Disturbing, not pleasing, should be art’s role
Many arts organisations have become dinosaurs, failing to evolve to
respond to the needs of new work, delegates at the Australian Theatre Forum
were warned.
The
2017 Australian Theatre Forum: ABOUT TIME – LISTEN, EXAMINE, SPEAK, CELEBRATE takes
place in
Belgian festival director
and curator Frie Leysen
challenged Australian artists and arts organisations
to be bold, and to challenge an increasingly ossified status quo in her closing
keynote address at the 2015
Australian Theatre Forum(ATF).
‘We
created a culture of “pleasing” that is now hijacking us,’ she said. ‘We want
to please everybody: the audiences, the subscribers, the sponsors, the press, the colleagues… a big mistake! ‘Art should not please. On the contrary. Art has to show where it hurts in our
societies, in our world. We urgently need the courage back to pick up this role
of disturbers again.’
Delivered at Sydney Opera
House on Friday 23 January, Leysen’s speech –
entitled About embracing the elusive or
the necessity of the superfluous – was wry, witty and well received by
ATF delegates. In it, she reflected on the role of art in a time ‘of right-wing
nationalism, extremism, racism and intolerance … where politicians understand
creating fear is the most efficient weapon to keep us all under control’; in a
world where traditional boundaries were increasingly blurred.
‘We all know that in the
contemporary arts, the former labels for disciplines are no longer valid. The
borders between them have become blurred. In
One of the key themes in
her broad-ranging speech was a concern that existing structures in the arts
sector were outdated, and not being renewed. ‘We have built theatres and arts centres, and we created festivals to produce and present
art works and to welcome audiences in the best possible conditions. But, during
the years, most of these structures and organisations
have become rusted and sclerosized. They became
dinosaurs,’ Leysen said. ‘Originally meant to support
the artists, they got organised very well, often too
well, and so lost the needed flexibility to respond to the specific needs of
specific works. The artists now have to follow the policy and the rules of the
houses instead of the other way around.
‘We urgently have to
reconsider the role of theatres and festivals, as instruments to facilitate and
valorise artists again. And we need more flexible
structures, production houses that can work tailor-made with artists.’ Festival-makers
in particular were sometimes guilty of under-estimating their audiences, Leysen continued. ‘Often I hear organisers
say “it is nice, but not for my audience”. Who is that audience? A monolithic block of people? And who are we to say what
they want to see? Underestimating is an insult. Being demanding is a sign of
respect.’
Though the ability to
rethink structures and systems does exist, it seems largely restricted to the
periphery, among individual artists, she said. Leysen
also identified a lack of focus on the creative – on the arts themselves –
among contemporary culture-makers.
‘Also, in this pleasing
culture, we constantly adapt to who is addressing us. We answer in the different
languages, in the different logics of our counterparts. Mistake again. ‘To the
politicians we speak with political arguments; to subsidisers
and sponsors we speak with financial, economic arguments and of huge audiences.
To audiences we speak with entertaining arguments; with the press we speak with
superlatives and exclusivity arguments. And with colleagues, we confirm each
other. We must urgently find our artistic language and artistic arguments
again,’ she said.
One way to do this was to
change our language; to focus on the risk of making art instead of trying to
sell works of known quality. ‘How can we make the audience a partner in
adventure instead of a consumer?’ she asked. ‘How can we communicate with
audiences that theatre is a living art form, every night created again and
again. And fragile. That even the biggest artists also
make work that is not fantastic? ‘We should valorise
the risk, the adventure, the ephemeralness of
theatre, the uniqueness of the experience, the temporary community that is
created every evening again with the actors and the audience.’
RICHARD WATTS - first
published on Wednesday
28 January, 2015
http://performing.artshub.com.au/news-article/news/performing-arts/richard-watts/disturbing-not-pleasing-should-be-arts-role-246981