This is an attempt to explain how I think as a producer. The Exchange Artists do not operate under a regulatory board. We don’t promise a set season of performances. We do not create financially responsible shows. We create based on impulse and inspiration. And though I don’t necessarily plan to continue in this vein... View Article
This is an attempt to explain how I think as a producer. The Exchange Artists do not operate under a regulatory board. We don’t promise a set season of performances. We do not create financially responsible shows. We create based on impulse and inspiration. And though I don’t necessarily plan to continue in this vein forever, I’m profoundly inspired by what this point to point inspiration method has allowed us to produce. We have produced exactly what we want to produce! We create shows with the audience in mind, always thinking of how to create an enjoyable and engaging experience for them. We create shows based on what we’re thinking about in the moment, truly allowing our art to be an open forum for exploring the thoughts and experiences that matter to us. And it seems that through this approach we’ve landed on a nerve or two in the common consciousness. Since we began creating work for Austin audiences, I often hear of other artists and groups creating shows with particular or broad similarities to things we have done. This makes me extremely happy! Oftentimes these similarities occur based on no prior knowledge of our past productions. After our 2011 production of The Man Who Planted Trees, Forklift Dance produced Trees of Govalle, and Robi Polgar is currently creating a production called The Tree Play. I do not know these artists, and they did not see The Man Who Planted Trees, but I’m thrilled that our arboreal friends are a hot topic! And recently, I got an announcement from Fusebox Festival about Steve Parker’s Traffic Jam featuring a car horn orchestra comprised of car horns and other methods of sound making with wheeled transportation. As the grand finale of our most recent full scale production, Circle the Wagons, ended with a car orchestra composed by Rohan Joseph comprised of the sounds of car horns, trunks, doors, windshield wipers and car roofs, I obviously think this is a good idea too. Other times similarities between our past productions and other pieces around the community are intentionally a further development of an idea that we presented. After performing in our first promenade play,The Story Seekers, which required audience members to travel under the direction of guides over the grounds of The Elisabet Ney Museum, director Bastion Carboni sought advice as to how to employ the technique of moving audiences throughout a space in his direction of An Obviously Foggot. This practice of sharing and networking ideas and inspiration is one of the strengths of our Austin theatre community. We grow together! I’m grateful to be a part of such an exploratory group of artists. And I’m grateful to be working in a place where I can act on good ideas.