The first phase of our process, Brio, came to a close in February. The seven core ensemble members met to reflect, and talk about the future of our ensemble. We watched the video of our workshop performance, and chatted about the public workshop we’d offered.
The workshop performance had a very keen audience of 30 people at The Dusty Flowershop. Our show was made up of several “experiments”; short segments of ideas we wanted to test in front of an audience. Some of the experiments we had workshopped briefly, others we had not tried at all. Before the show, there were definitely some nerves amongst the cast members. We were joined by lighting and sound improvisors, who we had not worked much within the process up until then. We were also trying to figure out a running order, and keep the show somewhat organized. We agreed to approach the evening with a sense of openness and to accept that some scenes would work better than others.
In our debrief, we all agreed, having an audience present while we tried some concepts out was invaluable. Our process to this point had been several long workshops, some with outside instructors. While we discovered some clear trajectories in terms of things to try during workshopping, we gained so much from having the energy and feedback of the audience in the room. Following the workshop performance, we had a definite feeling of which structures were the best to explore further.
On February 7th, we held a public workshop open to all theatre artists. The group that assembled was very interesting; we had some greener improvisors, more veteran ones, some actors, a director of opera, and a sketch comedian. We had framed this workshop as part-salon, and part-on-your-feet-experiment, and all of the participants brought such curiosity and interest to our time together. We explored several exercises we had learned from one another during the rehearsal process, tried out some experimental assignments, and ended in a discussion about the boundaries of improvisation. The feedback we received on the workshop was extremely positive, and inspiring for me as the organizer.
Our debrief ended in a chat about what’s to come for the Brio ensemble. We agreed that we’d love to work again with Aaron Read (who joined us on sound, using violin, microphones recording the audience, and looping to create amazing textured soundscapes for our scenes) and Megan Lai (who boldly used the simple lights in the space to create saturated looks and stark lighting). We talked about two areas of discovery we’d like to pursue more; the potential effect and relationship between Abstraction & Realism, and the concepts of Subjectivity & Point of View. A lot of our favourite discoveries involved using the space, moving our bodies, physical intimacy, and answering the question “How can we give audiences an even more subjective experience?”. The hope is to launch the second process for Brio in September 2018, culminating in a run of performances in Vancouver.
The big takeaway from our Brio debrief: we all agreed we had taken risks. Some failed, some succeeded, but that is the nature of a risk after all.