TÍte ‡ TÍte Launches a Manifesto for A Real Opera Festival In An Imaginary World

In TÍte ‡ TÍte: The Opera Festival’s world, it is not unusual for
Shakespeare’s Macbeth to decamp with a pantomime camel, for the bones of
humans to transform into violins, for penguins to play clapping games in
parks or to have endless growth of the hair atop your head. If there’s one
thing for sure, you can count on TÍte ‡ TÍte: The Opera Festival
for its unbounded imagination.

Because it’s so outrageously good at all things imaginative, the TÍte ‡ TÍte: The Opera Festival 2020 will go ahead by the act of
imagination itself, until the possible becomes the actual and a cornucopia
of new operas can be shared in real time and in a real space. This vision
for a real opera festival in an imaginary world has been set out in a
Manifesto on TÍte ‡ TÍte’s website. The Manifesto asserts that the
festival is a collaboration between artists and audience; the artists
affect the audience and their audience affects their artists in real time,
in a living, breathing space. You fuel their imagination just as they fuel

They will not make art in isolation. All of the projects TÍte ‡ TÍte artists and companies are currently working on will
see the living light of day, or, perhaps, some dazzling stage lighting, or
maybe even just the glorious light of the imagination. In a blog post on
the TÍte ‡ TÍte website, Artistic Director Bill Bankes-Jones
expands on this Manifesto, saying ‘what we love about theatre is coming
together, not being apart’. Until TÍte ‡ TÍte can welcome you once
more into a real space in real time, the festival and its artists and
companies will share with you their creative processes, dreams, challenges
and much else besides as they build their imaginary operas in anticipation
of the eventual live performance. TÍte ‡ TÍte is committed to its
artists and companies, whose premieres they will eventually stage. Through
this commitment, TÍte ‡ TÍte will be able to extend and develop
its usual mentoring for each company and group of artists, offering help
where they need it, with dramaturgy, musical issues, casting,
administrative and technical challenges.

As always, the Festival will create a web page for each opera premiere.
This year, artists are urged to use these to open up the process of
creating an opera to fellow artists and audiences. In his blog post, Bill
has stated that artists will share the creative work behind their operas,
including videos, sound recordings, draft libretti and scores, designs,
storyboards and the literary and visual references that inspire and feed
into the productions. The sharing of the developments of the operas will
take a myriad of forms, both online and off. In the manifesto, TÍte ‡ TÍte: The Opera Festival artists pledge to do their utmost
to make sure their work will also reach those without access to the online

They are calling upon every ounce of their imagination to make sure the
festival happens in this real world; that will hopefully be at the Cockpit
Theatre this September, Cubitt Sessions this Summer, or its famous pop-up
operas, scattered periodically and spatially over the next year. If, on
this occasion, this vision has to be curtailed, then TÍte ‡ TÍte:
The Opera Festival believes that its imagined manifestations will still
have a very great, very real value.

In his blog post, Bill Bankes-Jones has stressed that by having a real
opera festival in an imaginary world the festival has the advantage of
having a fully formed programme. This means that if the Cockpit
performances have to be delayed, for example, then TÍte ‡ TÍte will be able
to reschedule the festival must faster than they otherwise would, and will
be able to transfer the programme en bloc.

Ultimately, TÍte ‡ TÍte: A Real Opera Festival in An Imaginary
World is designed to display what the company is really good at; connecting
with people in real time and inspiring them and nurturing its artists. The
imaginary festival is a true statement of what the company really likes to
be doing, rather than a programme of work comprised by circumstance that
does not reflect the company’s values. Artistic Director Bill Bankes-Jones
said: ‘Our festival might not be able to take place in real space and time
this year, but it can certainly exist in an imagined world. Since time
immemorial creativity and art has drawn its inspiration from the wild space
of the imagination. Come and meet us there! Many have preceded us in this;
the artist Damien Hirst’s exhibition of artefacts from an imagined
shipwreck, the imagined poet Ossian who triggered a whole genre of Ossianic
Literature, capturing imaginations in the eighteenth century before
‘online’ was even dreamed of, and director Peter Greenaway’s imaginary
character, Tulse Luper, with the ever-fascinating contents of his
suitcases. Like these artists and writers who’ve gone before us, we want to
share our work with you and inspire you. We collaborate with artists and
share the work in one space with our audience – that is why we will never
make art in isolation. Let’s meet in the space of the imagination, until we
can be all together in the same physical space.’

TÍte ‡ TÍte
: The Opera Festival is famous (and notorious) for giving artists and
companies a platform to experiment with unconventional new forms of opera. TÍte ‡ TÍte is continuing to provide worldwide community-building
in opera, through its YouTube channel #MyNewOpera which launched in 2018 to
provide a digital collection of videos of opera.

More information on the TÍte ‡ TÍte: The Opera Festival 2020 will
be released soon. If you would like to be notified when tickets go on sale,
please sign up to TÍte ‡ TÍte’s mailing list here