THE BEGINNING OF COMPANY FOUR
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Company Four was set up with the aim to make multi disciplinary work that is innovative and visually exciting with collaboration at its core. Company Four’s approach to developing work is rooted in devising and the company loves to bring artists from many different disciplines together, to experiment, and create exuberant and evocative storytelling. Company Four wishes to surprise in process and performance. 

Company Four performed their debut full length show Three. Two. THIRTY at The Greater Manchester Fringe festival in 2019. The show was Co devised and performed by Gemma Whiteley and Susie Chrystal. 

​Gemma Whiteley - Artistic Director 

​FOUR CORNERSTONES OF COMPANY FOUR 


MULTI DISCIPLINARY PRACTICE 

Gemma’s training covered a range of practices including classical texts, physical theatre, clown, mask, performance art and film. Gemma has always been inspired by artists who seek to push boundaries and break the mould, Pina Bausch, DV8, Joan Littlewood, Forced Entertainment & The Wooster Group have all been inspirations for Gemma's own practice. 

Company Four's strength lies in the multidisciplinary approach to storytelling and Gemma's interest in what makes each individual artist tick, or be moved or impassioned.  The refined, carefully selected and meticulously rehearsed blend of art forms chosen to tell a particular story, or explore a particular topic is what makes Company Four's work unique, evocative and memorable. Each of our projects focus on one, or work across either theatre, media and/ or exhibition. 



VISUALLY STRIKING STORYTELLING 

Our inclination towards the merging of disciplines means our work has a distinct and contemporary aesthetic. We use lots of storytelling techniques and our work often explores complex and nuanced themes. This has lead us to believe that sharp, clean design choices accentuate the meaning behind these stories and the techniques used by the performers. We enjoy visual storytelling and always like to refine the physical language of the characters we present as well as the physical language of the collective cast. Motif is often used to help us create physical imagery.
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The relationship between the show and the space it’s being presented in is also very important to us and we love keeping the design and structure of the spaces we work in visible and exposed. Company Four never uses entirely naturalistic set designs, and where possible we like to highlight, not conceal, that we are all gathered in a functional, working performance space . Tech is often visible and part of the set. Cameras, screens, microphones, PR systems are often seen on stage for the audience to witness them being used in real time.


PATIENT AND CURIOUS COLLABORATION 

Taking a multidisciplinary approach to storytelling means the Company Four process is inherently collaborative. We are not experts in every art form so Gemma's desire to create this type of work gifts Company Four the opportunity to collaborate with many different artists. Gemma loves to work with musicians, actors, movement directors, filmmakers to co create. Artists working with Company Four are encouraged to learn from each other and find ways their art forms can support and often enhance one another. Gemma prefers to set tasks, challenges and questions to artists working with her.. It is the artists job to play, create, rise to challenges, ask and answer questions, it is Gemma's job to notice everything, to earn trust, to grapple with the art itself and shape the piece into its final form. 

The stories that we are drawn to and feel we are best suited to tell often mean that we need to look outside the arts and collaborate with different communities. So far this has included mothers who’ve experienced postpartum psychosis, care experienced people, young people, academics, NHS staff and universities. We strongly believe that art is something everyone should have the opportunity to make and engage with and we do not believe that only professionals can make high quality, impactful and beautiful art.

Collaborating with artists with different skillsets requires patience, and for the work to be great, it requires curiosity and awe. This is exactly the same when working with communities and people from outside the arts.



DILIGENT FOCUS AND PLAY
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We believe in patience, empathy, silliness and dedication, and we do not believe it is possible, or healthy to leave all your worries, troubles, anxieties and frustrations at the door. We are people not robots. Taking time in the studio to check in with how we feel both physically and mentally is essential, and the exercises we use to do this pave the way for us to then focus on pushing and developing our skills and ourselves as artists. Company Four asks for dedication, diligence and generosity of all its collaborators. 

Making great art is put plainly, hard work, it can be arduous, sweaty and sometimes feel impenetrable but even the trickiest moments become easier to work through when you feel seen, supported and are part of an ensemble with collective resilience and empathy. The work, games and exercises we do in the room as a collective are designed to help performers, artists and participants find a greater level of focus that allows for optimum creative development. They’re also designed to give us all the courage and security to truly play, cause mischief and be silly. There is no shame in failing in a Company Four rehearsal, it is encouraged, there is only shame in behaving in a way that makes you, or your collaborators feel more self conscious and inhibited. 

Practitioners have been pushing the boundaries of theatre for thousands of years eg. breaking the fourth wall, Look Back In Anger’s ironing board, Slava’s Snow Show and we find this exciting. Company Four has a somewhat anarchic and mischievous heart and we are diligently focussed on pushing the boundaries of storytelling.