technology please don't fail me now...
Well. My first blog, first blog ever actually, got lost, somewhere in cyberland, somewhere around monday evening, unbenown to me, untill this thursday evening. I don't know that I can remember what I wrote last time, but heck, here we are now.
Here we are now.
Last sunday, we all gathered in that gorgeous, sweaty rehearsal room at the top of Factory to try and round up the incredible breadth of experiences we'd had in the two previous weeks. And I don't know about anyone else, but as we were rapid writing our reflections I became AMAZED at how much information my brain had actually collected. I realized how generous all the artists and mentors who'd come and spoken to us had been. Here-now-sitting at a cafe in the grey dim, before most of the city is even awake, or sobered up, two phrases in my little book of scribbles from last Sunday's reflections stand out-
You own your work.
Everybody is just trying.
These might seem obvious, but I have to say, they ring so true, and feel like such a good constant reminder.
Slip was an eye opener for me; it filled so many gaps of information, gaps I didn't even know I had coming right out of theatre school. Practical, reassuring, applicable information about how to craft a career as an artist in the theatre. Slip also opened up a whole Mary Poppins bag of questions, and so far, since Sunday, they haven't stopped coming.
Once, four years ago in the One Yellow Rabbit's Summer Theatre Intensive, Denise Clarke had us sit with a partener on the ground, someone we had met only a day or so before, and talk, eye to eye, about our greatest fear. Corny maybe, effective, DEFINETLY. She said, and I have to agree with her, that once you give voice to that fear, let it out of the bag, you kind of take away it's power...and so-
I'm just gonna put this right out there and say- I am sometimes so scared of what I've choosen to do with my life. This art thing. But. But. Having just done a play about cliff diving at Summerworks, I am reminded of something one of the characters says about halfway through the play...
"To dive is to dream...And this is how I overcame my existential crisis..."
Just this past week, I was lucky enough to see Repercussion Theatre's Production of Romeo and Juliet in Montreal, and on the trip back to Toronto one of Juliet's lines keep ringing in my head-
"My bounty is as boundless as the sea,
My love as deep; the more I give to thee,
The more I have, for both are infinite."
I am inspired, by the people who organized slip, by my other slip participants, by the dozens of spectacular artists and professionals who came into that room and shared their skills and their spirits and their lives with us. And now, fresh out and wide eyed again into the world with more knowledge, and more questions... I think that maybe we can all let our fear, our goals, our ambitions and desires inspire us too.
Saturday, August 21, 2010
Friday, August 13, 2010
Day 12... Mentors & Milestones
There are those days that seem to aim to confuse. Days in which the greatest joys and the greatest disappointments exist in tandem to create a state within oneself that is best described as an emotional sine wave. I remember learning years ago in an Electronics class - "If the positive amplitude of a sine wave is added to the negative and they are of equal value, they cancel each other out to create a flat line."
Today is my perfect sine wave. Or my flat line. Depends on how you look at it.
It is "my day". In Slippish (Slippese?) that means that my mentors -- playwright Marcia Johnson and director Sue Miner -- are coming to share their knowledge and experience with the Slippers. We saw their show, the charming Say Ginger Ale, yesterday evening and I'm particularly excited to have both the writing and the directorial viewpoint presented side-by-side. I begin my introduction of them by reaching back into the past, to a day years ago in an Advanced Scene Study class. It is the end of class. My teacher pulls me aside and says "Tanisha, you need to meet my friend Marcia Johnson." Uh - okay. But I never do meet Marcia Johnson. Not for years. Not until SLIP, when my Inbox informs me one evening that she will be one of my mentors. I imagine the Universe smiling a wry smile and saying "I have a very good memory."
Sue and Marcia's time with us is illuminating. I speak of the uncanny perfection of Sue's surname -- directing is mining a script for gold. It is digging deep and wading through the muck, searching for those nuggets that can sparkle brightest on a stage. Sue and Marcia speak of working from the heart and gut, not needing certainty from the outset but uncovering it slowly and steadily along the way. Marcia says that when she writes, she lets her characters lead and simply trusts and follows them. I catch myself exhaling in relief. She and Sue are such a lovely complement to each other. Our conversation includes everything from the pros and cons of being a female director, to directing a story about a culture far removed from your own, to meeting Alice Munro by chance at an event and leaving with permission to write a play based on one of her stories(!) There is a humility and a sincerity to these two women that is palpable and I feel blessed to have been given the opportunity for our paths to merge.
My won't-ever-forget-it Marcia quote:
My won't-ever-forget-it Sue quote:
The three of us go out to eat and chat... about theatre, time, wonder, womanhood, and how awesome this grilled cheese is. I am blissing out on cheddar when I realize - crap! - my lunch hour is over in 5 minutes.
WILL I BE BROKE FOREVER?
Our afternoon is spent staring into the dark abyss of our bank accounts. Okay Tanisha, let's remember the positivity mantra and rephrase. Our afternoon topic is Financial Planning. Our first guests are Wendell Holanda, Kevin Hum and Annette from RBC. We talk about the importance of budgeting, of realism with regards to one's financial health, and discuss how that health lies not in how much you make, but in how much you spend and save. They also emphasize the importance of building relationships with your financial institution. Some of our questions are clearly not easy to answer although our guests do their very best. We all collectively realize that artists are kinda-sorta-almost-aliens to a lot of people. We use words like "don't know how much we will make" and this causes others' faces to crinkle in confusion. I find myself wondering for the zillionth time why being an artist must be so difficult and terrifying, and ponder in the next breath whether our art could possibly survive ease and certainty. Likely not.
Tova Epp from Artbooks (a bookkeeping and accounting firm exclusively for the arts) is our next guest and gives us a lesson in how to prepare a practical budget and the numerous expenses that artists can claim on their taxes. Tova is also an artist, and there is tremendous comfort in that. She provides us with a template for an artist's budget which is wonderful starting point for us. Tova knows our struggles all too well; she has worn our shoes. I've gotta say that it is incredible -- the difference between sympathy and empathy. Everyone agrees that the time flies too quickly and that Financial Planning could easily be a full day of SLIP unto itself. Maybe in the future it will be.
TT-TRIVIA
I have poutine for the first time today. I'm guessing that this decision has been subconsciously influenced by the awesome cheesiness of my lunchtime sandwich. I like the poutine but I don't really care for the cheese. So wait, I guess that means I don't really like poutine. I guess that means I like french fries. I already knew that. Let's move on.
THE BIG 30!
There are two shows on the SLIP viewing schedule today. As is the case everyday, I fit in more wherever I can and end up seeing four. Perhaps it's a tad masochistic to be pushing oneself so hard, but my feeling is that as long as there's still life and breath in me on any given day for these two weeks, I will be at a show if there's one I can be at. I feel that we are at a buffet table and I want to try everything. I don't yet feel full. It's as if the more I eat, the more my stomach is expanding. On today's plate are Bliss, Big Face, The Kreutzer Sonata and The Innocents. They taste very different. My feelings about them are varied and I head to Second Cup for iced tea to wash them down. The performance of Kreutzer that I attend marks a mini-milestone for me -- my THIRTIETH show! Somehow, I manage to find enough energy in reserve to hit a midnight(!) showing of The Innocents.
I leave the Factory just before 1 a.m. and head home. I'm not tired, and have no idea if that fact excites or disturbs me. On the bus ride I ponder the day and take a pen out of my purse. There is no intention in that action, other than simply to have a pen in my hand. I need a pen in my hand. Shortly thereafter, the page is covered in sine waves bisected by flat lines. I sigh, and I realize that it's my stop. I'm home. Literally and figuratively.
- TT
Today is my perfect sine wave. Or my flat line. Depends on how you look at it.
It is "my day". In Slippish (Slippese?) that means that my mentors -- playwright Marcia Johnson and director Sue Miner -- are coming to share their knowledge and experience with the Slippers. We saw their show, the charming Say Ginger Ale, yesterday evening and I'm particularly excited to have both the writing and the directorial viewpoint presented side-by-side. I begin my introduction of them by reaching back into the past, to a day years ago in an Advanced Scene Study class. It is the end of class. My teacher pulls me aside and says "Tanisha, you need to meet my friend Marcia Johnson." Uh - okay. But I never do meet Marcia Johnson. Not for years. Not until SLIP, when my Inbox informs me one evening that she will be one of my mentors. I imagine the Universe smiling a wry smile and saying "I have a very good memory."
Sue and Marcia's time with us is illuminating. I speak of the uncanny perfection of Sue's surname -- directing is mining a script for gold. It is digging deep and wading through the muck, searching for those nuggets that can sparkle brightest on a stage. Sue and Marcia speak of working from the heart and gut, not needing certainty from the outset but uncovering it slowly and steadily along the way. Marcia says that when she writes, she lets her characters lead and simply trusts and follows them. I catch myself exhaling in relief. She and Sue are such a lovely complement to each other. Our conversation includes everything from the pros and cons of being a female director, to directing a story about a culture far removed from your own, to meeting Alice Munro by chance at an event and leaving with permission to write a play based on one of her stories(!) There is a humility and a sincerity to these two women that is palpable and I feel blessed to have been given the opportunity for our paths to merge.
My won't-ever-forget-it Marcia quote:
"I'm okay if someone doesn't like my work. If someone said they didn't get my work, then I would think I have failed."
My won't-ever-forget-it Sue quote:
"People tend to try to say that my work is 'simple'. I would like to think that that is true. I should hope so."
The three of us go out to eat and chat... about theatre, time, wonder, womanhood, and how awesome this grilled cheese is. I am blissing out on cheddar when I realize - crap! - my lunch hour is over in 5 minutes.
WILL I BE BROKE FOREVER?
Our afternoon is spent staring into the dark abyss of our bank accounts. Okay Tanisha, let's remember the positivity mantra and rephrase. Our afternoon topic is Financial Planning. Our first guests are Wendell Holanda, Kevin Hum and Annette from RBC. We talk about the importance of budgeting, of realism with regards to one's financial health, and discuss how that health lies not in how much you make, but in how much you spend and save. They also emphasize the importance of building relationships with your financial institution. Some of our questions are clearly not easy to answer although our guests do their very best. We all collectively realize that artists are kinda-sorta-almost-aliens to a lot of people. We use words like "don't know how much we will make" and this causes others' faces to crinkle in confusion. I find myself wondering for the zillionth time why being an artist must be so difficult and terrifying, and ponder in the next breath whether our art could possibly survive ease and certainty. Likely not.
Tova Epp from Artbooks (a bookkeeping and accounting firm exclusively for the arts) is our next guest and gives us a lesson in how to prepare a practical budget and the numerous expenses that artists can claim on their taxes. Tova is also an artist, and there is tremendous comfort in that. She provides us with a template for an artist's budget which is wonderful starting point for us. Tova knows our struggles all too well; she has worn our shoes. I've gotta say that it is incredible -- the difference between sympathy and empathy. Everyone agrees that the time flies too quickly and that Financial Planning could easily be a full day of SLIP unto itself. Maybe in the future it will be.
TT-TRIVIA
I have poutine for the first time today. I'm guessing that this decision has been subconsciously influenced by the awesome cheesiness of my lunchtime sandwich. I like the poutine but I don't really care for the cheese. So wait, I guess that means I don't really like poutine. I guess that means I like french fries. I already knew that. Let's move on.
THE BIG 30!
There are two shows on the SLIP viewing schedule today. As is the case everyday, I fit in more wherever I can and end up seeing four. Perhaps it's a tad masochistic to be pushing oneself so hard, but my feeling is that as long as there's still life and breath in me on any given day for these two weeks, I will be at a show if there's one I can be at. I feel that we are at a buffet table and I want to try everything. I don't yet feel full. It's as if the more I eat, the more my stomach is expanding. On today's plate are Bliss, Big Face, The Kreutzer Sonata and The Innocents. They taste very different. My feelings about them are varied and I head to Second Cup for iced tea to wash them down. The performance of Kreutzer that I attend marks a mini-milestone for me -- my THIRTIETH show! Somehow, I manage to find enough energy in reserve to hit a midnight(!) showing of The Innocents.
I leave the Factory just before 1 a.m. and head home. I'm not tired, and have no idea if that fact excites or disturbs me. On the bus ride I ponder the day and take a pen out of my purse. There is no intention in that action, other than simply to have a pen in my hand. I need a pen in my hand. Shortly thereafter, the page is covered in sine waves bisected by flat lines. I sigh, and I realize that it's my stop. I'm home. Literally and figuratively.
- TT
Thursday, August 12, 2010
Day 10: artists, shows and coffee (don't forget the coffee)
10 AM: our chairs are already formed in a circle from yesterday's discussion as we slowly accumulate, desperately clutching our coffee as we begin day ten of SLIP. Coffee is of utmost importance.
We promptly begin our day off with a group discussion about the three plays we saw yesterday:
Even Darkness is Made of Light
Miss Caledonia (SLIP connection: co-directed by Aaron Willis, our co-facilitator of SLIP)
Post Eden (SLIP connection: written and directed by Jordan Tannahill--Evan's mentor)
The discussion becomes heated as we discuss the aesthetics of Post Eden: a "live film" which synthesizes film and theatre.
11:15 AM: new topic for discussion: what were our expectations for SummerWorks and in what ways have the works met, exceeded or fallen short of these expectations? hmmm...
12:05 PM: LUNCH!
1:05 PM: We reconvene in the Factory Theatre courtyard for our afternoon session as our room has become quite stuffy! Joining us are Ron Peterson the Co-Artistic Director of National Theatre of the World (Performance Bar), Graham Cuthbertson and Sarah Yaffe of SideMart Theatrical Grocery (Haunted Hillbilly), Britt Small the Co-Artistic Director of Atomic Vaudeville (Riding the Cyclone) and Jordan Tannahill the Artistic Director of Suburban Beast and writer/director of Post Eden. The topic: Professional Development.
How did you form your company and develop a mandate? Over the years, how has your company grown and how are new artists brought into the company?
The artists are separated and we are split up into four groups, rotating between each company and representing artist(s) for about 10-15 mins. Rotate. Rotate. Rotate.
2:50 PM: our session ends. Break.
3 PM: back in our circle of chairs in the rehearsal hall. Joining us: Melody A. Johnson, writer and performer of Miss Caledonia.
Launching questions: as the writer and performer of a one-person show, how do you feel about handing your work over to a director and what are you seeking from a director in this situation?
What was your experience working with multiple directors on this show? What were some advantages and/or disadvantages?
3:45 PM: Thank-you Melody! Break.
3:50 PM: after ten-long days of excitement and learning, our bodies are starting to get tired! The cure? Movement work. Physical exercises. Sun salutation and dance exercises.
4:30 PM: break. (more coffee please)
5:30 PM: Redheaded Stepchild: written and performed by Johnnie Walker, directed by Morgan Norwich
6:30 PM: Dinner?
8 PM: Say Ginger Ale: written by Marcia Johnson, directed by Sue Miner
10 PM: (optional) The Innocents: written and directed by Daniel Karasik
11 PM: Another exciting, 13-hour day comes to an end!
11:45 PM: BLOG.
Shows seen so far: 20+
Shows still to see: 8+
Mentor of the day: Jordan Tannahill
A brief introduction:
Jordan Tannahill is the artistic director and founder of Suburban Beast performance company. The company is dedicated to the creation of multi-disciplinary performance works that use non-fictive source material as their creative departure point. Jordan’s work is particularly interested in the intersection of documentary and imagination.
Launching questions:
You describe PostEden as a "live film," making use of a new art form that truly synthesizes film and theatre to the point where they are inseparable. What aspects of each art form were you trying to draw on in your creation of this new aesthetic?
"The 'live-film' form attempts to merge the intimacy of film with the communal 'liveness' (i.e. sense of danger, spontaneity, etc.) of performance."
When do you feel it’s important to use verbatim text? And when is it important to take artistic freedoms and create fantasy?
"In Post Eden, a script of about forty pages, there is only about two pages of verbatim text sprinkled throughout. Every project I embark on I attempt to approach documentary material in an innovative way that best articulates the narrative I am trying to tell. For Post Eden I envisioned the piece as a 'docu-fantasia': that is the weaving of fantasy into the everyday mundane. So I knew I would be taking creative liberties with the stories I gathered from the very beginning and was very upfront about this fact with my interview subjects. It is important to take artistic freedoms when it is in the best interest of the story and does not come at the expense of the real people involved."
12:55 AM: sign off.
I am super excited for the few remaining days of SLIP and getting in as many shows as possible!
~Evan Vipond.
We promptly begin our day off with a group discussion about the three plays we saw yesterday:
Even Darkness is Made of Light
Miss Caledonia (SLIP connection: co-directed by Aaron Willis, our co-facilitator of SLIP)
Post Eden (SLIP connection: written and directed by Jordan Tannahill--Evan's mentor)
The discussion becomes heated as we discuss the aesthetics of Post Eden: a "live film" which synthesizes film and theatre.
11:15 AM: new topic for discussion: what were our expectations for SummerWorks and in what ways have the works met, exceeded or fallen short of these expectations? hmmm...
12:05 PM: LUNCH!
1:05 PM: We reconvene in the Factory Theatre courtyard for our afternoon session as our room has become quite stuffy! Joining us are Ron Peterson the Co-Artistic Director of National Theatre of the World (Performance Bar), Graham Cuthbertson and Sarah Yaffe of SideMart Theatrical Grocery (Haunted Hillbilly), Britt Small the Co-Artistic Director of Atomic Vaudeville (Riding the Cyclone) and Jordan Tannahill the Artistic Director of Suburban Beast and writer/director of Post Eden. The topic: Professional Development.
How did you form your company and develop a mandate? Over the years, how has your company grown and how are new artists brought into the company?
The artists are separated and we are split up into four groups, rotating between each company and representing artist(s) for about 10-15 mins. Rotate. Rotate. Rotate.
2:50 PM: our session ends. Break.
3 PM: back in our circle of chairs in the rehearsal hall. Joining us: Melody A. Johnson, writer and performer of Miss Caledonia.
Launching questions: as the writer and performer of a one-person show, how do you feel about handing your work over to a director and what are you seeking from a director in this situation?
What was your experience working with multiple directors on this show? What were some advantages and/or disadvantages?
3:45 PM: Thank-you Melody! Break.
3:50 PM: after ten-long days of excitement and learning, our bodies are starting to get tired! The cure? Movement work. Physical exercises. Sun salutation and dance exercises.
4:30 PM: break. (more coffee please)
5:30 PM: Redheaded Stepchild: written and performed by Johnnie Walker, directed by Morgan Norwich
6:30 PM: Dinner?
8 PM: Say Ginger Ale: written by Marcia Johnson, directed by Sue Miner
10 PM: (optional) The Innocents: written and directed by Daniel Karasik
11 PM: Another exciting, 13-hour day comes to an end!
11:45 PM: BLOG.
Shows seen so far: 20+
Shows still to see: 8+
Mentor of the day: Jordan Tannahill
A brief introduction:
Jordan Tannahill is the artistic director and founder of Suburban Beast performance company. The company is dedicated to the creation of multi-disciplinary performance works that use non-fictive source material as their creative departure point. Jordan’s work is particularly interested in the intersection of documentary and imagination.
Launching questions:
You describe PostEden as a "live film," making use of a new art form that truly synthesizes film and theatre to the point where they are inseparable. What aspects of each art form were you trying to draw on in your creation of this new aesthetic?
"The 'live-film' form attempts to merge the intimacy of film with the communal 'liveness' (i.e. sense of danger, spontaneity, etc.) of performance."
When do you feel it’s important to use verbatim text? And when is it important to take artistic freedoms and create fantasy?
"In Post Eden, a script of about forty pages, there is only about two pages of verbatim text sprinkled throughout. Every project I embark on I attempt to approach documentary material in an innovative way that best articulates the narrative I am trying to tell. For Post Eden I envisioned the piece as a 'docu-fantasia': that is the weaving of fantasy into the everyday mundane. So I knew I would be taking creative liberties with the stories I gathered from the very beginning and was very upfront about this fact with my interview subjects. It is important to take artistic freedoms when it is in the best interest of the story and does not come at the expense of the real people involved."
12:55 AM: sign off.
I am super excited for the few remaining days of SLIP and getting in as many shows as possible!
~Evan Vipond.
Wednesday, August 11, 2010
So. What happened today?
Every day at S.L.I.P feels like 2 or 3 ... maybe even 4 days sometimes. It's a little nuts.
Anyway. Rewind.
10am. Group Discussion. We've been missing these lately due to new scheduling, so it was great to get to talk and debrief first thing in the morning again. We talked about shows we'd seen and everyone was absolutely smitten with Adam Lazarus and Wonderland. Yup. That's my mentor. When he arrived everyone just burst into a round of applause. Adam talked to us about his process, about his training and how he became an apprentice of Philippe Gaulier's. We talked about where some of the content of the play came from, how he works/plays with the audience, how he works/plays with the director, what the politics of the play were, if it's okay for his family to come see it and lots of other stuff. Suffice it to say he was fascinating and wonderful to talk to.
Yay!
Next.
After lunch: The role of the reviewer.
We talked to Jon Kaplan, Lynn Slotkin, and Paul Gallant.
I thought the session went well, though I found out afterward that many people felt a little nervous and uncomfortable. I guess it really is hard to shake the feeling that we gotta make the right impression in front of reviewers and that they hold a certain power over us. Or just, how do we deal with the awkwardness of being around someone who has written or spoken about us in an evaluative way to this weird amorphous blob we call the "public" which somehow includes us, but doesn't include us at the same time? I don't think our brains are wired for that type of bizarre social situation.
But back to the session: I found it really interesting how all three of the reviewers have such different approaches and philosophies around why and how they write for theatre and after getting to know them a little bit, it made me see them and their function in a new light. E.g. Try thinking about it like this: Reviewers are in a lot of ways ideal audience members. Can you imagine if most people were as passionate about theatre and saw as much theatre as theatre reviewers? And with the intention of actively engaging with all of the shows that they see? In addition, their mere existence means they advocate for the importance of theatre as an art form. This point became especially clear to me when Meredith brought up how hard it is for a dance reviewer to get published anywhere and how dance gets little to no attention in the press. It's practically invisible. And it's getting worse. As a group, we tried to think of solutions, but this is a big issue and hearing about it from Meredith was a big eye opener for the rest of us who know little about the dance world (which isn't any consolation, I'm sure). Art wants to be seen, and the press, love it or hate it, is a huge part of making that happen. When Meredith's journalist friend keeps getting turned down for dance reviewing gigs because “there's no audience for it,” that ensures that there won't be anyone who will read her review who might be a potential new audience for dance. That, and good press supports grant applications, applications to festivals, promotion and marketing ... So, as you can imagine, the situation totally stinks.
On a totally unrelated note: Lynn Slotkin told Julie about the plum tree at Factory and Chala brought us all back a hat full of freshly picked delicious plums. Total yummers.
Next.
Shows!
First up:
Even Darkness is Made of Light—wins the award for first SummerWorks show to make me sob uncontrollably.
Second:
Miss Caledonia—very charming show, directed (in part) by our own Aaron Willis. I'm always a sucker for live music on stage. Also baton twirling.
Third:
Post Eden—Loved the imagery in this show, the understatement, and the soundscape.
All three: so incredibly different and wonderful. And this goes for the whole festival. I am amazed at the diversity and quality of programming at SummerWorks. People keep asking me to pick my faves and I can't narrow it down. It's impossible.
Okay it's late. Goodnight!
-Rebecca
Every day at S.L.I.P feels like 2 or 3 ... maybe even 4 days sometimes. It's a little nuts.
Anyway. Rewind.
10am. Group Discussion. We've been missing these lately due to new scheduling, so it was great to get to talk and debrief first thing in the morning again. We talked about shows we'd seen and everyone was absolutely smitten with Adam Lazarus and Wonderland. Yup. That's my mentor. When he arrived everyone just burst into a round of applause. Adam talked to us about his process, about his training and how he became an apprentice of Philippe Gaulier's. We talked about where some of the content of the play came from, how he works/plays with the audience, how he works/plays with the director, what the politics of the play were, if it's okay for his family to come see it and lots of other stuff. Suffice it to say he was fascinating and wonderful to talk to.
Yay!
Next.
After lunch: The role of the reviewer.
We talked to Jon Kaplan, Lynn Slotkin, and Paul Gallant.
I thought the session went well, though I found out afterward that many people felt a little nervous and uncomfortable. I guess it really is hard to shake the feeling that we gotta make the right impression in front of reviewers and that they hold a certain power over us. Or just, how do we deal with the awkwardness of being around someone who has written or spoken about us in an evaluative way to this weird amorphous blob we call the "public" which somehow includes us, but doesn't include us at the same time? I don't think our brains are wired for that type of bizarre social situation.
But back to the session: I found it really interesting how all three of the reviewers have such different approaches and philosophies around why and how they write for theatre and after getting to know them a little bit, it made me see them and their function in a new light. E.g. Try thinking about it like this: Reviewers are in a lot of ways ideal audience members. Can you imagine if most people were as passionate about theatre and saw as much theatre as theatre reviewers? And with the intention of actively engaging with all of the shows that they see? In addition, their mere existence means they advocate for the importance of theatre as an art form. This point became especially clear to me when Meredith brought up how hard it is for a dance reviewer to get published anywhere and how dance gets little to no attention in the press. It's practically invisible. And it's getting worse. As a group, we tried to think of solutions, but this is a big issue and hearing about it from Meredith was a big eye opener for the rest of us who know little about the dance world (which isn't any consolation, I'm sure). Art wants to be seen, and the press, love it or hate it, is a huge part of making that happen. When Meredith's journalist friend keeps getting turned down for dance reviewing gigs because “there's no audience for it,” that ensures that there won't be anyone who will read her review who might be a potential new audience for dance. That, and good press supports grant applications, applications to festivals, promotion and marketing ... So, as you can imagine, the situation totally stinks.
On a totally unrelated note: Lynn Slotkin told Julie about the plum tree at Factory and Chala brought us all back a hat full of freshly picked delicious plums. Total yummers.
Next.
Shows!
First up:
Even Darkness is Made of Light—wins the award for first SummerWorks show to make me sob uncontrollably.
Second:
Miss Caledonia—very charming show, directed (in part) by our own Aaron Willis. I'm always a sucker for live music on stage. Also baton twirling.
Third:
Post Eden—Loved the imagery in this show, the understatement, and the soundscape.
All three: so incredibly different and wonderful. And this goes for the whole festival. I am amazed at the diversity and quality of programming at SummerWorks. People keep asking me to pick my faves and I can't narrow it down. It's impossible.
Okay it's late. Goodnight!
-Rebecca
Tuesday, August 10, 2010
SIGRID in WONDERLAND
Today was a great day, an exhausting, but GREAT day. I love to learn! My brain is so full of ideas. I only had a few hours of sleep as I was up preparing for my big day of introductions. All went well though. Very happy with today!
Jackie Maxwell came in the morning and she was so cool. I did not have to introduce her as Meg did the honours. She was so down to earth and really relaxed. The Shaw Festival would be an awesome place to work. It was so interesting to hear about The Shaw Festival’s budget and how it is made up. The Shaw Festival has a 26 million dollar budget—5% comes from government support and the rest is from the BOX OFFICE and FUNDRAISING. WOW! So fascinating!
LUNCH…
Now it was my turn to introduce the guest artists coming in. Bea Pizano is an amazing artist. She really knows her craft. I was really impressed with how open she was about her process as a director and a writer. Bea has made me look at theatre in different ways. I love how she sees theatre to be full of so many elements. To Bea, theatre is not just about text-text is just one element. She considers the elements of design to be a character-the lights, sounds, the stage. She is interested in the magic of theatre. I really respected how grateful she is for all of her successes. Right now, Bea’s company Aluna Theatre is being run by her and her partner, Trevor. The company is growing at a very fast pace. She is extremely happy with her company staying small though, because this allows her to keep taking RISKS. She is able to continue to experiment with her art. To Bea, there is no right and wrong way of creating theatre because it is through her own vision and through her company. This is so important, she is still so grounded in her art and this is inspiring.
small break…
Ross Manson is the artistic producer of VOLCANO. I have seen a lot of Volcano’s productions and I really respect the work that Ross Manson is creating. He is a breath of fresh air. Naomi Campbell—not the supermodel, but the superwoman who does it all, was also a joy. Both Ross and Naomi have had successful tours both internationally and nationally. I admire any company that is able to TOUR. Touring can be a lot of fun and exciting, but it is hard work and very expensive. I had no idea that there were so many theatre festivals all over the world who were interested in showcasing Canadian theatre. I was surprised to hear that it is easier to tour to Rwanda or any other part of the world than to tour in the USA.
I just wanted to address an issue I have been dealing with. EQUITY! I have been feeling a little overwhelmed with all of the negativity surrounding Equity. It was always a goal of mine to be Equity, but I thought that it would be years before I even had to think about joining. I ended up getting an Equity gig right out of theatre school and because it was a Touring show, I was under the assumption that I had to join. I do admit that I should have asked more questions, but I wanted protection. I wanted to have the same rights and wages as my fellow actors. I will also admit that I am very grateful that I am a member of an association that protects my rights as an actor. I know it may hinder the kind of work I do, but it has also opened the door to other avenues. As with life, there are pros and cons to everything. I will say this though; I would never recommend doing a non-equity tour mainly because there is no one fighting for you. When you are travelling, you need to feel protected as you are away from home and you need someone to look out for you. With some non-equity tours, often companies take advantage of actors such as not paying them per diems and overtime. Equity sets out rules that need to be followed, there is structure and order, you will never be taken advantage of and if you do, they will fight for you. I admire many artists who are fighting for changes to revise the rules of Equity. As we have learned some rules will not allow artists to produce their own work. I may very well need to join this fight, once I start creating and producing my own work.
WONDERLAND…so inspirational. Adam Lazarus is a genius. I have been feeling a little confused with what I want to do with my life. I am glad for programs like SLIP that are allowing emerging artists to dip their feet into different avenues of the business of theatre. Sometimes, I feel that I am not strong enough for this business of acting. Wonderland made me realize how much I love Clown and Buffoon and how much I miss doing it. In theatre school, I had the pleasure of studying under Dean Gilmour and I always felt that I was at my best in his classes. I think Wonderland has re-opened a door that I never considered opening.
SIGGY PIGGY :)
Jackie Maxwell came in the morning and she was so cool. I did not have to introduce her as Meg did the honours. She was so down to earth and really relaxed. The Shaw Festival would be an awesome place to work. It was so interesting to hear about The Shaw Festival’s budget and how it is made up. The Shaw Festival has a 26 million dollar budget—5% comes from government support and the rest is from the BOX OFFICE and FUNDRAISING. WOW! So fascinating!
LUNCH…
Now it was my turn to introduce the guest artists coming in. Bea Pizano is an amazing artist. She really knows her craft. I was really impressed with how open she was about her process as a director and a writer. Bea has made me look at theatre in different ways. I love how she sees theatre to be full of so many elements. To Bea, theatre is not just about text-text is just one element. She considers the elements of design to be a character-the lights, sounds, the stage. She is interested in the magic of theatre. I really respected how grateful she is for all of her successes. Right now, Bea’s company Aluna Theatre is being run by her and her partner, Trevor. The company is growing at a very fast pace. She is extremely happy with her company staying small though, because this allows her to keep taking RISKS. She is able to continue to experiment with her art. To Bea, there is no right and wrong way of creating theatre because it is through her own vision and through her company. This is so important, she is still so grounded in her art and this is inspiring.
small break…
Ross Manson is the artistic producer of VOLCANO. I have seen a lot of Volcano’s productions and I really respect the work that Ross Manson is creating. He is a breath of fresh air. Naomi Campbell—not the supermodel, but the superwoman who does it all, was also a joy. Both Ross and Naomi have had successful tours both internationally and nationally. I admire any company that is able to TOUR. Touring can be a lot of fun and exciting, but it is hard work and very expensive. I had no idea that there were so many theatre festivals all over the world who were interested in showcasing Canadian theatre. I was surprised to hear that it is easier to tour to Rwanda or any other part of the world than to tour in the USA.
I just wanted to address an issue I have been dealing with. EQUITY! I have been feeling a little overwhelmed with all of the negativity surrounding Equity. It was always a goal of mine to be Equity, but I thought that it would be years before I even had to think about joining. I ended up getting an Equity gig right out of theatre school and because it was a Touring show, I was under the assumption that I had to join. I do admit that I should have asked more questions, but I wanted protection. I wanted to have the same rights and wages as my fellow actors. I will also admit that I am very grateful that I am a member of an association that protects my rights as an actor. I know it may hinder the kind of work I do, but it has also opened the door to other avenues. As with life, there are pros and cons to everything. I will say this though; I would never recommend doing a non-equity tour mainly because there is no one fighting for you. When you are travelling, you need to feel protected as you are away from home and you need someone to look out for you. With some non-equity tours, often companies take advantage of actors such as not paying them per diems and overtime. Equity sets out rules that need to be followed, there is structure and order, you will never be taken advantage of and if you do, they will fight for you. I admire many artists who are fighting for changes to revise the rules of Equity. As we have learned some rules will not allow artists to produce their own work. I may very well need to join this fight, once I start creating and producing my own work.
WONDERLAND…so inspirational. Adam Lazarus is a genius. I have been feeling a little confused with what I want to do with my life. I am glad for programs like SLIP that are allowing emerging artists to dip their feet into different avenues of the business of theatre. Sometimes, I feel that I am not strong enough for this business of acting. Wonderland made me realize how much I love Clown and Buffoon and how much I miss doing it. In theatre school, I had the pleasure of studying under Dean Gilmour and I always felt that I was at my best in his classes. I think Wonderland has re-opened a door that I never considered opening.
SIGGY PIGGY :)
Monday, August 9, 2010
I woke up at 5 AM this morning because I was worried about having to introduce so many guests coming in today. I went to my computer at around 5:30 AM, but didn't actually start the research until around 6:30 AM. They were fascinating bios: Ken Cameron, Alan Dilworth, Carrie Sager, Derrick Chua, and Daniela Syrovy.
I've met Ken on a number of occasions, but this time I actually got to hear him talk about himself and his work. He was a good speaker, and I'm just fascinated by all the stories he had to share about touring companies and festivals. Since my participation with Compass Points at Magnetic North Theatre Festival, I knew that I want to be touring with my future company. That is one of my biggest goals. Heck, after hearing Ken speak, it would be evening more fascinating to be involved on a festival that could tour internationally! One step at a time of course. I need to learn the ropes first.
Perhaps one of the most interesting things I learned from Ken today was how to "get out" of Equity if you were a member. In order to not be confined to Equity's silly policies, you would have to be on "temporary withdrawal" for life. For Ken, he withdrew his member as an actor and director, and if he ever wanted to direct again, he would either have to be credited as guest director or dramaturg. While this is indeed a very clever way of "getting out" of Equity permanently, and I praise Ken for figuring out how to do that, I find that the Equity problem is really a huge problem for many theatre artists. What was supposed to be set up as an institution to protect us has only made us feel like criminals, or sacrifice something that may mean a lot to us. While Equity's intentions are supposed to protect us, in reality it just seems quite oppressive instead.
To end on a good note, I really enjoyed the three shows I saw tonight.
R.
I've met Ken on a number of occasions, but this time I actually got to hear him talk about himself and his work. He was a good speaker, and I'm just fascinated by all the stories he had to share about touring companies and festivals. Since my participation with Compass Points at Magnetic North Theatre Festival, I knew that I want to be touring with my future company. That is one of my biggest goals. Heck, after hearing Ken speak, it would be evening more fascinating to be involved on a festival that could tour internationally! One step at a time of course. I need to learn the ropes first.
Perhaps one of the most interesting things I learned from Ken today was how to "get out" of Equity if you were a member. In order to not be confined to Equity's silly policies, you would have to be on "temporary withdrawal" for life. For Ken, he withdrew his member as an actor and director, and if he ever wanted to direct again, he would either have to be credited as guest director or dramaturg. While this is indeed a very clever way of "getting out" of Equity permanently, and I praise Ken for figuring out how to do that, I find that the Equity problem is really a huge problem for many theatre artists. What was supposed to be set up as an institution to protect us has only made us feel like criminals, or sacrifice something that may mean a lot to us. While Equity's intentions are supposed to protect us, in reality it just seems quite oppressive instead.
To end on a good note, I really enjoyed the three shows I saw tonight.
R.
Sunday, August 8, 2010
the day of sun
It started with rain.
The weather, not our group member.
Then like a breath of fresh air, Amiel Gladstone came in and spoke with us.
I'm very grateful that I was paired with Mr. Gladstone as my mentor.
I then spoke with Jordi.
Me: Did you ever consider that the mentee (is that what the hell you call us?) may develop a crush on the mentor? I mean, isn't that dangerous territory Jordi?
Jordi: (evil laugh) That was the plan all along Meg. That was the plan. (evil laugh as she disappears in a cloud of smoke).
I had to ask Mr. Gladstone if my introduction was fair and just. It's hard putting all the accomplishments of someone into 30 seconds. Although I'm sure mine lasted a little longer.
Swoon.
I was mortified to learn that I had pronounced "Belfry" theatre wrong. No Meg, it's not Belfry, as in french fry. I really should get fried foods off my mind. It's Bellfry as in free. Not fry.
TOP THREE THINGS from our discussion this morning with Ami:
1) When making cuts in a show, (speaking from the point of view of the writer, director, or writer/director of a piece) go ahead and make the cuts, then watch the show. If you notice the cuts then perhaps it's information that should have remained. If not, then you're golden.
2) Fear and anxiety is a necessary part of what we do. If you don't feel it to a certain extent then you know something is wrong. The key is to not let it get in the way of the work.
3) YOU CANNOT CONTROL WHAT PEOPLE THINK.
Coke slushi in hand, bag of penny candy by my side, I'm thinking about the three shows I saw today. I had set out this morning hoping to see five. When exhaustion struck I decided to have a three hour nap. So now I'm wired.
Great.
1) Or, - Clever, exceptional acting. Makes me want to jump back into classical acting. Did not understand the square pattern design choice on the door frames.
2) Ixok - I wanted the journey to keep going. Great energy.
3) Big Face - BRILLIANT. I loved how raw and gritty it was.
I saw several brilliant female performers today. They all left me in awe.
Confession:
I have been blown away by all of the talent and inspiration that I have come in contact with this past week. I am not lying when I say this, but it is changing my life. I am a little overwhelmed with how amazing this process has been so far.
That's why last night I went home to rot my brain. For one night only.
I sat on my futon, and watched the latest episode of the Jersey Shore.
I woke up grateful, because I can't tan, and because I knew I'd be spending the day around brilliant gems.
Things I'm looking forward to:
1) JACKIE MAXWELL ON TUESDAY. (yeah I freaked out when we were told she'd be coming in to speak with us on Tuesday.)
2) Trying to catch another run of Alistair Newton's show. My God, I am in love with the aesthetic.
Sweet dreams my darling friends.
I leave you with this:
http://www.youtube.com/watch?v=81NygS5pyYo
Yours truly and without a spell check,
Meg Gennings
The weather, not our group member.
Then like a breath of fresh air, Amiel Gladstone came in and spoke with us.
I'm very grateful that I was paired with Mr. Gladstone as my mentor.
I then spoke with Jordi.
Me: Did you ever consider that the mentee (is that what the hell you call us?) may develop a crush on the mentor? I mean, isn't that dangerous territory Jordi?
Jordi: (evil laugh) That was the plan all along Meg. That was the plan. (evil laugh as she disappears in a cloud of smoke).
I had to ask Mr. Gladstone if my introduction was fair and just. It's hard putting all the accomplishments of someone into 30 seconds. Although I'm sure mine lasted a little longer.
Swoon.
I was mortified to learn that I had pronounced "Belfry" theatre wrong. No Meg, it's not Belfry, as in french fry. I really should get fried foods off my mind. It's Bellfry as in free. Not fry.
TOP THREE THINGS from our discussion this morning with Ami:
1) When making cuts in a show, (speaking from the point of view of the writer, director, or writer/director of a piece) go ahead and make the cuts, then watch the show. If you notice the cuts then perhaps it's information that should have remained. If not, then you're golden.
2) Fear and anxiety is a necessary part of what we do. If you don't feel it to a certain extent then you know something is wrong. The key is to not let it get in the way of the work.
3) YOU CANNOT CONTROL WHAT PEOPLE THINK.
Coke slushi in hand, bag of penny candy by my side, I'm thinking about the three shows I saw today. I had set out this morning hoping to see five. When exhaustion struck I decided to have a three hour nap. So now I'm wired.
Great.
1) Or, - Clever, exceptional acting. Makes me want to jump back into classical acting. Did not understand the square pattern design choice on the door frames.
2) Ixok - I wanted the journey to keep going. Great energy.
3) Big Face - BRILLIANT. I loved how raw and gritty it was.
I saw several brilliant female performers today. They all left me in awe.
Confession:
I have been blown away by all of the talent and inspiration that I have come in contact with this past week. I am not lying when I say this, but it is changing my life. I am a little overwhelmed with how amazing this process has been so far.
That's why last night I went home to rot my brain. For one night only.
I sat on my futon, and watched the latest episode of the Jersey Shore.
I woke up grateful, because I can't tan, and because I knew I'd be spending the day around brilliant gems.
Things I'm looking forward to:
1) JACKIE MAXWELL ON TUESDAY. (yeah I freaked out when we were told she'd be coming in to speak with us on Tuesday.)
2) Trying to catch another run of Alistair Newton's show. My God, I am in love with the aesthetic.
Sweet dreams my darling friends.
I leave you with this:
http://www.youtube.com/watch?v=81NygS5pyYo
Yours truly and without a spell check,
Meg Gennings
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