« Just Beginning | Main | Don't Love the Tactic »

May 22, 2009



Mine is in 3 parts: how our artists work together, how we create access to that work for an audience, and then what that work accomplishes aesthetically.

1.) How we work together: Flux is an ensemble of multi-faceted theatre artists who assume responsibility for producing our own work. This model, because it does not rely on specialization and disparate layers of administration, creates a more sustainable, horizontal, direct, flexible and informed process of making theatre. Over a sustained collaborative relationship, it will also lead to better theatre.

2.) Access for our work: we are viewing our audience as share holders in an aesthetic, communal enterprise. This will be done through social media and the opening of our rigorous developmental process through community events like our potluck play reading series, bar staged reading series, and weekly workshop series. We're just at the beginning of figuring out how to involve our audience more directly in that process.

3.)Aesthetically, we seem to be drawn to a mixture of new and classical work that is Elizabethan in nature: character-driven; with a cathartic narrative; epic and bawdy; embracing contradictory tones and styles; heightened verbal and physical language; celebrating Keat's description of Shakespeare's "negative capability"; a restlessly transformational scenography and dramaturgy; a love of dancing and fights and direct address and all the rougher magic of the theatre; a belief in human compassion.

Of course, can all that aesthetic hoo-hah be boiled down into a theory of change? Not sure yet, but it feels uniquely ours.

So that's where I'm starting from; but we are just getting started.

Guy Yedwab

I'm currently working on a more elaborate theory of change, taking into account a report I recently read about how small communities build thriving arts programs. ( http://www.mrac.org/resources/pdf/ThrivingArts.pdf ) The points that I've so far been working on are such:

1) An artists' association with the place he's in.
2) An artists' association with the audience he interacts with
3) An artists' association with the other artists in his community
5) An artists' association with seemingly unrelated arts associations (food appreciation groups, amateur science clubs, church groups, etc.)
6) An artists' association with figures and institutions of power and influence (banks, corporations, political bodies)
7) An artists' association with education and how the future of culture is formed

As of right now, I'm working on exactly HOW those associations spark change, but at the moment, it seems like if you're an artist and you're looking to change those things, those are the associations you need to build.

Association with other artists and with your own audience are very clear to most artists, but I wonder how aware most arts groups are about the importance of the rest.

The comments to this entry are closed.