My process with solo shows involves sharing bits of text with audiences when I don’t really know where it’s going, or how it’s going to end. I’m pivoting myself to the responses from the audience — I sniff out where I want to go, and how I want to shape the piece. Through creating solo shows, I discovered how much I love this direct, unfettered relationship with an audience.
We wanted an opportunity for more flexible seating so you could have different configurations — we wanted technical upgrades and general upgrades also. Later we recognized the need in the community to have a dance-friendly space. So that’s a need that we’ve found and added. Like with any kind of process, I think we started with an idea and started to break that down. I think we’re still in that process.
“We need to re-establish a dialogue with our spectators. We need to establish a creative dialogue with them. The community of spectators and artists need to be together and have an exchange. It’s about bringing people outside, and making people safe, of course, but leading them to the threshold, to let go, to walk towards the unknown.”
“I mean… what does it actually look like to create work? To produce work? To move into a production? We’re constantly working with these finite resources — time, money, space — and so a lot of our internal reflection has been looking at how do we make this process of making and sharing art more human? More flexible, more adaptable to being a human?”