An invitation to remake a performance into the piece you wish you had seen.
#thesolofilter is an ongoing creative research practice designed in opposition to Liz Lerman’s Critical Response Process*,
challenging artists whilst supporting the development of a more rigorous dialogue around performance. Not limited to the re-authoring
of solo work the process allows a choreographer the opportunity to see their work filtered through the lens of other artists,
audience members and even critics to give a greater sense of how people experience what they create.
Since it’s inception in 2013, the practice has evolved into a performance installation, model of artistic development, method
of audience engagement and academic study into the dialogue, or lack of real dialogue, in the arts.
EJP is eager to collaborate and share the research, hence choosing to share it publicly as it unfolds.
If you have a parallel practice or are interested in the research please do not hesitate to get in touch
LATEST NEWS: Marion North Mentoring Award
We are delighted to announce that in December 2015 EJP received one of four Marion North Mentoring Awards, through the Bonnie Bird Choreographic Fund,
for her #TheSoloFilter research, in partnership with Tramway. This will see her receive mentorship throughout 2016 from an experienced and
established artist with a particular focus on challenging and documenting the research.
Collaborating without Compromise”
Commenced in 2013, as means to:
Challenge EJP's practice as a dancer-choreographer:
- Through the acknowledgement that the she learns most about the process of making
when being a performer for other artists.
- Questioning what happens in 'the middle': Having worked with and interviewed many
practitioners EJP observed that people can tell you how to being creating, they will also
share how they refine the work but few are aware of what happens in between.
Offer an alternative to those dissatisfied with Liz Lerman's Critical Response Process.
- *EJP is an advocate for and uses CRP in her daily practice. However, following the
introduction of the technique across Scotland she observed that a number of people
were frustrated with the diplomacy of the technique and simply wanted to give their
opinion. Therefore, she wanted to devise a method created this opportunity and took
things one step further, inviting not only the opinion but challenging these people to
Challenge audience members, artists and critics to engage more deeply with performance work through seeing it not as something
to be judged but something to be played with.
- Stemming from the observation that people rarely discuss the work they have seen but
more so discuss the work they would have made, through repeatedly editing and
sharing the variations of the work EJP hoped that post show discussion would
become more of a subjective dialogue than a series of critical monologues!
Evolution - Revolution and Devolution:
Having completed the initial research period, EJP quickly realised the model came with immeasurable benefits for both the dancer-choreographer, collaborators and the audiences engaging with it. This led to the process becoming an integral part of EJPs practice and furthermore a piece of creative research that continues to grow as it unfolds. She is currently exploring different formulas, language and practices that the process can use to realise its full potential.
To develop the most effective models of exploring re-authorship as
a means to encouraging a more rigorous dialogue in the arts
Dedicated to the research, EJP foresees it taking several years to complete however knows that with every new phase new questions are asked and that,
ironically, every participant would remodel it into the process they wish they had experienced!
With that, she is excited about seeing what journey the research takes and fully expects that as society, the arts sector and education continue to evolve the process may never end....
EJP is an artist, not an academic! She is more excited by being in the studio and writing on paper with multicoloured pens than sitting at a laptop. As such, is currently working on her documentation skills and uploading the research to the website. If you have any questions or would like to discuss the research further she would be happy to meet you for a chat, she makes a lot more sense in person!!
ARTICLES, BLOGS AND MUSINGS:
RESEARCH STRANDS TO DATE:
#TheSoloFilter Dancer-Choreographer Development
As undertaken in the initial research proposal.
Dancer-Choreographer has one week to develop a 'tour ready' 20-25 minute performance, shared with a live audience at the end of the week. Collaborator One is shown this performance on a Monday morning from where they have one week to re-author the work into the piece they wish they had seen, sharing it to an audience at the end of the week. This process then repeats with Collaborator Two and Collaborator Three. The original artist then returns to the studio for a week to re-author the work having experienced all three filters.
1. Variations: Where all collaborators re-author the original work.
2. Consequences: Where collaborators re-author the work of the artist working before them and their work is re-authored by the next collaborator.
3. Where an additional collaborator connects the work to create one fluid performance.
Self selecting collaborators, re-author a short work (5-8 mins) over ninety minutes. Several collaborators work over the course of one day and the results are shared consecutively in an evening of performance allowing audiences to engage with work through the eyes of many filters. This element has been explored in several locations but most recently with the support of City Moves Dance Agency and Creu Cymru, as part of Cardiff Dance Festival.
Restaging and Engaging
Initially trialled with Tamsyn Russell supported by City Moves Dance Agency as part of their Adventures In Authorship strand of Dance Live 15.
Two choreographers are invited to re-author each others work over a longer duration relative to the length of the work. Both the original pieces and variations of the work are presented in an evening of performance, with a post show discussion centred around re-authorship. This process, so far, has been shown to engage audiences on a much stronger level as they have multiple points of reference to connect with the work; including identifying choreographers signatures, comparing the variations and witnessing different sides to the performer.
Five dancers and eight collaborators undertake #TheSoloFilter over the course of five days.
The creative process happens in one day with each working day is a minimum of seven hours.
Collaborators/artists do not discuss the work until the process is complete.
Each collaborator has the opportunity to act as an observer to the process and contribute to the research
The Critical Pathway:
Designed to question the way in which work is programmed and the relationship between programmer, critic and audience member.
This strand also attempts to challenge choreographers who are invited into the studio with all of their tools but without being able to dictate the outcome of the work.
Pairing a programmer, critic and audience member (the collaborators) with a choreographer of their choice, collaborators
all re-author the same piece of work over the same timescale. The choreographer acts as a creative facilitator for the collaborator, bringing their experience and tools
to the studio but without imposing their creative opinion or signature. The works are shared in the same evening followed by a discussion questioning re-authorship and methods of
#TheSoloFilter Multiple Art Forms:
Using any of the models above the original work is made by a dancer-choreographer, musician and designer or digital artist. Collaborators are then selected from each art form so with each filter the work is re-authored in three layers of presentation.
#TheSoloFilter The Work We Want:
Developed through EJPs experience making work for young audiences. Trialled with Great Feats, Dance Base.
A structure which enables young audiences to re-author work which has been specifically made for their age range.
The current model explores how an artist can act a facilitator for this process without imposing their vision.
It also expects that the young collaborators must watch the 'complete' work three times consecutively to ensure they are satisfied with the performance.
#TheSoloFilter Performance Installation:
Similar to the shorts model however over a longer duration with a sharing expected on the hour every hour.
Audiences are free to watch the re-authoring process or simply return to see the complete works as they are performed.
Future collaborators are not allowed to see the any of the process prior to their period of re-authorship.
#TheSoloFilter Group Model:
#TheSoloFilter is not limited to the re-authoring of solo work however group dynamics call for a different set of guidelines to ensure the choreographers and collaborators gain the most from the process.
Currently yet to be explored to an extent where conclusions can be drawn.