E 3 · Living History
Living History means the recreation of historic events, or a past way of life, through role-play in an historic setting involving the use of historic costumes and props. It was developed in the United States in the early twentieth century, notably at Colonial Williamsburg, which is itself a re-creation of an American Colonial city. In the UK, an approach comparable to Living History was pioneered by the National Trust Young Theatre, which first operated in the early 1970s and continues to this day. It aims to bring historic houses to life by involving visitors, and particularly children, in the performance of imaginary events – dramatic or everyday – from the past. This approach has been widely followed. At Kentwell Hall in Suffolk, a large Elizabethan country house, the owners have for many years combined the restoration of the property with a lively programme of events, involving children in all sorts of activities which such a house might have witnessed in the sixteenth and seventeenth centuries. A number of specialist companies, mostly involving professional actors, offer specially-commissioned Living History events or are contracted to work with school groups and adults.
Nowadays, Living History forms the backbone of the learning experience in many historic country houses, whether National Trust or private, as well as palaces, archaeological sites and battlefields. At its best it offers one of the most accessible and lively introductions to old buildings and historic landscapes.
Living History takes various forms. The participants may be actors (with learners as spectators) or the event may involve all those participating, particularly schoolchildren. The form of presentation is either through ‘first person interpretation’ – in which the presenter remains in character throughout their inter-action with the visitor, or ‘third person interpretation’ – in which presenters wear costume but speak to the public directly as contemporary people, without playing a part. Sometimes the approach can shift from one form of presentation to another –possibly because Living History has the potential to be very frightening, or at least alienating. The first person approach inevitably creates barriers between visitor and interpreter, and makes it difficult for the interpreter to answer some questions, but it is the job of the interpreter to overcome such obstacles in as fluid a manner as possible.
At Linley Sambourne House in London (the intact late Victorian home of the Punch cartoonist Linley Sambourne) SPECTRUM base their interpretation of the house and family on the extensive Sambourne family archives. This is supported by research into secondary sources of information on Victorian art and architecture and recorded accounts of London life in the late nineteenth century. When researched and presented in such a professional manner, Living History can make conventional guiding seem a pallid experience.
Our research suggests that some professionals in this field feel that Living History has substantial limitations, especially when it is done in a cheap and easy way. The Heritage Education Trust, which from long experience can take a broad view of the subject, feels that much of the most interesting work in heritage learning is achieved outside the Living History framework. There is a sense that Living History can become formulaic: what are participants really learning about the historical context of the period that they are studying?
There is also a good deal of hostility to Living History among some adults faced with people dressed up in unconvincing versions of historic dress. For them, pseudo-historic costume is comparable to fancy dress and makes their visit to a site artificial and unconvincing.
Best practice
The examples of best practice that we encountered rely on a number of factors:
A high standard of historical accuracy, based on up-to-date knowledge of current research
An ability on the part of the interpreters, both before and during the sessions, to put
the material they are offering into historical context. Without some understanding of social, economic and political context for the lives of people in the past, Living History has very little to convey
High quality of materials and accuracy in the replicas used
Close attention to detail: shoes, spectacles, make-up, all need to be impeccable since poor detail (which is very common) can destroy the persuasiveness of the experience
A supply of fresh innovative ideas, so that performances and visits of whatever type do not become tired
Careful consideration of language – how far should the site attempt realistic interpretation of historic speech patterns? In many cases, deportment and gestures, or the use of the occasional historical expression, may be enough to convey a mood
In the case of schools, the involvement of children in their Living History experience, before and after the actual performance or visit, through well-planned outreach work.
At Hughenden House, the theatrical company working for the National Trust asked each child to bring a Victorian picnic, and specified what would or would not be available in such a situation in the nineteenth century
The ideal company is able to offer good communicators who at the same time are steeped in knowledge of the period they are presenting. There are differing views on the right balance between interpretation skills and academic expertise.
The situation is complicated by the introduction in recent years of increasing numbers of Health and Safety regulations, which have reduced the range of activities that properties can offer. At Kentwell, over the past thirty years, it has become impossible for visiting children, largely for Health and Safety reasons, to participate in brewing, dipping candles or assisting in the forge or the foundry. Such activities as cooking food and baking can be enjoyed but they make heavy demands in terms of adult supervision. It should be possible for the DfES to issue guidelines on this matter.
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