temper their observations about their impact with a recognition that the national system of
repertory theatres operate in market conditions that are characterised by strong employment
networks and duty-bound relationships.
The significant difference between the two positions becomes clearer if we use the
terminology of social capital theorists to clarify the Rep’s position. This allows us to see that
the UK’s national system of repertory theatres is characterised by the type of strong mutually
self-supporting networks, high levels of trust amongst all levels of specialism and seniority,
that many writers claim are hallmarks of the most successful industries in the knowledge
economy (Green et al, 2006). It is the strong tied associated with these webs of relationships
and networks of trust that enables John Pitt’s to claim with such confidence that the mere
knowledge that an apprentice was ‘trained’ at Birmingham Rep will guarantee an apprentices’
employability more than any nationally recognized qualification. In the context of
policymakers’ convictions about the role of educational qualifications in the global economy,
John’s claim may appear to be a deeply old-fashioned and even a regressive notion. Nothing
could be further from the truth. It is a salutary reminder of two important issues. First, that the
‘key skills’ which will support the apprentice’s employability are the mix of knowledge, skill
and judgement developed through their immersion in the Rep’s work flow, rather than NVQ
or Key Skill accreditation. Second, the blueprint has not managed to strike the right balance
between the accreditation of knowledge, skill and judgement for the creative and cultural
sector.
Conclusion
The TA is a genuine, committed and far-sighted attempt on behalf of Birmingham Repertory
Theatre to develop a model of apprenticeship that is appropriate for the type of project culture
found in the modern repertory system and, arguably, elsewhere in the small and micro-
business which characterize much of the UK (Bilton, 2007, page 27) and EU creative and
cultural sector (KEA 2006, p. 91). What is radical about the TA is that the Rep has jettisoned
the legacy of ObET in apprenticeship. Instead of starting with the outcomes (i.e. NVQs, Key
Skills etc), the Rep has started with vocational practice (i.e. vocationality), the purpose and
organisation of work (i.e. work flow) and workplace pedagogy (i.e. guided and extended
participation). This approach reflects the Rep’s passionate concern to develop apprentices to
the highest industrial standard so as to ensure they are sufficiently ‘skilled’ to work in other
theatres or elsewhere in the sector.
The TA presents a number of challenges to the Government’s policy for apprenticeship
becasue in its desire to make apprenticeship part of a vocational ladder within the education
and training (E&T) system, the government has overlooked that:
20