Just quickly. I’m on a french commuter, no internet in the flat (beautiful old building walking distance from the CCN) or in the working space so bloging not so immediate.
Yesterday was a tech day recreating the general lighting possibilities used in Le Havre, more detail needed to recreate the tones and states as this space is white. Pictures to follow. The far wall adorned with three doors and large vents etc. I spent a long time listening to music, filtering my thoughts, filling in the gaps in my head where they may be space for additional musical qualities within my exisiting structure. I dont’ remember how to use Qlab (editing music tool) that Jules taught me, I didn’t write it down so will need to relearn.
Today I’m on my own. I will revisit the work in detail aquatinting myself with this new stage area, the feel of theatre space, my positioning in relation to seating banks/audience and most importantly my memory and knowledge of the detail of the work itself. It’s a useful time to be alone. To trace a path through these choices and see what new connections emerge in my thinking and making way for new creative impulses. I’ll probably take my time and not hurry moving from one section to the next but spend time with the rediscoveries.
There isn’t a huge amount of time really, it’s a little over a week and I share again with an audience. With Sacha we shall discuss the future of the work, how to build on existing relationships etc, evolve a plan and a direction. Next week Kate Castle, director of Dance South West who has been so supportive is coming to see the work with Chris Fogg (lovely lovely man who has been very supportive over the years; Cath James who gave le an opportunity to perform at the Opera House with a solo The Brow I made in 2006 with live piano with Jules, a great opportunity at the time and John Struthers from Bath ICIA who I know of but don’t have a relationship with yet. Bruno Joly my main contact here, is extrememy agreable, generous and knowledgable has invited a producer from Falaise, maybe she’ll be interested in presenting the work in the future? Little hopes and dreams are important.
I’ve just had a conversation with Bruno who is at the desk near me going through artist’ proposals for the Acceuil Studio 2012 which is what I’m doing here. Those windows into seeing how decisions are made, the importance of finding audiences for alternative work, how work is marketed and talked about to build relationshpis and loyalty with audiences, the bridges needed, the importance of structure so the work has a future etc. All of it is so critical in being able to survive as an artist. I know these organisations need the work to be seen, they are suporting the creation of new work but there must be a wider structure and partners involved to assure the work is not just made and then never seen. I so often feel like I’m treading a delicate path largely alone and wearing many hats and therefore not inspiring huge confidence at being able to sell the work convincingly. It’s hard then to be confident and to defend the work and to be strident with it. The fragilities are imbedded in the aesthetic of the work and therefore in me. I really hope to further past abilities at getting my work out there so this time Singer has a longer life.
I must go and work.