7. Experiment, adapt and enrich
Collective Symonds & Mulder
My collective, Symonds & Mulder, was in residence at the Zwolle Theatres during 2022 and 2023, resulting in a residency week with a presentation event. In subsequent 2023 and 2024, we participated in Vaktor, a second pathway for makers, aimed at connecting young makers with external parties and providing budgetary support. I will reflect on our process so far using Tuckman's five stages and core concepts from Lencioni's pyramid. These reflections are written out as findings and life lessons.
Formation:
- Our eagerness to work together arose after our first project together during my final undergraduate music exam at the ArtEZ Conservatorium in Zwolle. We shared a similar energy level, quick and clear communication skills and inclination towards leadership.
- The lack of a clear hierarchy within the collective brings challenges in defining responsibilities.
- With one member being a classically trained musician, different perspectives on artistic quality arise.
- Despite uncertainties about the future, we share ambitions such as playing a family performance at the Concertgebouw in five years, stressing the importance of taking small steps towards our goals.
- To further build the base layer of trust within the team, that requires even more focus on openness, continuing to ask mutual questions, vulnerability and sharing personal interests versus collective goals. For example, the contribution of classical music versus the importance of having enough fun and energy on the floor.
Struggle:
- Conflicting interests and evolving priorities between members can lead to frustration and delays in progress. In this collective, for example, the interests of work year 22'23 changed compared to work year 23'24.
- Emotional tensions and competition during rehearsals can hinder participation and cause resistance.
- Recognising the clash between disciplines regarding narrative methods and formulating a clear approach is essential. A realisation that this particular form of making is extremely difficult.
- Complex situations can lead to getting stuck; taking time to slow down and re-evaluate is crucial for progress. Learning to pause in complex situations, allowing vulnerability, fosters recognition and connection between team members.
- Clarifying the primary approach - text, music or a mix - is vital to avoid disappointment later. The visualisation process in the mind continues, so agreeing on the starting point is very important.
- Acknowledging and addressing conflicts promptly, such as the delayed involvement of a composer, is crucial for a smoother collaboration. It resolves the issue of creating harmony as an instrument of melody.
- Realise to end every rehearsal moment or online meeting with a brief optimistic, critical evaluation. For example, the observation that a musician may feel insecure when the instrument is taken away: it becomes an actor rather than a theatrical musician.
Standardisation:
- Timing and aligning interests between external parties pose challenges, determining whether the parties will engage in the forming or detailing phase.
- Involving external parties such as coaches from different artistic disciplines contributes to the growth of the collective. Is there a need for coaching from the discipline of theatre or the discipline of music?
- Ensuring adherence to budgetary agreements and balancing team and individual priorities are essential for continued progress. Is there sustained progression or is it continuing at the pace of the slowest in the team?
- Collaborating with professionals from similar disciplines reduces anxieties, encourages spar sessions and strengthens cooperation. For example, collaboration with the composer or in the future with other classical musicians. Coaching sessions provide valuable feedback and confidence, which helps continue the creative process. In collective Symonds & Mulder, these were director Kiki Jaski and mime player Peer van de Berg. These professionals help in finding their own colour and form for the collective.
Performance:
- Presentations at the Zwolle Theatres and Vaktortraject show our progress, while additional performances during the Zwolle city festival show our commitment to presenting our work.
- Collaborating with external institutions expands our network and increases accountability, leading to continuous communication and progress. Currently, the external institutions are: Theatre de Meenthe in Steenwijk and Stadsgehoorzaal Kampen with personal points of contact.
- Regular feedback sessions and evaluations ensure alignment with project objectives and underline the framework conditions.
Our repertoire includes a diverse range of musical styles and theatrical elements, demonstrating the fusion of music and theatre.
- Fantasia 1 – Telemann
- Romain folk dances III. pre-loc - andante - Béla Bartók
- Suite Les Indes Galantes - Prologue 1, overture - Jean-Philippe Rameau
- Morgenstimmung - Edvard Grieg
- Swan Lake – Tchaikovsky
- Symphony no. 9 in E minor - Dvorak
Different forms in which theatre and music come together:
- Text in theatre + saxophone + electric sounds(capes)
- Visual theatre + saxophone + electric sounds(capes)
- Visual actor + visual saxophonist movement phrase/choreography
- 2 actors make body percussion
- Brechtian humour
- Both players singing
- Making radio play with the audience
- Interacting with the audience
- Set building and tearing down
- Puppet play
- Rapping
Completion:
- Timing is crucial for the transition to the rounding phase, where thorough reflection and articulation of experiences are possible. 'When are thoughts and experiences fully lit and can you place it in the big picture?' 'When can you find the right words to properly articulate this feeling and reflection?'
- Balancing with the focus on the end result and the focus on the creative process is challenging. Attention to the creative process encourages experimentation. In contrast, attention to the end result provides grip, structure and motivation.
- Celebrating achievements promotes networking opportunities and recognises the contributions of various collaborative partners. For example, with video and photographers, sound technicians and other performers.
- It is first and foremost about personal development to professionalise a collective or team.
