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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Install<strong>in</strong>g Audience <strong>Feedback</strong> <strong>in</strong>to an <strong>Artistic</strong><br />
Process: Encounters <strong>in</strong> the OPEN STUDIO<br />
Jenny Beyer<br />
38<br />
The relati<strong>on</strong> between the spectator and the dancer is <strong>on</strong>e of my<br />
persistent <strong>in</strong>terests. Shouldn’t theatre ideally be a z<strong>on</strong>e, a plane of<br />
<strong>in</strong>timate encounter where roles are by necessity <strong>in</strong> a c<strong>on</strong>t<strong>in</strong>uous<br />
process of transformati<strong>on</strong>? In an effort to f<strong>in</strong>d new answers to<br />
these old questi<strong>on</strong>s, <strong>in</strong> October 2014, together with dancers/choreographers<br />
N<strong>in</strong>a Wollny, Chris Leuenberger, Matthew Rogers,<br />
composer Jetzmann and dramaturges Anne Kerst<strong>in</strong>g and Igor<br />
Dobricic, I started a studio based practice of <strong>in</strong>itiat<strong>in</strong>g direct communicati<strong>on</strong><br />
with audience members. My expectati<strong>on</strong> was, and<br />
still is, that this series of OPEN STUDIOS would <strong>in</strong>form and effect<br />
the outcome of the work <strong>in</strong> a way that will br<strong>in</strong>g the dance and the<br />
audience a bit closer to <strong>on</strong>e another, if not physically then at least<br />
<strong>in</strong> spirit.<br />
From the start, these public rehearsals were not c<strong>on</strong>ceived as<br />
workshops or show<strong>in</strong>gs but as an <strong>in</strong>vitati<strong>on</strong> to jo<strong>in</strong> a creative<br />
process with all the openness and uncerta<strong>in</strong>ty that this br<strong>in</strong>gs. In<br />
them we practice be<strong>in</strong>g pers<strong>on</strong>al, <strong>in</strong>formal and to not be stressed<br />
by the presence of strangers. We share material that is fragile and<br />
open for change and that we have questi<strong>on</strong>s about. We improvise,<br />
<strong>in</strong>vite our guests to jo<strong>in</strong> physical practices and create moments<br />
of c<strong>on</strong>versati<strong>on</strong>. Most participants <strong>in</strong> the OPEN STUDIOS are not<br />
professi<strong>on</strong>ally c<strong>on</strong>nected to dance. Over the years we have built<br />
up a group of regulars but every time there are still new people<br />
jo<strong>in</strong><strong>in</strong>g. This makes the OPEN STUDIOS a place where we can<br />
receive feedback from genu<strong>in</strong>e outsiders: n<strong>on</strong>-professi<strong>on</strong>al, curious<br />
spectators.
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