Jida Akil
Profession
BA Performance: Design and Practice Alum
College
Central Saint Martins
Person Type
Alumni
Biography
Jida is a Syrian-Lebanese theatre designer based in London, working with notable companies such as the Young Vic, National Theatre, and Complicité. She moved to London in 2017 to study on the CSM foundation course, she then completed her studies in BA (Hons) Performance: Design and Practice.
Interview
Why did you choose to study BA Performance: Design and Practice (PDP) at Central Saint Martins (CSM)?
I chose to study in an art college environment, as opposed to studying theatre design at a drama conservatoire, because I was seeking a more interdisciplinary approach to training. I felt that the course on offer at CSM broke away from traditional theatre practice and guided us more towards developing as artists within a broader performance context. I think there was more room to experiment in different niches of design and performance thanks to CSM’s wide range of facilities, specialist technician support and innovative approach to design technologies. I also loved the fact that on PDP, we are supported and encouraged to fully realise designs early on and put on live performances/films from 2nd year, so our design portfolio was more than conceptual designs. On the same note, I appreciated the learning by doing aspect of this.
What have you been working on since graduating?
I have been freelancing full time as a set and costume designer in theatre, musical theatre, opera, and dance. Majority of my work is in the UK theatre scene working as lead designer, associate designer, or assistant designer. Notably, I have worked with industry leaders across the UK such as Complicité, Birmingham Rep, the Young Vic, and the National Theatre. I have also designed touring shows both nationally and internationally. I have also had my work exhibited internationally with Prague Quadrennial in 2020, and World Stage Design in 2022 (both of which were designs I completed while a student on PDP).
What was the most interesting project you worked on during your time on the course?
My favorite projects at CSM was called The Collective, a devised theatre module led by Pete Brooks. I loved it so much that I took part in my 2nd year and 3rd year. Each year was different, having set parameters that initiated the devising process. For example, my first show parameter was that it had to be set in an elevator where each time the doors opened and closed it was a new scene. The second time I did it, the parameter was that the design was digital and live composited onto green screened actors. I loved that apart from these parameters, we as a group collaborated entirely on creating the storytelling in every aspect. We wrote, directed, produced, designed, and crewed the shows from start to finish. Additionally, the parameters, although specific in how we realised our ideas, were very exciting for experimenting with design-led storytelling language. The design was treated like one of the performers rather than just a backdrop.
What important piece of advice would you give to students thinking of studying this course?
The course covers performance broadly which I would use to your benefit. Allow yourself to experiment with all the niches you have access to and learn about what you like and don’t like equally. I went onto the course thinking I would never do costume design, and now it’s an integral part of my practice for example. Likewise, I dabbled in video design as a student then realised it was something that didn’t fit my practice after graduating. If it wasn’t for PDP pushing me to experiment with different pathways of design, I don’t think I would have had such a holistic view on theatre design.
What was the highlight of your Central Saint Martins experience?
A particular highlight for me was the facilities and specialist technicians. I was able to tailor my skills-based learning to my practice, which was so helpful. From being taught sewing basics to learning projection mapping on leading softwares, my experience was the perfect balance of discovering who I was as an artist/designer and supporting that with technical experimentation. The 3D workshops were my favorite, both the large carpentry facilities and the laser cutting/3D printing.
What is the most important thing you learnt on the course?
I learned how to communicate my ideas collaboratively not just with other designers, but also choreographers/directors/performers etc. I think because PDP encompassed performance practices of all kinds, we were regularly collaborating with ‘creative teams’ like in the real theatre world. I valued every chance we got to come together in groups to create a show; when I went into the industry I felt confident because PDP did a great job at replicating real working environments within our modules.
Links
Explore Jida's website to view her work
Follow Jida on Instagram