As part of the APT Peer Conversation Project, Jordan Campbell meets with Andrew Tay (Artistic Director, Toronto Dance Theatre) to discuss and ultimately question the systems/frameworks of production in theatre/dance in Toronto. You can see all of the responses that have been released to date and read more about the ATP Peer Conversations Project here.
Toronto is hardcore
conservative intense hustle
back-to-back-to-back-to-back-to-back
What is a producer?
The person who makes things happen. The person who gets the money and controls the money.
supporting development making opportunities for artists
hiring people programming artists
In Europe, producers act like agents, representing the show.
ARTIST - PRODUCER RELATIONSHIP
who is being programmed at this event? does the producer trust me?
do I have creative freedom?
do I have the information I need?
do I want more support in my process? are they open to what I want to try? why am I here?
speak the language of the people you’re working with
“Think: festival” “You won’t get the performer’s music until a few hours before the show”
“What CAN’T I do in this space?”
“I’ve done this before”
SCHEDULING
the new generation is talking about ways to avoid burnout
4-day work weeks
spread out tech weeks
split tech schedules in a shared space
boundaries around checking emails
paid weeks off after a project
how do we take a break? how do we get away from the work?
when are we working?
Boundaries
when will I check my email? what needs to be done today?
how many shows can we do in a row? how long can we tour?
when do I need a day off?
I DON’T WANT TO WORK ON SUNDAYS
intensive work periods
s l o w d e v e l o p e m e n t s
Low investment - High payoff
What if someone isn’t available to tour?
first right of refusal
royalty fee are we willing
to do this without them?
saying NO
does my work belong here? is it worth it?
what work will this entail?
what if my NO means a NO for others?
shows that other artists can be thrown into shows that create a container which can tour shows with small, tight teams
shows with huge installs and big international teams
bigger budgets, bigger stars, bigger problems When things get more expensive, will the politics of the piece align with the spaces that can afford them?
cool
WHAT MAKES SOMETHING COOL?
it’s outside the status quo
there’s a mythology around it
it’s a special thing, not everyone knows it a group resonates around it
ease
don’t try too hard
going with the flow
is something NEW or DIFFERENT going to happen?
am I going to meet new people? will the space be comfortable, exciting, sexy? will people be taking risks at this event?
maybe live performance isn’t cool anymore
do people want to go outside their scene and try something new? what if the show makes people uncomfortable?
HOW MUCH DO PEOPLE WANT TO KNOW
about what’s going to happen?
AUDIENCE PARTICIPATION
interaction
what are we getting ourselves into? I don’t want to trick the audience how do we maintain surprise? embodied consent
giving options
CONTENT WARNINGS
trigger warnings how are they worded? when do you receive them?
is nudity offense? are the sounds really that loud? what is my responsibility?
do I want to see this?
how long is it?
ARE YOU THIRSTY TO TOUR?
practice talking to people about your work
short exciting specific to the other’s interests invite people to little showings
showcases
events
parties
community
not just selling one show… talking about your whole practise
it’s a long game
The CONTEXT of a show is important does the producer understand?
“MAYBE DO THIS AS A HALLOWEEN EVENT”
can we still hold space for risks as the stakes get higher?
safe choices are easier
if you’re going to take risk, you have to be okay with the results
if you give yourself a challenge, expect it to be hard
how much capacity do you have for this risk? do we have the right resources?
who does? is someone going to get hurt?
why are we doing this?
What makes a successful art piece?
What makes us happy?