New Works 4 Weeks

May 23-June 15, 2024

In 2022 I was a participant in “Isolated Acts” (IA) as part of “New Works 4 Weeks (NW4W) Festival” held at Red Eye Theater. The creation of a new work was supported by access to free space, a stipend, marketing support, and feedback sessions. A cohort of 6 artists from different backgrounds and practices (theater, dance, music, interdisciplinary, etc) share their process; similar to the 4 artists from “Works In Progress” (WiP). This four weekend festival intersects audiences by having a shared evening between the artists. Familiar with the process, my engagement with Red Eye Theater, and growing practice of writing, I reflect (briefly) on the history of this festival and the magic happening through the process.

Brief context.

Steve Busa, Miriam Must, and Barbara Abramson founded Red Eye in 1983 (Abramson departing in 1988) until being turned over in 2019 to a collective of Co-Artistic Directors, currently: Emily Gastineau, Rachel Jendrzejewski, Theo Langason, and Valerie Oliveiro. In those early years “Works In Progress” was formed with a feedback protocol, to later extend in the creation of “Isolated Acts”, forming “New Works 4 Weeks”. “WiP” is an application program, resulting in a three-evening weekend featuring 4-5 artists presenting works typically under the 20 minute mark. “IA” differentiates in seeking 4-6 artists beyond the emerging stages who invite collaboration, process, or initiation in their art practices; culminating in a shared evening between 2 artists per weekend for the remaining three weeks of the festival. Both cohorts share the feedback protocol that comes from sharing their works within the cohort. A sample of ideas benefiting from questions to clarify, inform, or inspire the materialization of an extended piece. The developed feedback protocol stretches from Steve and Miriam’s time as directors of Red Eye; questions, statements, and reflective speculations informing the artist what the work is in its current stage or even what the work is not. These protocols over the last 40 years have continued to evolve by considering cultural, racial, and/or artistic climate. In the end, these protocols are meant to inform the artist what their current work is, where it can go, and oftentimes, reveal what is important for the artists to develop the type of work they are interested in creating.

In its current, post-covid era, Red Eye has continued its commitment to the art community. Subtly, or perhaps not so much, is the shift from Red Eye Theater to Red Eye. A reflection of the artistic disciplines who have come through this organization
(music, theater, dance, film/media, and/or interdisciplinary and beyond) and an active shift to welcome those yet to be revealed. Those who move beyond any parameters and can find a home in the antidisciplinary work at Red Eye. An organization welcoming different points of view that is open to their own (re)learning of how to support artists. A space prioritizing process, active participation in community, ongoing conversations encouraging risk, and the overall connection of people and ideas — New Works 4 Weeks is an example of these layered happenings at Red Eye.

A peek into the room.

If you have ever made plans with a friend or even a group of them, you have run into the issue of coordinating multiple schedules. Imagine doing this task three more times with 7+ individuals for a block of three hours. Scheduling is often the first and hardest thing to navigate in the “NW4W” process. The exciting part is what happens inside those planned hours. Despite some anxiety, unknown, or preparation occurring  prior, the magic between those involved is worth the efforts. Across “WiP” and “IA” you come across artists from different disciplines. Artists you may know either by working with them in the past, artists you have seen in the community, or who you are meeting for the first time. The sublayer is sometimes feeling inspired/intimidated by those you are around because they have a larger body of work on the field or you feel anxious/excited in the possibility of getting to know each other through the reciprocal sharing and dialogue of the work being made. Whether navigating logistics or personal feelings, you realize you are doing it with artists sharing the same commitment of discovering together.

Aside from the dedicated feedback protocols, each session often starts with a “check-in”. A moment to share what intentions you are bringing to the day, what is on your mind, or how you are doing/feeling. Some may bring the intention of the sun shining in the room despite the fluorescent lights. Others may bring their caffeinated state of being or focused attention. An awareness that their body may need to shift periodically can help set expectations of their relationship in space. Continued gratefulness to be in cohort and making art is sometimes unsaid, but oftentimes guaranteed in checking-in. It is in these first minutes of the two or three hour sessions where you are able to see the character of the individuals. You get a glimpse of where they are coming from holistically. Who holds high energy or who may need a little boost or care. You begin to practice active listening and contemplate how you can navigate the shared journey with those in the room. 

Once it is time to share, the facilitator (typically an artistic director) prefaces that anything is welcomed. Ideas either complete or segmented, visual aids, audio, readings, anything the artist is thinking about, working through, or curious in welcoming reflections, is encouraged. Those not sharing in that moment, may take notes or simply observe. Once the feedback protocol section begins, each prompt is often given a set (though not harsh) time. Those who have witnessed, share things ranging from observational, reflective, inquisitive, or intersecting points of view. With the excitement and subjective aura extending from the “check-ins”, at times the facilitator reminds the cohort to reframe their sharing. “What specific moment in the work makes you share what you mentioned?” “Why did the work remind you of such and such?” These clarifying moments meant to hone into the specific work being shared and less of a censure in those providing feedback. It is in this feedback section where not only is the artist receiving information to inform their work, but where the cohort is actively becoming aware of their own role in this process.

The room becomes quiet with focus. Silence is a reflection of active thinking. Acknowledging everyone processes information differently, the facilitator at times may remind the room to consider offering more space if others have not had a moment to share. Active listening is present through and through. Observation of the art goes hand in hand with observation of others — including the self. You are able to see people align their spine or look into an open space to formulate words. The repetition of looking at notes and selecting which one is considerate to the artist in this moment or which can be saved for later is a delicate choice. Eyes shift to look at each other so as to not interrupt someone’s thought, is a caring and soft act. The room is filled with thoughts said and unsaid, knowing it is a learning moment for everyone. The artist understands what is impactful for their work, the cohort reflects their own voice and perspective in a room shared with others, and the facilitator flows through structure reaching back to the inception of this program with the care and understanding for the artists. In the focus of the room, moments of laughter, smiles, clapping, and exhales remind everyone of the needed attention to be kind to each other and the self. Beyond artists, everyone is connected as individuals through these magical moments.

In my proposed desire to write on NW4W before its opening, I wondered how I could enter the space without being a facilitator or part of the cohort. I asked an artistic director what they’re thoughts were on this concern and they reminded me of the open container this program is. Red Eye has become a place of learning through dialogue. If someone is unsure of the feedback protocol, has concerns of the space, or has a way of how others approach their work, it is all valid and welcomed. There is always room for perspectives, opportunities, and growth. Being reminded of an open door policy allows artists such as myself to propose things that are new. It allows ideas to be tried or be honed. It allows an opportunity to intersect, reflect, and dream of ways to continue enriching each other. Process is ongoing. The artists of NW4W are in it right now, soon to share the culmination with you. 

Photos: From Red Eye

Further ways to intersect with Red Eye
https://www.redeyetheater.org/