Vernacular

Theatre

Historic industrial townscape with various labeled factory buildings including a spinning mill, wash house, and sorting shop, set in a rural landscape.
Vintage black and white photo of a quiet street with shops and a parked vehicle, featuring old storefronts and a café sign.

The Vernacular endeavour – be it the making of theatre or the building of a house, starts from the local, from conversations with people you know and the gathering of materials that are nearby. It does not start with the motive of financial gain. The scale is relationship friendly. In the making of the Vernacular the nature of the place is the starting point, and the making of the theatre is a process of learning about and honouring that place.   

Vernacular Theatre emerges from the six stages of the Foraging Process:

Foraging

Prepping

Recipe writing

Cooking

Feasting

Washing-up

The result is homespun and may be rough in texture. There are techniques that are bespoke, things that are handed down and particular to each project. The performers are not paid, and the audience receive something that is a gift. It is made by people of all ages. It may be woven from their experiences and stories. There is a care carried in the relationships that are nurtured. The number and nature of performers is decided by who joins in. It is made from materials that are particular to the locality. Nothing is expected in return.

From Vernacular Theatre, Intellect Books 2025.  

The Book

Book cover titled "Vernacular Theatre: Making Theatre with Community" by Jonathan Petherbridge, featuring a young person surrounded by floating pieces of paper in a community theater setting.

A practical description of six intergenerational projects developed during a ten-year period. Over the course of the book the author develops his argument for a form of civic drama that is accessible to all but rigorous in process. Based on work made with citizens of London and Hiroshima.

The Blog

Grandchildren of Hiroshima was made over an intensive period (in intense heat) in Japan during 2015.

This blog was written during the preparatory workshops and early performances. It tries to describe the ups and downs experienced during the making of intergenerational vernacular theatre.

Hopefully it gives an idea of the aesthetic and social outcome.

Read the blog here