October 26th at Toynbee Studios
Hosted by Kate McGrath and Louise Blackwell, Fuel
Facilitated by Nick Sweeting
Below are a list of issues that were raised during the evening.
If a report was written up for the issue, click on the listing to read the report.
Can a tour be run in an open space?
Cutting a deal- different ways- discuss
How can we be more environmentally responsible in our touring?
What are the best, most effective ways of communicating with bookers/venues?
Is there a better way to fund touring? What should we be telling ACE?
How can we market better for tours?
Its too expensive
How do we break the tyranny of the end-on space?
How best to start new relationships with venues?
Relationships- why slightly disappointing?
The FIRST tour
How can touring companies work better together?
To what extent are tours effective in developing new audiences?
How should we co-ordinate a press campaign?
Doing it alone
Quality, not quantity?
What do we do about Opera and Music Theatre?
Wednesday 9 November 2011
Can a tour be run in an open structure?
Background to my issue to the event wednesday 26th Oct 2011. City, crowdy busy city, competitive, being on time, reaching to the top floor, Artsadmin, being early or being late. Whenever starts it's the right time. Improbable, Fuel
Hello!?
Waiting time, waiting room, singing a song in my head to clam me down.
How to tour better?
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My question to the group: Can a tour be run in an open structure?
Touring is very boring sometimes, it seems to me it is just showing your show or building your audience. Dry! Things are already complete, works/productions are very well-prepared/made/constructed/set out, too perfect, lack of real and life. Not good enough, audience's demand are high, especially the audience who are in the arts industries. Possibility: How to tour better is to run a tour in an open structure.
What I mean by an open structure, it's where the work is incomplete. Work is continuously changing, yes, durational, and we don't know what to expect, what it is going to happen. Both artists and the audience do not know what the event is going to be. Touring theatre doesn't make sense to me at all, touring theatre doesn't apply to what I want to tour. My question will be better if I put it as: how can you tour a show/work in which nobody know what it's going to become?
If I do a tour or organise a tour, I would like audience not to know what it is going to happen.
Always being an outsider of everything, by chance meeting an outsider (Cathy) from Canada, we had a great conversation about many things that are happening and not happening in the arts, UK and Canada, - dance, theatre, performance arts, performing arts/live art, or the unknown territory, durational arts, "no plan" for a tour, tour with friends/ the local communities - whoever comes are the right people, an open structure.
I am very interested in hearing more about Improbable's tour of open space in 2012.
Li E Chen
Hello!?
Waiting time, waiting room, singing a song in my head to clam me down.
How to tour better?
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12345678941012345678910
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2
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My question to the group: Can a tour be run in an open structure?
Touring is very boring sometimes, it seems to me it is just showing your show or building your audience. Dry! Things are already complete, works/productions are very well-prepared/made/constructed/set out, too perfect, lack of real and life. Not good enough, audience's demand are high, especially the audience who are in the arts industries. Possibility: How to tour better is to run a tour in an open structure.
What I mean by an open structure, it's where the work is incomplete. Work is continuously changing, yes, durational, and we don't know what to expect, what it is going to happen. Both artists and the audience do not know what the event is going to be. Touring theatre doesn't make sense to me at all, touring theatre doesn't apply to what I want to tour. My question will be better if I put it as: how can you tour a show/work in which nobody know what it's going to become?
If I do a tour or organise a tour, I would like audience not to know what it is going to happen.
Always being an outsider of everything, by chance meeting an outsider (Cathy) from Canada, we had a great conversation about many things that are happening and not happening in the arts, UK and Canada, - dance, theatre, performance arts, performing arts/live art, or the unknown territory, durational arts, "no plan" for a tour, tour with friends/ the local communities - whoever comes are the right people, an open structure.
I am very interested in hearing more about Improbable's tour of open space in 2012.
Li E Chen
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