
any
of
these
services.
In
addition,
DST
promotes
and
carries
the
Durham
University
name
at
performances
by
our
affiliated
production
companies
both
across
the
city
of
Durham
and
further
afield,
in
Edinburgh,
London,
and
internationally
on
tours
such
as
the
recent
visit
to
Ivy
League
universities
in
America.
We
provide
a
key
point
of
contact
for
prospective
students
wishing
to
learn
more
about
the
theatre
scene
at
the
University.
Despite
the
fact
that
DST
provides
services
akin
to
those
that
a
support
or
service
department
might
do,
we
have
no
status
within
the
University
other
than
as
a
student
society.
We
receive
no
central
funding
from
the
University
(other
than
occasional
small
grants
from
Durham
University
Arts
Management
Group),
or
from
our
affiliated
theatre
companies:
income
is
fixed
at
that
provided
by
membership
fees
and
corporate
sponsorship,
as
well
as
any
profit
from
events.
DST
has
been
operating
without
any
affiliation
to
Durham
Students’
Union
since
Summer
2008,
when
DSU
took
the
decision
that
DST
could
not
longer
be
categorised
as
merely
a
student
society
and
that
ratification
as
a
society
was
no
10
longer
appropriate.
The
DSU
Student
Societies
and
Development
officer
has
re‐
iterated
the
DSU
position
that
the
union
cannot
take
on
responsibility
for
a
society
of
the
size
of
DST
or
one
which
manages
a
building.
As
a
result,
DST
is
operating
as
an
unincorporated
organisation
with
no
legal
standing,
and
no
formalised
relationship
between
it
and
the
University.
There
is
an
urgent
need
to
address
this
situation.
Proposed
That
DST
is
incorporated
as
a
student
organisation
under
the
auspices
of
Durham
University,
achieving
support
department
status
akin
to
that
of
Team
Durham.
Outcome
Achieving
department
status
would
give
DST
a
clearly‐defined
relationship
with
the
University
that
would
enable
the
society
to
discharge
activities
in
a
mutually
beneficial
approach.
Involvement
in
the
University’s
long‐term
cultural
strategies
would
give
the
organisation
a
say
in
matters
of
interest,
such
as
the
recent
decision
to
award
Performing
Arts
Bursaries
(which
DST
has
had
no
involvement
in),
representation
at
Open
Days
for
prospective
students
or
closer
links
with
North
East
community
projects.
Durham
Student
Theatre
could
be
included
in
the
national
rankings
for
best
student
drama,
providing
a
very
useful
tool
for
the
University
to
attract
new
students.
It
would
also
provide
opportunities
for
a
more
successful
relationship
with
the
University’s
Estates
and
Buildings
department:
as
the
only
student
society
to
play
a
part
in
the
management
of
a
building,
such
a
development
would
be
a
major
step
forward.
In
addition,
departmental
status
would
give
DST
a
solid
legal
footing
and
basis
that
would
offer
security,
stability
and
enable
effective
future
planning.
The
collegiate
side
of
theatre
could
also
be
improved.
Whilst
colleges
such
as
Hild‐Bede
and
University
College
have
thriving
theatrical
societies,
currently,
many
college
theatre
companies
dissolve
as
leading
members
graduate,
leaving
a
lull
in
their
college
theatre.
In
most
cases
new
students
are
very
keen
to
reignite
11
these
companies
but
do
not
have
the
resources.
Just
as
Team
Durham
run
a
collegiate
programme,
so
too
could
DST,
ensuring
that
college
theatre
companies
have
the
funds
and
representatives
to
thrive
from
year
to
year.
Departmental
status
would
offer
enhanced
opportunities
to
launch
joint
ventures
with
academic
departments.
The
synergies
between
many
university
courses
and
the
events
which
DST
runs
are
clear
but
remain
unexploited.
As
a
support
department,
DST
would
be
able
to
work
with,
for
example,
the
English
Department
to
run
workshops
on
the
numerous
plays
which
are
covered
on
the
syllabus.
A
termly
‘What’s
On
in
the
North
East
Guide’
could
include
Durham
student
productions
as
well
as
performances
more
further
afield
which
specifically
relate
to
the
English
syllabus.
The
same
support
could
be
offered
to
other
departments
such
as
Modern
Languages
and
Classics,
both
of
which
both
include
plays
in
their
syllabuses.
One
of
our
key
aims
as
a
department
would
be
to
extend
and
improve
our
community
links.
After
achieving
departmental
status,
Team
Durham
introduced
a
programme
focusing
on
their
role
in
the
region,
and
internationally.
Durham
Student
Theatre
would
initiate
a
similar
scheme,
aiming
to
work
with
local
schools
to
run
workshops
and
improve
the
after‐school
extra‐curricular
drama
programme.
This
would
also
encourage
more
schools
to
organise
trips
to
the
Durham
student
productions
that
are
related
to
their
school
syllabuses.
Currently,
around
half
the
productions
in
Durham
are
relevant
to
schools,
with
around
six
Shakespeare
performances
a
year,
and
so
stronger
links
between
schools
and
DST
would
be
highly
beneficial
for
both
the
Durham
theatre
companies
and
the
school
pupils
themselves.
This
relationship
could
even
lead
to
joint
student
and
school
productions,
created
from
the
after‐school
programme,
being
put
on
in
the
Assembly
Rooms
theatre
out
of
term
time.
12
Proposal
3:
Transition
of
full
management
of
the
Assembly
Rooms
to
DST
and
establishment
of
Theatre
Technician
post
Background
At
present,
the
Assembly
Rooms
is
managed
by
both
DST
and
the
University’s
Estates
and
Buildings
(E&B)
department.
Whilst
E&B’s
facilities
management
role
is
essential,
there
are
a
number
of
additional
areas
where
E&B’s
involvement
is
anomalous,
given
the
department’s
wider
responsibilities
within
the
University.
These
areas
include
handling
bookings,
the
legal
relationship
between
hirers
and
the
University,
and
day‐to‐day
technical
enquiries.
The
split
in
service
provision
between
E&B
and
DST
has
led
to
confusion
from
hirers
as
to
their
point
of
contact
when
using
the
theatre,
and
raised
questions
as
to
the
responsibility
for
costs
that
arise
in
the
building’s
management.
There
is
no
formal,
contractual
agreement
between
DST
and
E&B.
This
raises
the
spectre
of
DST’s
role
in
managing
the
theatre
being
arbitrarily
terminated
(as
was
threatened
some
four
years
ago
when
it
was
proposed
that
the
Assembly
Rooms
be
converted
into
teaching
accommodation).
The
lack
of
security
and
formalised
relationship
makes
long
term
planning
especially
difficult.
At
present
E&B’s
management
of
the
building
rests
on
a
part‐time
Theatre
Domestic
Co‐Ordinator,
overseen
by
a
Senior
Facilities
Manager,
an
Administration
Support
Supervisor
working
offsite,
and
a
Licensee
(currently
the
Assistant
Director
(Facilities)
of
E&B).
The
split
in
responsibility
between
several
different
members
of
the
department
creates
additional
confusion.
Whilst
in
the
last
few
months,
positive
attempts
have
been
made
by
Estates
and
Buildings
to
establish
monthly
meetings
with
DST
to
improve
communications
between
the
two,
the
division
of
responsibilities
between
the
two
organisations
is
ill‐defined
and
needs
urgent
attention.
The
Theatre
Co‐Ordinator
works
part
time,
from
7.30am
–
1pm,
Monday‐Friday,
and
is
responsible
for
domestic
matters,
health
and
safety,
and
bookings.
She
is
not
technically
trained
and
is
appointed
by,
and
responsible
to,
E&B.
The
lack
of
13
technical
training
means
that
the
Theatre
Domestic
Co‐Ordinator
is
not
able
to
assist
with
technical
matters
in
the
theatre
–
both
for
internal
theatre
companies
and
external
groups
–
and
this
responsibility
is
arrogated
to
the
DST
technical
secretary.
In
addition,
the
Domestic
Co‐Ordinator’s
working
hours
do
not
match
with
production
schedules,
which
generally
operate
in
the
afternoon
and
evening,
and
at
weekends,
again
limiting
the
level
of
assistance
that
can
be
provided.
Comparable
institutions
(e.g.
the
ADC
Theatre
at
the
University
of
Cambridge)
offer
one
full‐time
and
two
part‐time
qualified
theatre
technicians.3
Proposed
That
E&B’s
role
in
respect
of
the
Assembly
Rooms
reverts
to
one
of
facilities
management
rather
than
operations
management.
That
DST
assumes
responsibility
for
day‐to‐day
theatre
management
within
the
context
of
a
wider,
formalised
agreement
on
facilities
management
and
the
relationship
between
DST
and
E&B,
similar
to
the
relationship
that
exists
between
DSU
and
E&B.
That
the
University
appoints
a
permanent
trained
theatre
technician
to
provide
assistance
to
theatre
users
Outcome
Transitioning
E&B’s
anomalous
involvement
in
the
day‐to‐day
management
of
the
theatre
would
provide
theatre
companies
and
external
groups
with
a
single
point
of
contact
defined
by
long‐term
involvement
and
expertise
in
theatres
and
theatre
management.
By
transferring
day‐to‐day
control
to
a
departmental‐
status
DST,
management
of
the
theatre
would
be
student‐focussed
and
led
by
individuals
with
an
in‐depth
understanding
of
the
specialist
needs
of
student
productions.
3 ‘University of Cambridge: ADC Theatre’ [www.adctheatre.com]
14
Such
a
transition
would
enable
a
much
stronger
focus
on
marketing
the
theatre
to
external
organisations
as
a
venue
for
hire
outside
of
student
use
–
a
key
element
of
the
University’s
Cultural
Strategy.
At
present
the
theatre
is
out
of
use
for
48%
of
the
year,
representing
around
£11,250
in
lost
revenue4.
With
a
full‐
time
DST
manager,
supported
by
an
executive
committee
and
free
to
market
within
university
guidelines,
DST
could
potentially
generate
a
useful
and
regular
source
of
income,
in
effect
funding
the
establishment
of
a
sabbatical
post,
whilst
providing
a
valuable
resource
to
the
local
community
and
wider
region.
A
transition
would
also
allow
income
from
DST‐managed
services,
such
as
technical
equipment
hire,
to
be
reinvested
by
DST
into
student
services.
This
source
of
income
would
enhance
the
financial
sustainability
of
the
proposed
model
of
DST
governance
(see
below).
The
provision
of
a
Theatre
Technician,
with
working
hours
aligned
to
production
hours
(e.g.
12pm
–
8pm,
Tuesday‐Saturday),
would
dramatically
enhance
the
service
provision
offered
to
both
student
productions
and
external
organisations.
This
would
minimise
the
risk
of
health
and
safety
breaches
and
provide
a
single,
qualified
source
of
information
for
users
of
the
theatre
over
many
years.
4 Assuming hire for 25 weeks of the year at £450/week
15
Funding
A
new
funding
model
for
DST
would
be
established
via
a
sustainable
approach.
An
outline
of
the
proposed
model
is
outlined
below,
with
figures
based
in
most
cases
on
DST’s
current
financial
year.
The
model
is
based
on
the
transition
of
income
from
DST‐provided
services
(such
as
hire
of
technical
equipment)
to
DST’s
own
finances.
These
figures
demonstrate
that,
contingent
on
successful
marketing
of
the
Assembly
Rooms
to
external
organisations
as
a
venue
for
events
during
periods
when
the
theatre
is
out
of
use,
the
creation
of
the
sabbatical
position
of
DST
Manager
would
be
fully
self‐financing.
Through
transitioning
income
from
DST
services
to
DST
finances,
a
significant
annual
surplus
to
help
fund
our
activities
is
achievable.
16
With
an
increase
in
funding,
DST
could
dramatically
enhance
its
service
provision
to
students
and
external
companies.
Opportunities
for
community
engagement
could
be
fully‐funded,
overseas
tours
could
be
enhanced
and
extended,
and
the
quality
of
our
resources
in
the
theatre
–
such
as
technical
hire
equipment,
properties,
costumes
and
set
–
vastly
improved
and
updated.
In
addition,
an
allocation
of
resources
could
be
deployed
jointly
with
the
University’s
Arts
Management
Group
to
provide
much‐needed
additional
funding
for
DST‐affiliated
theatre
companies,
alongside
a
programme
of
properly‐funded
advice
and
advocacy
that
builds
on
the
service
currently
offered
by
DST.
The
sustainability
of
any
change
to
the
current
structure
is
critical
and
has
been
a
core
tenet
of
our
approach.
Indeed,
rather
than
diverting
resources
from
other
projects
within
the
University,
a
transition
to
this
model
would
represent
a
fully
funded
and
rather
more
coherent
approach
than
at
present.
17
The
New
DST
Model
Supported by Supporting
Marketing Local
Community
Membership
18
Conclusions
DST
is
one
of
the
largest
and
most
successful
student
organisations
in
Durham.
If
it
is
to
continue
to
provide
the
University
with
a
unique
selling
point
–
an
outstanding
opportunity
for
students
to
pursue
drama
alongside
their
degrees
–
as
well
as
extending
the
opportunities
for
engagement
with
the
local
community,
its
legal
status
and
funding
need
to
be
addressed
immediately.
Our
key
proposals
are:
• That
DST
amends
its
constitution
to
create
a
new
sabbatical
role,
Manager.
• That
the
University
establishes
a
sabbatical
position,
DST
Manager,
paid
at
the
current
sabbatical
rate
and
including
accommodation
on‐site
at
the
Assembly
Rooms.
• That
DST
is
incorporated
as
a
student
organisation
under
the
auspices
of
Durham
University,
achieving
departmental
status
akin
to
that
of
Team
Durham.
• That
E&B’s
role
in
respect
of
the
Assembly
Rooms
reverts
to
one
of
facilities
management
rather
than
operations
management.
• That
DST
assumes
responsibility
for
day‐to‐day
theatre
management
within
the
context
of
a
wider,
formalised
agreement
on
facilities
management
and
the
relationship
between
DST
and
E&B.
• That
the
University
appoints
a
trained
theatre
technician
to
provide
assistance
to
theatre
users.
The
creation
of
such
a
model
will
lead
to
direct
enhancement
of
the
student
experience,
a
higher
media
profile
for
the
University,
and
more
opportunities
for
community
engagement.
Above
all,
the
model
represents
a
sustainable
approach,
which
would
continue
to
deliver
provision
for
student
theatre
at
Durham
for
many
years
to
come.
19