this page was last updated
July 9, 2003
Peace
Tapestry:
vigor, no rigor
by Miriam Stucky
AFTER TAKING IN the artistic offerings of last weeks Peace
Tapestry, Im dis-inclined to ever again give peace a chance.
The performances showed heart, but not much more. Why do people
think that performers, often with little experience, too much room
and too little direction might come up with worthwhile art? Making
watchable, thought-provoking, mature, crafted, attention-keeping
art is obviously not easy.
The Peace Tapestry isnt the first effort to suffer from this malaise.
Ive had similar issues with some of Peterborough
New Dances Emergency series, and the occasional
24hour theatre project.
Sure, daring is to be commended, but so is humility.
If the focus of an action/event like the Peace Tapestry is process,
thats fine, but please keep it to yourselves until its ready to
air.
Whats to like about 15 minutes of non-sencical ranting, rumbling,
screechy monologue? What makes performers with negligible experience
and apparently little rehearsal think an audience is keen for a
20 minute presentation? Why sing four songs that sound the same?
Good will is no substitute for structure, process, critique and
re-working. I live for being impressed or moved by this kind of
stuff, and Ive seen enough amazing shows* here that Im not interested
in pandering to the take-all-comers, fourth grade pageant "isnt
it nice what local people come up with" standard any longer.
Organizing shit like this is a huge job, and includes not only
coming up with a good idea, setting a date, and drawing people in,
but making sure there are parameters, support and something of a
focus so that people can create substantial, watchable work.
Thanks to Shelagh Young for the title.
*A few five star works that come to mind include Kate
Story & Ryan Kerrs recent Emergency piece
Snow Day, Leigh MacDonald & Kim Allens
offering in last summers Alley Waltz. And the opening slides
of the Peace Tapestry orchestrated by Danielle Raymond showed
real merit and care.
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