In the above model I state the goal of my artistic product - a Participative Aesthetic Experience. Aims that would make this experience succesful for me are creating a space of intersubjectivity, exchange, (shared) ownership, wonder and joy. I have elaborated on the meaning of these concepts here.
With the goal and aims in mind I create a dramaturgical structure that supports these objectives. Since I am creating a participatory experience and I concerning myself with devising a process. That process consists out of dramaturgical pilars to create an experience that has a beginning and an end. The theme influences the dramaturgical pilars that make up the structure. Vanity as a theme helps choose what the dramaturgical pilars will be. At the same time there is space within the structure for things that arise out of participation. There is a balance between rigidity and flexibility.
The final form of the Artistic Product is predetermined and twofold. On the one hand, it will be a live performance event that is a participative aesthetioc experience. On the other hand, within this participative aesthetic experience we (people in the space) will work towards creating a sculptural painting on the wall. This artwork will outlive the experience and be its physical manifestation.
I attended DYING TOGETHER / Humans in 2018. It was an interesting experience. As Lotte mentions in the video above, the audience performs with the performers. What stood out to me was the method used to create this performance.
It is heavily based on systemic constellation methods. I draw this parallel because I have been involved in systemic constellation methods applied in corporate settings.
A participant brings in a case of something they struggle with professionally and asks others to represent important elementsand stakeholders that are involved in the case. They are placed in the space making the system visible. This process is guided by a facilitator. The participant with the case does not enter the space themselves, but rather observes, asks questions and ultimately reflects. When they are invited to ask a question by the facilitator the representations in the space can move within the system and also reflect on what they feel is blocking them or supporting them within their spot in the system.
A better known application of constellation methods is as famly constellation therapy.
A lot has been written on group dynamics. I was introduced to the topic through leadership and team management theories and in practice as a facilitator. In Group Dynamics (2009) Donelson R. Forsyth dedicates a whole chapter to leadersip and establishes a clear link between the two. Forsyth approaches Group Dynamics from a scientific, psychological and sociological perspective.
A Whole System clearly explains how we are part of systems and that as individuals we play a role within these systems. If we want to bring about change, we need to consider the whole system.
The dramaturgical structure I am working on could also be seen as a system. Within a relatively controlled environment, such as a theatre or any performance space, it should be possible to introduce a new or alternative system. A system geared towards intersubjectivity, exchange, (shared) ownership, wonder and joy. What is fundamental is that the space feels relaxed. That people feel invited to participate and not forced. That they feel welcome. This is an important part of the facilitator's role, setting the tone, intervening, creating the right conditions or influencing the conditions to optimise them for an open and paticipatory vibe.
Lotte van den Berg demonstrates that existing creative, didactic, reflective, psychological methods can be adapted and applied in a theatrical setting to become art (or at least artistic). This means that my experience as a trainer and facilitator in methods such as Deep Democracy, Paradoxical Leadership and Ynnovate can be used in my artistic practice. My work as a facilitator, mediator and trainer requires dealing with group dynamics, thinking of structures for didactical purposes and being flexible in order to be able to interact in the moment and deal with what emmerges. The skillset I have been training while working for the City of Rotterdam and in Museums overlaps with the skills that are needed to be a good performing facilitator.
I will draw upon this experience to create the dramaturgical structure for the performance event in May.
