The dice is cast. This is a saying I have always misquoted. I have never really thought about what it means until today when I tweeted it. I have always heard it as 'dye', but today I realised that this does not make sense. You don't 'cast' dye, but you do cast a dice. So maybe the saying originates as the die 'are' cast. Either way I have been saying it wrong. Now I need to decide if it will be one dice or many die. For now I am going for one. We shall see if that works or if people notice. I realise this is not an earth shattering dilemma, but it bugs me when I discover I have not been paying attention to my linguistics. It makes me feel ignorant. Yes, I know - OCD.
A milestone day today. I finalised my registration for the Melbourne Fringe Festival 2012, payed my monies, and signed my contract. I haven't actually signed the venue agreement yet, but we have chatted on the phone and I am just waiting for th paperwork. Fringe didn't ask for proof of a finalised agreement, but we have a verbal agreement and I am just waiting on some corrected paperwork and then it will all be sorted. So, yes, I have committed myself to 6 months of poverty and endless deadlines, but I have also committed myself to several months of exciting exploration of a great idea, and progress towards the ultimate goal of going into full production.
Casting is making progress as well. I have 4 of my cast of 8 confirmed. As is usual, the male parts are harder to cast than the female roles, but I refuse to be defeated by this. There is still a lot of time, and I am beginning by asking the people I want to work with nd whom I know. Once I have exhausted these options, I shall go for a general casting call.
Now all I need to do is get a job to pay for it all. And/or funding...
Thursday 31 May 2012
Tuesday 29 May 2012
Holding Patterns
Waiting, waiting, waiting. It is so hard to get all the pieces to fall into place at the right time. And yet, if they do, you have struck gold.
I got a call last night from Revolt, which indicated that I would get venue confirmation today for the Fringe Festival. It has not happened. This is possibly a good thing, because I am still a little short of funds for Fringe registration. That money was supposed to go into my account today, but that didn't happen either. Both need to happen concurrently, and within the next 48 hours for my show to make it into Fringe. Of course, I have other personal commitments over the next two days, so now, even if it happens tomorrow morning, it is going to be tricky for me to get into the Fringe offices by close of business Thursday to complete registration. Difficult, but NOT impossible.
On the strength of promises and a determination to make this happen, I have decided to go ahead and make my casting offers. I am batting fifty/fifty on that. One unavailability and one 'I'm in'. A promising start :)
I got a call last night from Revolt, which indicated that I would get venue confirmation today for the Fringe Festival. It has not happened. This is possibly a good thing, because I am still a little short of funds for Fringe registration. That money was supposed to go into my account today, but that didn't happen either. Both need to happen concurrently, and within the next 48 hours for my show to make it into Fringe. Of course, I have other personal commitments over the next two days, so now, even if it happens tomorrow morning, it is going to be tricky for me to get into the Fringe offices by close of business Thursday to complete registration. Difficult, but NOT impossible.
On the strength of promises and a determination to make this happen, I have decided to go ahead and make my casting offers. I am batting fifty/fifty on that. One unavailability and one 'I'm in'. A promising start :)
Sunday 20 May 2012
The Art of Articulation
One door opening/closing...you know the drill. It is funny how suddenly there are some opportunities to apply for opportunities - I love that concept! Anyway, the important point is that at the moment I am in the fascinating position of being required to articulate my visions, goals and intentions as an artist, and it is an edifying process.
Think about it. In 500 words or less explain/describe/articulate what you do, why you do it, and how you will continue to do it. These are not questions faced by most people. They may be implicit, but ask anyone in your family, and the closest you will probably get is that someone - probably at a job interview - asked them to tell them where they saw themselves in 5 years.
For the practicing artist, however, you are required to bare your soul, expound your beliefs, and even expose your curiosities. The more fascinating aspect of that, though, is that you need to have a stated end goal. You can't just be curious. You can't just want to explore. Your most ephemeral processes must be measurable and somehow achievable.
Luckily for me, this is not difficult. I have an essential love of order, and am not afraid of boxes. It is just a question of which box do I want to put myself into? There are so many! I don't believe fitting into a box denies individuality and uniqueness, but that is why the right boxes - or words - are so very important. If this is the standard upon which you and your work are measured, you better hope it is the right measuring stick to use.
There is something rather narcissistic about having to examine yourself in this way. If you can do so, does that give you some divine right through insight? Or does it just make you a butt munching egotist? Is there the resonance of sincerity, or is it just clever wordplay?
I don't think I have any divine rights or am an egotist. My goal is to write down what is true and right for me, and then just see what will happen. It might be worthy to others or might not. Toss the dice, drop the chips, let's see what comes next.
Think about it. In 500 words or less explain/describe/articulate what you do, why you do it, and how you will continue to do it. These are not questions faced by most people. They may be implicit, but ask anyone in your family, and the closest you will probably get is that someone - probably at a job interview - asked them to tell them where they saw themselves in 5 years.
For the practicing artist, however, you are required to bare your soul, expound your beliefs, and even expose your curiosities. The more fascinating aspect of that, though, is that you need to have a stated end goal. You can't just be curious. You can't just want to explore. Your most ephemeral processes must be measurable and somehow achievable.
Luckily for me, this is not difficult. I have an essential love of order, and am not afraid of boxes. It is just a question of which box do I want to put myself into? There are so many! I don't believe fitting into a box denies individuality and uniqueness, but that is why the right boxes - or words - are so very important. If this is the standard upon which you and your work are measured, you better hope it is the right measuring stick to use.
There is something rather narcissistic about having to examine yourself in this way. If you can do so, does that give you some divine right through insight? Or does it just make you a butt munching egotist? Is there the resonance of sincerity, or is it just clever wordplay?
I don't think I have any divine rights or am an egotist. My goal is to write down what is true and right for me, and then just see what will happen. It might be worthy to others or might not. Toss the dice, drop the chips, let's see what comes next.
Thursday 17 May 2012
Another One Bites The Dust
The list of EOIs to be completed at this time of year is ridiculous! Having said that, they do get easier, I guess. Actually, tonight I did one that actually quite excites me - Revolvt Productions in Kensington. I have never been to the space, but the on-line information looks amazing. I have financial considerations, of course, so I have requested the cheapest venue, but to be honest I would love to do the show in the Ballroom. That floor, that configuration - it would be perfect for Othello! The other positive is that they don't require 50% deposit on the same week as Fringe registration. That is helpful. There is one negative, which is that they won't be announcing the programming until the 27th which is only 3 days before Fringe registration closes. A bit nerve racking. I guess everything about this game is nerve racking though. There are no absolutes, just a lot of cross your fingers and see what happens.
Wednesday 16 May 2012
Trench Warfare
Oh my. Today I have been soooo feeling sorry for myself. I have had the flu for a couple of weeks and it just wouldn't go away and developed into a chest infection, which set off my asthma. Finally, yesterday, I went and got some antibiotics and they are working marvellously. The problem is that last night they went into all out trench warfare with the infection and I had the most miserable night. I really didn't expect to feel every minute of the fight. On the positive side, the antibiotics seem to have gotten the upper hand, and I am coughing less. On the other hand, my body feels like the land at the end of trench warfare - dug up, trodden on, and dead to new life. My day has involved napping in my bed, or napping on the couch pretending to watch TV. Even those efforts have been most strenuous.
I got an email this morning from Gasworks asking me to complete an EOI for Fringe, and all I could think was OMG, not today. I did manage to find the energy this afternoon whilst lying in bed to pull out the lappy and send it off. Of course I napped again immediately after. The hilarious thing is that once I sent it off - with the impression that I was under time pressures - I got an autoreply saying that the person I am dealing with is out of the office until Friday. Typical! Anyway, at least it is done, and it is in the hands of the Gods.
Of course, I still haven't figured out how to pay for any of this. I am still thrown by the earliness of the process and having to have registration fees - and half of the venue hire cost apparently - paid by the end of the month. It wouldn't be a problem if I didn't have expenses like rent, food - you know, all those little luxuries in life. Of course, a paying job would also help... ;)
I got an email this morning from Gasworks asking me to complete an EOI for Fringe, and all I could think was OMG, not today. I did manage to find the energy this afternoon whilst lying in bed to pull out the lappy and send it off. Of course I napped again immediately after. The hilarious thing is that once I sent it off - with the impression that I was under time pressures - I got an autoreply saying that the person I am dealing with is out of the office until Friday. Typical! Anyway, at least it is done, and it is in the hands of the Gods.
Of course, I still haven't figured out how to pay for any of this. I am still thrown by the earliness of the process and having to have registration fees - and half of the venue hire cost apparently - paid by the end of the month. It wouldn't be a problem if I didn't have expenses like rent, food - you know, all those little luxuries in life. Of course, a paying job would also help... ;)
Sunday 13 May 2012
A Writer Will Emerge
Today I finally revisited my Othello script for the first time in a couple of months. It lay neglected because at first I had no new approach, and then I started directing The Gentleman and The Thief, and it just got pushed aside.
I like giving it a break though. That is kind of how my mind works. I absorb the issue, set it aside, and a little while later an idea or solution jumps out at me when I least expect it. I suspect that is a bit frustrating for people around me who like to ponder and brain storm and discuss endlessly. I like those things too, and they all go into the little box in my brain holding the conundrum, but in the end it is putting it aside, giving it some silence, and letting it germinate that works best for me. This is what happened with the script. After the dramaturgical reading in January, I took on board the various ideas and feedback, sorted them, used what I wanted to create draft four, and then put it aside.
There was one issue in particular, though, that I hadn't really fully resolved. It involved the use of profanity, which gets quite heavy at the end in particular. At my first dramaturgy session in October last year, it was suggested to me that I was too tame and should make it stronger. Then in January, the consensus was that I had gone too far and should remove it. For draft four I just left it as it was...made a few minor changes, but nothing drastic.
Finally, over the last couple of days I realised that I agree, and wanted to tame it down. Not to make it mild, but I thought it would be more interesting and fun if I could find interesting word play and repartee to make the points. So today I hunted on-line thesauruses and quotes on dogs in particular. I like those phrases politicians always use like 'mongrel act' and 'in the dog house'. Four and a half hours later, I have draft five. I need to tweak a few things tomorrow, but this is good enough for today. Most of the heavy lifting is done for the day and I am satisfied.
I like giving it a break though. That is kind of how my mind works. I absorb the issue, set it aside, and a little while later an idea or solution jumps out at me when I least expect it. I suspect that is a bit frustrating for people around me who like to ponder and brain storm and discuss endlessly. I like those things too, and they all go into the little box in my brain holding the conundrum, but in the end it is putting it aside, giving it some silence, and letting it germinate that works best for me. This is what happened with the script. After the dramaturgical reading in January, I took on board the various ideas and feedback, sorted them, used what I wanted to create draft four, and then put it aside.
There was one issue in particular, though, that I hadn't really fully resolved. It involved the use of profanity, which gets quite heavy at the end in particular. At my first dramaturgy session in October last year, it was suggested to me that I was too tame and should make it stronger. Then in January, the consensus was that I had gone too far and should remove it. For draft four I just left it as it was...made a few minor changes, but nothing drastic.
Finally, over the last couple of days I realised that I agree, and wanted to tame it down. Not to make it mild, but I thought it would be more interesting and fun if I could find interesting word play and repartee to make the points. So today I hunted on-line thesauruses and quotes on dogs in particular. I like those phrases politicians always use like 'mongrel act' and 'in the dog house'. Four and a half hours later, I have draft five. I need to tweak a few things tomorrow, but this is good enough for today. Most of the heavy lifting is done for the day and I am satisfied.
Saturday 12 May 2012
Rejection Is The Way Forward
I thought I would be a bit more blue today than I am. Yesterday I suffered three rejections. They were friendly and respectful, but in the end they all said no. Interestingly, apart from that initial dropping of the stomach that you always feel when you first get a no, I am in some ways quite pleased.
In applying for the Fringe Hub I had actually painted myself into a bit of a corner, and tried to create a dynamic performance out of a development process, which would have put artistic and financial pressures on me that I possibly wouldn't be able to bear well. I also got rejected by 45 Downstairs as an alternative venue. At first I felt stymied.
Then I reread the Fringe Hub email and they suggested a couple of alternative venues for me. One (Blue Circus Studios) I couldn't find any information on the internet for, so I ditched that one. The second was Revolt Productions. This I found a website for and have applied for costing and availability.
The big find, though, was Gasworks. I had initially rejected this as an option because their location is difficult, and nowhere near the Fringe Hub. When I had a look at their venues and facilities and started thinking about it, I realised that I was being too narrow minded. If I can do it there, I can do it in a smaller and more controlled manner. This means that I have a greater chance of achieving my artistic outcomes, and probably have a better chance of giving the audience a good time. The Studio has just the right amount of technical equipment to make an effort without suffering budget stress, the cost of the venue is low, and this means I can focus my financial resources on paying the actors and designer some money, and doing some simple costume thing. Oh, and pay for a rehearsal venue for one week! It also has the advantage of being on theatremakers radars, and this project complements the kinds of things that take place there.
I often forget how rejection makes you think laterally. It makes you question your goals, priorities, and needs, and gets you to reassess how to move forward. Or, in some cases, whether moving forward is really what you want to do, or if you would just rather stop. In this case, for now, I want to keep trying to move forward.
In applying for the Fringe Hub I had actually painted myself into a bit of a corner, and tried to create a dynamic performance out of a development process, which would have put artistic and financial pressures on me that I possibly wouldn't be able to bear well. I also got rejected by 45 Downstairs as an alternative venue. At first I felt stymied.
Then I reread the Fringe Hub email and they suggested a couple of alternative venues for me. One (Blue Circus Studios) I couldn't find any information on the internet for, so I ditched that one. The second was Revolt Productions. This I found a website for and have applied for costing and availability.
The big find, though, was Gasworks. I had initially rejected this as an option because their location is difficult, and nowhere near the Fringe Hub. When I had a look at their venues and facilities and started thinking about it, I realised that I was being too narrow minded. If I can do it there, I can do it in a smaller and more controlled manner. This means that I have a greater chance of achieving my artistic outcomes, and probably have a better chance of giving the audience a good time. The Studio has just the right amount of technical equipment to make an effort without suffering budget stress, the cost of the venue is low, and this means I can focus my financial resources on paying the actors and designer some money, and doing some simple costume thing. Oh, and pay for a rehearsal venue for one week! It also has the advantage of being on theatremakers radars, and this project complements the kinds of things that take place there.
I often forget how rejection makes you think laterally. It makes you question your goals, priorities, and needs, and gets you to reassess how to move forward. Or, in some cases, whether moving forward is really what you want to do, or if you would just rather stop. In this case, for now, I want to keep trying to move forward.
Thursday 10 May 2012
An Artist Emerges
I just had the most fun today. I have to have an image to submit with my Fringe application and was panicing about it a bit. I have no skills in graphic art and no programmes specifically to generate some. With my usual intrepid fearlessness I decided that I could work something out - or at least try, and admit defeat when it all went wrong.
Little did I know that some of this stuff, with a little patience, is idiot proof. Go Windows!!! I downloaded some clip art. Then I played with it in the image manager. Then I tried some text box stuff in Word, but that went really wrong. My next step was to simplify and play around in Paint. And voila! An image emerges. It's not perfect, but as I will have time to perfect it for the real publicity AFTER Fringe apps close, I think it will do for now. I will keep tweeking it, but I am happy with the composition and tone.
Little did I know that some of this stuff, with a little patience, is idiot proof. Go Windows!!! I downloaded some clip art. Then I played with it in the image manager. Then I tried some text box stuff in Word, but that went really wrong. My next step was to simplify and play around in Paint. And voila! An image emerges. It's not perfect, but as I will have time to perfect it for the real publicity AFTER Fringe apps close, I think it will do for now. I will keep tweeking it, but I am happy with the composition and tone.
Wednesday 9 May 2012
Dancing in the Dark
So today I managed to get my EOI for a creative development submitted. This is #3 in a process of 4 that have needed to be submitted this month. The final one is due on Friday.
The thing I have noticed is that they seem to be easier to do as you go along. They are all a bit different, so it is not just a case of copy paste, but I think that you probably do all the hard work on the first, and the rest are just refining and specifying.
The other thing that has me wondering is that because all the deadlines are around the same time, you don't really get a chance to feel whether you are presenting your proposal effectively. If you are making a mistake, you just end up making it over and over, rather than having any opportunity or feedback to improve or refine your applications.
This is an important point, because whilst you may have an exciting and valid idea or project, and be an amazing creative artist, that does not necessarily translate to having any particular skill or experience with articulating your ideas and concepts in an effective way. And then there is the need to have your collaborating artists locked in up to a year before you even plan to present! What is that?????
Luckily, I do have one advantage. Having production managed for so long, I have a realistic concept of what is achievable and what it costs. It will be an interesting process to see if that helps or hinders thought ;)
The thing I have noticed is that they seem to be easier to do as you go along. They are all a bit different, so it is not just a case of copy paste, but I think that you probably do all the hard work on the first, and the rest are just refining and specifying.
The other thing that has me wondering is that because all the deadlines are around the same time, you don't really get a chance to feel whether you are presenting your proposal effectively. If you are making a mistake, you just end up making it over and over, rather than having any opportunity or feedback to improve or refine your applications.
This is an important point, because whilst you may have an exciting and valid idea or project, and be an amazing creative artist, that does not necessarily translate to having any particular skill or experience with articulating your ideas and concepts in an effective way. And then there is the need to have your collaborating artists locked in up to a year before you even plan to present! What is that?????
Luckily, I do have one advantage. Having production managed for so long, I have a realistic concept of what is achievable and what it costs. It will be an interesting process to see if that helps or hinders thought ;)
Friday 4 May 2012
The Comedy/Tragedy Dilemma
We had a great night at the theatre tonight. The cast had drive and energy, we had a great size audience, and the audience had a lot of fun. There is not much more you can ask from a show.
I went into the dressing rooms after the show to congratulate the cast and have a quick chat about bump out and they seemed a bit glum and somewhat disgusted. I couldn't understand what the problem was. It turned out that they upset because the audience laughed so much and had a great time!
At first I was confused, and then had to talk to them about the journey for the audience. We talked about how all great tragedy is comic, and that for the audience to travel the journey to despair, we have to give them the fun at the beginning, otherwise the whole thing is a dirge. It's like appreciating the sunshine more by experiencing the rain.
This process has been an interesting illumination to how actors learn theatre. In what order, and which skills sets. My experience on this show has shown me that they learn basic turning out technique and processing each line very early. This is great. The real problem is that they don't seem to be aware that this is only beginning and there are many more layers of technique involved. Things like rhythm, and physicality, and subtext. The disappointing thing is not the lack of the skills, but the lack of awareness that they exist at all. Shame on all those who are teaching them!
I went into the dressing rooms after the show to congratulate the cast and have a quick chat about bump out and they seemed a bit glum and somewhat disgusted. I couldn't understand what the problem was. It turned out that they upset because the audience laughed so much and had a great time!
At first I was confused, and then had to talk to them about the journey for the audience. We talked about how all great tragedy is comic, and that for the audience to travel the journey to despair, we have to give them the fun at the beginning, otherwise the whole thing is a dirge. It's like appreciating the sunshine more by experiencing the rain.
This process has been an interesting illumination to how actors learn theatre. In what order, and which skills sets. My experience on this show has shown me that they learn basic turning out technique and processing each line very early. This is great. The real problem is that they don't seem to be aware that this is only beginning and there are many more layers of technique involved. Things like rhythm, and physicality, and subtext. The disappointing thing is not the lack of the skills, but the lack of awareness that they exist at all. Shame on all those who are teaching them!
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