Laboratory on Feedback in Artistic Processes 3
In its third edition the "Laboratory on Feedback in Artistic Processes" reflects on "Responses" within performing arts. The results of the previous Labs highlighted the need to take a closer look at the complexity and often subtle implications of feedback within the the artistic process itself. How do artist organise feedback and how do they process it? Who they want feedback from and what are its different roles? How can describe these relationships, and how does it shpae the artistic work? This booklet presents the different views on and experiences of feedback practices that were elaborated during the lab along the beforementioned questions and the insightfull contributions of its participants. Underpinning the following pages, three thematic fields have emerged: the impacts of feedback, feedback as a tool, and practicalities and contexts of feedback.
In its third edition the "Laboratory on Feedback in Artistic Processes" reflects on "Responses" within performing arts. The results of the previous Labs highlighted the need to take a closer look at the complexity and often subtle implications of feedback within the the artistic process itself. How do artist organise feedback and how do they process it? Who they want feedback from and what are its different roles? How can describe these relationships, and how does it shpae the artistic work?
This booklet presents the different views on and experiences of feedback practices that were elaborated during the lab along the beforementioned questions and the insightfull contributions of its participants. Underpinning the following pages, three thematic fields have emerged: the impacts of feedback, feedback as a tool, and practicalities and contexts of feedback.
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of an <strong>in</strong>stituti<strong>on</strong>, collaborators and/or audience members. This is<br />
normally unpaid work that as a POC artist I am able to partly turn<br />
<strong>in</strong>to paid work by delegat<strong>in</strong>g to the dramaturge, so that I have<br />
more energy for the artistic work. This <strong>in</strong>cludes hav<strong>in</strong>g energy to<br />
carefully c<strong>on</strong>sider the feedback you are receiv<strong>in</strong>g even at the cost<br />
of receiv<strong>in</strong>g less feedback from the dramaturge. When it comes<br />
to the feedback itself, I trust that like my mentors, they are always<br />
lean<strong>in</strong>g towards with what they choose to say; they keep track of<br />
the bigger picture, whatever I c<strong>on</strong>sider that to be <strong>in</strong> each project,<br />
lest I dive <strong>in</strong> too deeply or stare at it without sunglasses. #f<strong>in</strong>dthesupportyouneed<br />
#work<strong>in</strong>gtoalwaysaffordit #selfcare<br />
I have outl<strong>in</strong>ed the variety of sources of feedback (people), I choose<br />
to engage with. What makes the variety so pleasurable and<br />
ultimately useful for gett<strong>in</strong>g my visi<strong>on</strong> and the artistic work closer<br />
to each other is the fact that each pers<strong>on</strong> comes with a different<br />
m<strong>in</strong>dset. In the moment they engage with what you’ve created,<br />
my pers<strong>on</strong>hood (not mutually exclusive to my ‘artisthood’) steps<br />
forward <strong>in</strong>to a k<strong>in</strong>d of vulnerability. My c<strong>on</strong>fidence to step forward<br />
aga<strong>in</strong> and aga<strong>in</strong> is the trust that I have <strong>in</strong> myself and these<br />
pers<strong>on</strong>s. I sit <strong>in</strong> my dependence of them… their thoughts, their<br />
op<strong>in</strong>i<strong>on</strong>s, their communicati<strong>on</strong> of those op<strong>in</strong>i<strong>on</strong>s... and I wish not<br />
to move. #diversityofop<strong>in</strong>i<strong>on</strong> #iappreciate #trustyourself
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