ABSTRACT
Initially ‘living history’ meant using performers wearing appropriate clothing to simulate life in an earlier time. The term was distinct from other interpretative methods used in museums, galleries and historic sites. Since that time ‘living history’ has been applied so freely in the UK that it is now almost meaningless. Otherwise knowledgeable curators, authors and participants talk about ‘role-play’, ‘first-person interpretation’, ‘theatre in education’, ‘re-enacting’ and ‘living history’ without ever making clear the boundaries between these terms and frequently without being aware of the differences between the methods described. For the purpose of this chapter I propose to define ‘live interpretation’ as being any presentation using people, usually costumed, whether in an historical environment or not, which aims to place artefacts, places or events in context against the background of the human environment of the past. The interpretation must be based on historical facts, have an educational intent and rely upon sound performance/presentational skills. Under this umbrella term we can encompass first-and third-person interpretation, some forms of drama and theatre in education, costumed guiding and craft demonstration. Essentially any project to be defined as live interpretation requires a balance of four elements – historical content, educational intent, presentation skills and interaction with visitors. Pure drama is obviously high on presentational skills, but might not be educational or historical and might have little interaction with the public. Battle re-enactment is frequently strong on some aspects of presentation (drill and weapons handling), but is often historically weak, without education intent and discourages public interaction.
