sharing resources we've found online information that explores and develops collaborative processes in the arts and
related disciplines, so we learn from the past,
to create and innovate now.
Send suggestions of resources to add to our list: journals, articles, mags, etc. accessible online
"Why recreate the wheel when we can build a chariot?" asks Jiv Parasram.
info about how work is created is elusive AND as new "collectives" and "collaborative" projects surface, artists create and recreate their processes.
Why recreate the wheel when we can build a chariot?
RESOURCES ONLINE begins by connecting people writing about Process
Continuing the research
What we artists and researchers want to
know from those we admire* ....ahha....
...secrets...what are they ACTUALLY doing
when creating & interpreting.
(* admire” as in really admire, or worship or would
turn into if we could or steal their brain/heart/soul
or, as in brilliant artists very famous, infamous etc..)
Please answer these questions email: research(at)acrossoceans.org
Ever seen an extraordinary artwork,
performance, moment in a show
and thought to yourself:
“my goodness HOW did he/she
actually come up with that?” 1. WHOSE creative ways are you interested
in knowing more about?
2. If you could spend a day with that person ...What exactly would you like to know more about? What questions would you ask?
3. If you were being interviewed, what
questions would best help you describe
Your actual internal creative process?
Can you join the working group and what's the work? Across Oceans is working with emerging artists, professionals and communication researchers to discover resources & established frameworks of processes globally. Online resource = online meetings = international networking. Each researcher is assigned a specified area matching their area of personal interest. contact us to discuss your interests and ideas. As a team, we aim to uncover the vast network of working artists, methodologies & resources about creation and research of collaborative art making. What you get by being in the group: • Discover who is doing what where, now, and before. • Contribute to development of future collaborative methods. • Be part of a team of dedicated and passionate professionals in the arts. • Develop your ideas about process in relation to what’s actually going on now. • Develop and strengthen your research methods with visible results that will be valuable for your work as artist, and in post-graduate studies.
Report on Phase One 2010 :
Thanks to the Drama Program of University College, University of Toronto
for hosting this research done during Maxine's 2010 UC Artist-in-residence.
•6 researchers were the working group in Phase One. Jivesh Parasram, Alexi Marechal, Elise Chalmers, Sarah Chodos, Zoe Ludski, Janina Kowalski (ed) with Maxine Heppner. These people were chosen through interviews to match their interests with this phase of the project. •Phase 1 was for digging into the web, associating freely and creatively, and gathering well-logged findings. for 12 weeks of independent research with Group Meetings.
•Discovered that that it is difficult to find information on-line to specifically Process-oriented writings. •Created a resource of 42 performance publications identified as interested in research in process. •Identified online communication tools to use for information sharing through the website. •Compilation of final findings and made recommendations for Phase two. •Edit, design, upload Resource Page
Here is how the researchers did their web-search. RESEARCH HISTORY SAMPLE re: phase one web-searching • Google Search “Robert Lepage” o http://lacaserne.net/index2.php/robertlepage/ - Details Lepage’s work on Ex Machina Site • Lepage was worked with Théâtre Repère where he premiered several pieces including The Dragon Trilogy • Google Search “Theatre Repere” o http://www.canadiantheatre.com/dict.pl?term=Th%E9%E2tre%20Rep%E8re –Founded in 1980 – by Irene Roy and Jacques Lessard ...chiefly remembered for works of Robert Lepage...Disbanded in 1994... refused to be niched and if one were to attempt to do so, multidisciplinary might come closest. It was, first and foremost, a theatre of exploration that always presented works with a highly visual element. o http://www.artsvivants.ca/en/thf/voir/entrevues.html - Article on Robert Lepage – “Théâtre Repère ... a method of collective creation, as perfected by Jacques Lessard and based on a Californian method: REsource, Partition, Evaluation, REpresentation – hence the acronym REPERE.” • Google Search “California method collective creation repere” Google Book Result : In contact with the gods?: directors talk theatre By Maria M. Delgado, Paul Heritage – Manchester University Press o Page 134 – Lepage discusses Lessard’s Method which he states is based on the RSVP cycles method. He indicates that he built off this method, but began to move away from the rigidity of the system into a more organic style starting from scratch, rather than working with existing texts as Lessard. With a growing popularity for the company however, many left – Lepage the first (taking an appointment as Artistic Director at the NAC) – He later regrouped with former collaborators to form Ex Machina. He states Ex Machina will never claim to be working with “Repare cycles” • Google Search “RSVP cycles” • http://redseven.wordpress.com/rsvp-cycles-lawrence-halprin/ - Wordspress Blog seemingly providing various working methods – focussing on dance – (Further research required) • Page displays visual representation and basic textual explanation of RSVP (REFERENCE – The Rsvp Cycles : Creative Processes in the Human Environment – Lawrence Halprin [1969] [REF]ISBN – 0807605573) Conclusion of short research – Lepages method of work is unique, however undoubtedly influenced by the Repere Cycle, which is based on the RSVP cycle. Further Research steps – Define Repere Cycle and RSVP Cycle providing practical examples - Upon Completion, return to Lepage’s creative method LOG all sources, URLs ISBNs of written articles: go to their homesites and NOTE thematic interest of site