Convener: Tassos Stevens
Participants: included…
Jennifer Pearcy-Edwards, Ilana Winterstein, Emma Deakin, Leo Wood, Sophie Larsmon, Matthew Lloyd, Aaron Minnigin, Annette Mees, Alex Eisenberg, Pete ?, Alex Fleetwood…
and more I have surely missed
Summary of discussion, conclusions and/or recommendations:
I had this topic tabled in D&D New York by proxy of Alan Cox. The plan always being to table it here in London. I’ll post Alan’s notes too as sent, a fascinating contrast, I think as many of London artists are making participatory work for playing audiences.
We might be talking about performance, collaboration, skills and experiences.
Tassos: Existing project by Coney, a seed called Hutong: www.youhavefoundconey.net/hutong.html. Made in collaboration over Skype with Beijing-based artist Hey Fan, and devising help from Coney’s Society online, a walk and directions that anyone can download to perform themselves, seed at present, rolling out wide soon.
Alex F: Hide & Seek running International Sandpits with LIFT this summer, in Delhi and Beirut (at least). Sandpit is an open space of real-world, (usually) social games. A sandpit in London linked live to one in different location via a video link projection, games played in both, some exploring the link and the divide.
What’s the symbolism of the Sandpit? Fostering an atmosphere for play – basic question of ‘how are we going to play together?’ which opens out bigger questions naturally.
Could you put a grid in front of each screen so you can link the physical playspaces in each continent.
Difference in intimacy and privacy between Skype, especially with video, and a telephone call. What’s interesting is the interaction with the existing relationship between people. What do you see of the space behind the video camera, and what do you put in front of the camera to help define those different spaces?
The space and place around the screen – how do you explore these?
Alex E & Pete: one went on holiday to NYC, other sent through instructions to be carried out there An almost ‘telepathic’ remote connection to the city. Send and trust that they are being done. Very intimate. Example challenge: make a bouquet and give to a pregnant lady; he couldn’t find a pregnant lady for an aeon. Instructions as constructions. Another challenge inspired by Janet Cardiff.
What’s meaningful? It’s how it inflects and transforms the relationship between the people, between the places, interplay between both. “In a way, I’d already travelled there”, I can explore the city without being there, one person being almost like the avatar for the other.
In Come Out & Play, tours of NYC as if it is Baghdad: You Are Not Here http://www.comeoutandplay.org/2006_yanh.php
In Hide & Seek Festival, Momus did tours of London as if it were Tokyo: http://www.hideandseekfest.co.uk/games/londonastokyo
Both had fictional elements, deliberately not accurate representations.
Project using Ustream (?), where wifi spots were difficult. Fucked-up stream, fractured and fragmented, sometimes give the sense of distance, it’s the failure and difficulty in the network that’s important. It’s the imperfections in communication that engender specificity and meaning.
Will Skype become an archetypal theatrical symbol of remote communication as a suitcase became a symbol of travel in visual theatre?
Who’s travelled to a different continent or hemisphere, for business or pleasure, in the last year? Maybe a third of us? We’re living at the end of a generation where live human exchange wasn’t a luxury.
Leo: less interested in technology, rather the learning of inter-cultural meaning, and the arts as a vessel in which to learn. Will this interest be redundant if people can’t travel?
Greg: collaborating on google docs, and people moving the cursor from different places, a meaning that comes from responsivity and also from the sense that we’re alll looking at the same thing – the notion of theatre as an experience of collective witnessing.
Buskers in US via hologram.
We need to acknowledge the difference of remote comms rather than the same.
Alex: Arnold Mindel talks re deep democracy about collective thought, how it transfers between bodies, an energy whirl. Can this transfer via video/voice? Role theory at play here.
What happens with 3D HD video between Delhi and London? We’d have interface chambers, special spaces rigged up to facilitate the video link. How do you bring your journey into the room?
Alex F: Questions of travel and authenticity. How do I have an authentic local experience in a place I don’t know? Going to Rome, joining a network where given a local mobile, blog about Rome by locals, tips to consume the authentic experience. How much of a local does this make you?
Meeting between people and a meeting between places, otherwise always talking about a representation of place.
Annette: I’m from Holland, I’m often generalised as a Dutch theatre-maker rather than looking at me specifically.
Instructions make engagement itself an act of theatre. The screen is a cold interface
We might need to recognise a sacrifice, we can’t consume cultures again directly and easily, but you can only experience Delhi in Delhi, so important still to travel.
Why do I need to travel? Can find communities of diaspora in London.
Perhaps a travel agency that takes you on a holiday without leaving London. Go to Lagos via Ridley Road Market.
What are the sets you can place behind you on Skype, like Eurovision backdrops. The bedroom is the traditional backdrop, can you fictionalise those spaces.
Pete: In Central America, street theatre is the norm. The comparsa, theatre versus parade. What’s the agency of involvement that gives you that visceral experience? And also that you’ve made a journey to get there, the investment in the event that gives.
We should be making analysis of loss and gain, what happens in each modality of engagement, so we can better make value judgements.
Is the desire to create meaningful encounters?
Strangers in the night connections between people online remotely who can’t tell who it is they are interacting with.
Amigal(?) – a blank page online that you collaborate in writing with a stranger
Tassos, daft thought: How might we travel and exchange across continents by breaking it down into smaller legs – I exchange with someone 100 miles away, who exchanges with someone else 100 miles further, etc until we’re in China.
A project where two artists are walking Britain and collecting and sharing songs.
In the World Cup, the diaspora communities in London emerge to compete and celebrate.
In the 1948 Olympics, last time they were in London, ordinary people hosted visiting athletes.
Story reported of Lucy Neal, she is obsessed with cold-water swimming and went by train to Slovenia to participate in International Cold Water Swimming Championships, an extreme physical experience – like sharing a meal, or sharing a house.
Pete: watching home vidoes through a screen, someone else’s life experience.
What are all the roles you take in your city – resident of Stokey, father, artist etc – and can you have the same role in another city or identify with someone else who has? Do you need permission to take the role?
The Gaijin in Japan – you are always a guest as a foreigner, Japan is your host.
Interesting book - Universal experience: Art + The Tourist Eye
Commonalities of environments
Showing posts with label international. Show all posts
Showing posts with label international. Show all posts
Tuesday, 9 February 2010
Friday, 5 February 2010
098 Can we do a session without words with full of passion and alive theatre
Convener: griet spanhove
Participants: Peter Canter – Deepa – Griet – leslie goosen
Summary of discussion, conclusions and/or recommendations:
We came out to an improvisation to make the intangible make tangible
1. make a physical action (the same) with the group PLUS
2. put an atmosphere on it (we choose for solitude) PLUS
3. Give a relationship to each person, who is who? What is the relationship, how do we make it visible without words PLUS
4. put different rhythms , pauses, tempos on it PLUS
5. what is the super objective, the moral that you want that the audience sees
Inspirited work with a lot of fun and and experience to work with people you do not know
Participants: Peter Canter – Deepa – Griet – leslie goosen
Summary of discussion, conclusions and/or recommendations:
We came out to an improvisation to make the intangible make tangible
1. make a physical action (the same) with the group PLUS
2. put an atmosphere on it (we choose for solitude) PLUS
3. Give a relationship to each person, who is who? What is the relationship, how do we make it visible without words PLUS
4. put different rhythms , pauses, tempos on it PLUS
5. what is the super objective, the moral that you want that the audience sees
Inspirited work with a lot of fun and and experience to work with people you do not know
Thursday, 4 February 2010
084 I’m not from here… where do I fit?
Convener: Emma Deakin
Participants:
Jennifer Pearcy-Edwards, Rosalie White, Allen O’Leary, Barry Wilson, Anna O’Brien, Stella Duffy, Andy Harman
Summary of discussion, conclusions and/or recommendations:
Four from New Zealand
Three from the States
One from Devon
NONE from London… originally!
When we’re not from this place (London) how do we fit in, find a home here? When we think we don’t quite fit how do we create here, and feel like we deserve be creating/making here? And who is from London anyway? Does anyone here feel like they fit?
We talked about the fears we have when we open our mouths that we’re instantly judged on where it is we’re from and therefore who we are and what we can contribute creatively. This pigeon holing is entirely based on where we’re from, and what people perceive that to be… Example; a Kiwi only being auditioned for New Zealand (and of course Australian!) roles when she is more than capable of playing another accent. And an American writer receiving a surprised reaction when he wants to base his play in London rather than writing about America.
But, we all thought not being from here (ie London or UK) does gives us a different perspective on creating work here, on the industry here, on the way things work, and don’t work here. London is not our home so we can see it with a kind of ‘outsider’ view…
And what/where is home? Maybe its not geographical, but more about our creative home; ie when we’re in black box theatre, when we’re in the rehearsal room… that can feel more like home than the geographical patch of land we’re from.
Talking about how we work here, why we work here, led to a discussion about ‘just doing the work’. Some of the group felt that there were frustrations arising within themselves when hearing others over the weekend talking about needing the money in order to make the work. Or having to have the Producer, or having the Fundraiser – having these things before ‘just doing the work’. Two of us experienced, independently, that when we voiced those frustrations we received… a strange… look…like we were speaking another language. But surely when a company and/or project is new and young there needs to be a period of seriously hard slog (which includes taking most of, if not all the roles on) in order to make that work happen, to realize it. That hard slog doesn’t stop if we want to continue to create and build our piece of beauty, that thing we feel most passionate about. And over time the company and/or project grows, people come and go, support (in every sense of the word) begins to increase, and so on and so on. The company, the project, the relationships and people develop and the work grows and evolves. And these things take time… Probably never stops, just continues…
London is a hard place, thriving, which is great! But its hard too. Because we’re not from here do we feel we need to work harder to prove ourselves? And with this thing we need to prove, does it make it harder to give ourselves permission to work, to do, to make?
We need to don the dress of entitlement! Wear the waistcoat of entitlement! Feed our imagination with a secret that gives us permission to take space and believe we deserve to be here.
Participants:
Jennifer Pearcy-Edwards, Rosalie White, Allen O’Leary, Barry Wilson, Anna O’Brien, Stella Duffy, Andy Harman
Summary of discussion, conclusions and/or recommendations:
Four from New Zealand
Three from the States
One from Devon
NONE from London… originally!
When we’re not from this place (London) how do we fit in, find a home here? When we think we don’t quite fit how do we create here, and feel like we deserve be creating/making here? And who is from London anyway? Does anyone here feel like they fit?
We talked about the fears we have when we open our mouths that we’re instantly judged on where it is we’re from and therefore who we are and what we can contribute creatively. This pigeon holing is entirely based on where we’re from, and what people perceive that to be… Example; a Kiwi only being auditioned for New Zealand (and of course Australian!) roles when she is more than capable of playing another accent. And an American writer receiving a surprised reaction when he wants to base his play in London rather than writing about America.
But, we all thought not being from here (ie London or UK) does gives us a different perspective on creating work here, on the industry here, on the way things work, and don’t work here. London is not our home so we can see it with a kind of ‘outsider’ view…
And what/where is home? Maybe its not geographical, but more about our creative home; ie when we’re in black box theatre, when we’re in the rehearsal room… that can feel more like home than the geographical patch of land we’re from.
Talking about how we work here, why we work here, led to a discussion about ‘just doing the work’. Some of the group felt that there were frustrations arising within themselves when hearing others over the weekend talking about needing the money in order to make the work. Or having to have the Producer, or having the Fundraiser – having these things before ‘just doing the work’. Two of us experienced, independently, that when we voiced those frustrations we received… a strange… look…like we were speaking another language. But surely when a company and/or project is new and young there needs to be a period of seriously hard slog (which includes taking most of, if not all the roles on) in order to make that work happen, to realize it. That hard slog doesn’t stop if we want to continue to create and build our piece of beauty, that thing we feel most passionate about. And over time the company and/or project grows, people come and go, support (in every sense of the word) begins to increase, and so on and so on. The company, the project, the relationships and people develop and the work grows and evolves. And these things take time… Probably never stops, just continues…
London is a hard place, thriving, which is great! But its hard too. Because we’re not from here do we feel we need to work harder to prove ourselves? And with this thing we need to prove, does it make it harder to give ourselves permission to work, to do, to make?
We need to don the dress of entitlement! Wear the waistcoat of entitlement! Feed our imagination with a secret that gives us permission to take space and believe we deserve to be here.
052 International touring: looking for some good advice
Convener: Gemma Paintin
Participants: Gemma, Matt, Tom and some others
Summary of discussion, conclusions and/or recommendations:
• The venue should pay for all costs
• You could pay the costs then invoice them with receipts
• Money to be found in coproductions with different venues
• Go to the IETM incognito!
• Use BC rates but break the costs down
• Its not a problem to show the same show all over one country- premiere is not so important
• Local BC offices can help with arranging a tour, as can the first venue, cuts their travel costs
• In France: Office Nationale de Diffusion Artistique
• Some keys festivals to visit, to see work and meet promoters: Dublin, Under the Radar, Kunsten, FTA in Montreal, Push in Vancouver, festivals in Graz, Bogota, Rio, Buenas Ares, Avignon, Barcelona, Salamanca, APAM in Australia
• Propose a package of shows to a venue!
• Don’t need to have your own technician if tech is simple
• Its about a personal relationship with promoters, don’t cold call them.
• Invite people to your shows
• Have a nice, clear pitch ready and appropriate marketing materials that reflect your work
• Could just be the manner in which you give the flyer that counts- charming
• There’s eu funding available for tours to more than one country- hard to apply for?
• Use e-marketing, facebook, twitter.
• THERE IS NO SUBSTITUTE FOR A FACE TO FACE MEETING!!!
Participants: Gemma, Matt, Tom and some others
Summary of discussion, conclusions and/or recommendations:
• The venue should pay for all costs
• You could pay the costs then invoice them with receipts
• Money to be found in coproductions with different venues
• Go to the IETM incognito!
• Use BC rates but break the costs down
• Its not a problem to show the same show all over one country- premiere is not so important
• Local BC offices can help with arranging a tour, as can the first venue, cuts their travel costs
• In France: Office Nationale de Diffusion Artistique
• Some keys festivals to visit, to see work and meet promoters: Dublin, Under the Radar, Kunsten, FTA in Montreal, Push in Vancouver, festivals in Graz, Bogota, Rio, Buenas Ares, Avignon, Barcelona, Salamanca, APAM in Australia
• Propose a package of shows to a venue!
• Don’t need to have your own technician if tech is simple
• Its about a personal relationship with promoters, don’t cold call them.
• Invite people to your shows
• Have a nice, clear pitch ready and appropriate marketing materials that reflect your work
• Could just be the manner in which you give the flyer that counts- charming
• There’s eu funding available for tours to more than one country- hard to apply for?
• Use e-marketing, facebook, twitter.
• THERE IS NO SUBSTITUTE FOR A FACE TO FACE MEETING!!!
042 Canada in Theatre, or vice versa?
Convener: Sandra Bo-Sim Yee
Participants: Andy, girl with no name, a.n.other
Summary of discussion, conclusions and/or recommendations:
Canada:
Different flavours of theatre in ‘French’ influenced provinces and the other provinces. More remote cities can mean more receptive audiences…
Vancouver, B.C.:
PUSH festival for more ‘alternative’ theatre work. Had D&D session a couple of years ago. Organiser Norman Almer.
Edmonton & Calgary, Alberta:
Winnipeg:
Montreal, Quebec: “it helps if shows are bi-lingual”
Canadian Association of Fringe Festivals (CAFF) is organization for canadian-wide fringe festivals. Very favourable percentages for performers. Subscribe. Volunteer.
“Lively, fringe scene”
Andy said: “look up Calgary fringe scene. Great puppeteer Ronnie Burkett”
Improv really big there.
Global issues:
Use technology: internet, live links with other continents
Participants: Andy, girl with no name, a.n.other
Summary of discussion, conclusions and/or recommendations:
Canada:
Different flavours of theatre in ‘French’ influenced provinces and the other provinces. More remote cities can mean more receptive audiences…
Vancouver, B.C.:
PUSH festival for more ‘alternative’ theatre work. Had D&D session a couple of years ago. Organiser Norman Almer.
Edmonton & Calgary, Alberta:
Winnipeg:
Montreal, Quebec: “it helps if shows are bi-lingual”
Canadian Association of Fringe Festivals (CAFF) is organization for canadian-wide fringe festivals. Very favourable percentages for performers. Subscribe. Volunteer.
“Lively, fringe scene”
Andy said: “look up Calgary fringe scene. Great puppeteer Ronnie Burkett”
Improv really big there.
Global issues:
Use technology: internet, live links with other continents
032 How can we move beyond novelty in the use of pervasive media technology in theatre?
Convener: Katie Day
Participants: Amongst others… Mark Morren, Jasmine Pajdak, Peter Mumford, Sian Rees, Allen O’Leary, Leslie Goosey, Neil Keating, Aaron Minnigin, Dee Evans,
Summary of discussion, conclusions and/or recommendations:
I convened the session because I’m producing a new scheme called Theatre Sandbox, which will commission 6 new theatre projects that engage with pervasive media. Check www.theatresandbox.co.uk or twitter.com/theatresandbox for updates.
We started with a discussion about what pervasive media actually was.
Here’s a potential definition:
‘As computers and phones get smaller, more powerful, and stay connected to the internet almost all of the time, Pervasive Media sits at the intersection of mobile computers, media technology, networks and sensors.
From gaming to outdoor displays, performance to public transport, pervasive media is delivered into the fabric of everyday life: sensors and networks use context-rich information (like location) to deliver experiences that are designed to fit the needs of people, delivering the right thing in the moment, wherever they are.’
Notes:
A story delivered geographically.
Miss out on energy? If its just you, and no other audience.
Can we use the tech to widen not close?
Silent Disco
Providing a slightly different experience for each person can be exciting. Could watch the same thing – but with a different soundtrack.
How can you extend the experience to the unknowing audience?
People are wary of Bluetooth etc, as its already been hijacked by advertisers.
Foreground the narrative. Choose the right conduit – its only a conduit.
Can be useful for engaging people in advance of the story event.
You have to know WHY you want to use the tech. OR you just want to play with it to see what you could do.
Where is this just television delivered by pervasive media, and when is this theatre?
In terms of informing people about the technological possibilities – how can we do this.
Could we have one-to-ones with the technologists, to push and see where our ideas could go?
We can learn from what other people have made before.
We could have a one-to-one with an artist and a technologist – on stage for everyone to watch – where they push and explore their ideas and what they can do. Or something along these lines.
Participants: Amongst others… Mark Morren, Jasmine Pajdak, Peter Mumford, Sian Rees, Allen O’Leary, Leslie Goosey, Neil Keating, Aaron Minnigin, Dee Evans,
Summary of discussion, conclusions and/or recommendations:
I convened the session because I’m producing a new scheme called Theatre Sandbox, which will commission 6 new theatre projects that engage with pervasive media. Check www.theatresandbox.co.uk or twitter.com/theatresandbox for updates.
We started with a discussion about what pervasive media actually was.
Here’s a potential definition:
‘As computers and phones get smaller, more powerful, and stay connected to the internet almost all of the time, Pervasive Media sits at the intersection of mobile computers, media technology, networks and sensors.
From gaming to outdoor displays, performance to public transport, pervasive media is delivered into the fabric of everyday life: sensors and networks use context-rich information (like location) to deliver experiences that are designed to fit the needs of people, delivering the right thing in the moment, wherever they are.’
Notes:
A story delivered geographically.
Miss out on energy? If its just you, and no other audience.
Can we use the tech to widen not close?
Silent Disco
Providing a slightly different experience for each person can be exciting. Could watch the same thing – but with a different soundtrack.
How can you extend the experience to the unknowing audience?
People are wary of Bluetooth etc, as its already been hijacked by advertisers.
Foreground the narrative. Choose the right conduit – its only a conduit.
Can be useful for engaging people in advance of the story event.
You have to know WHY you want to use the tech. OR you just want to play with it to see what you could do.
Where is this just television delivered by pervasive media, and when is this theatre?
In terms of informing people about the technological possibilities – how can we do this.
Could we have one-to-ones with the technologists, to push and see where our ideas could go?
We can learn from what other people have made before.
We could have a one-to-one with an artist and a technologist – on stage for everyone to watch – where they push and explore their ideas and what they can do. Or something along these lines.
031 How do you go about communicating “Non-Sense” ideas to people who would likely not know what you mean?
Convener: Li E Chen
Participants: Griet Spanhove, Gary Horsman and Paul Whitlock
Summary of discussion, conclusions and/or recommendations:
• Style of expression
• Cultural differences: To find out the difference between European conceptual artists and Asian conceptual artists?
• To speak to artist who are like-minded and similar backgrounds. (Kazuko Hokui, etc)
Suggestions:
• Test ideas through few people
Participants: Griet Spanhove, Gary Horsman and Paul Whitlock
Summary of discussion, conclusions and/or recommendations:
• Style of expression
• Cultural differences: To find out the difference between European conceptual artists and Asian conceptual artists?
• To speak to artist who are like-minded and similar backgrounds. (Kazuko Hokui, etc)
Suggestions:
• Test ideas through few people
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