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PRACTICING USEFUL FEEDBACK | LIZ LERMAN'S CRITICAL RESPONSE PROCESS
CSC Garage Nardini in Bassano del Grappa has been, for many years now, the pivot and promotor for growth and involvement of the audience, not only through artistic proposals dedicated to contemporary dance, theatre and performance (that have been widely appreciated during the annual Bmotion festival), but also thanks to the thorough residency scheme that attracts artists from all over the world. An example of this bridge between the artist and his or her audience is the opening of the research process at the end of each residency, in which the latter is invited to experience the outcome of the week of work. It's open to everyone, and it's free.
It is within this frame that we decided to experiment Liz Lerman's Critical Response Process (CRP), a feedback method that aims at the development of the artist's work in progress through a 4 step dialogue between the audience, the artist and a facilitator.
We began by introducing the process to our audience, by describing each step in detail. Here is an outline of the process in its 4 steps.
The CRP always takes place after the viewing of a work. The work can be of any length, any type and at any stage in its development.
THE CORE STEPS
- Statement of meaning. The audience say what they found meaningful, evocative, striking and exciting in the work. This needs to be a positive statement.
- Artist as questioner. The artist asks questions about his or her work. Ideally the questions are formulated in order to require and articulate response as opposed to a yes/no answer
- Positive example: “It would be useful to know how this section was for you in terms of timing."
- Negative example: “Did you like the music?”
At this stage of the process the audience is allowed to express opinions if they are in direct response to the question asked by the artist, and if they do not contain suggestions for changes.
- Neutral question. Audience asks neutral questions to the artist about the work, the artist answers. Questions are neutral when they do not have an opinion imbedded in them.
- Positive example: “What idea guided your choice about lighting?”
- Negative example: “Why was it so dark?”
- Opinion time. Audience state opinions subject to permission from the artist. The form in which the opinion is given is set and is:
- “I have an opinion about...would you like to hear it?” The artist has the option to say no.
After going through the steps of the process, we organized a try out session with the audience, that was composed by dancers, dance students and teachers and general audience.
We showed a short extract from "Two Playful Pink", a duet by Israeli choreographer Yasmeen Godder dated 2003, as an example of a contemporary dance work.
The aim of this exercise was to deepen the articulation and knowledge of the group and challenge the associations that might arise from this work.
Our desire was to overcome the use of the words interesting, nice, and we don't understand by providing tools go let go of a linear approach to watching dance. We wanted to facilitate the making of connections, associations, and articulate responses.
We divided the participants into smaller discussion groups and followed their conversations, facilitating each group to elaborate an articulate response to the work and share it with everybody.
We also invited the group ABCDance blog (which Silvia is co-founder of): they followed the meeting and documented it on their blog, giving feedback about the communicating aspects of the afternoon and or/sharing their thoughts on their website.
What stayed with us after listening to how the participants organized their feedback not only on the piece but on our work with them throughout the day is:
- a necessity to exercise openness in the viewing of a performance;
- a need for reflection as to how we approach the viewing of a piece, what we bring to the theatre with us, how we sit in the audience and what we need from the encounter with the artist;
- the importance of reflection on the work as a tool for development of sophistication in listening/reading/feeling a dance pièce;
- an interest from the audience to receive tools, structures and elements that can refine their approach to watching dance.
We formulated some written questions for our participants about the CRP, our work and their approach to viewing a dance performance, here are a few responses:
- How do you feel this method is useful to the artist and his/her audience?
- I think that having a communication method that is so precise gives useful and objective information, without barriers or banalities;
- I usually come with pre-assumptions and keen on being judgmental, for me it's a good tool to allow my mind to be open to unexpected paths.
- It gives the spectator a starting point to analyze and understand the work and to feel somehow useful in the development of the work itself.
- How do you talk about contemporary dance to people that have not encountered it?
- I try not to express opinions but I invite them to come see it.
- I talk about the beauty of a live event, underlining the potential and fragility I believe it has being unique and unrepeatable.
- I usually don't.
- Leave a comment on this workshop. What staid with you? What questions does it bring up?
- Before coming here, when I watched a performance, I would discuss it with the people that saw it with me, in a superficial way and with not much depth. Now I have the opportunity to approach performance in a more critical way and without stopping at my first impressions.
- I will surely watch the next piece from a different point of view. I will ask myself more specific questions, I will have a different approach, a different attitude, I will be more open. My feedback is positive: you found a simple way to look at concepts that for me have been very difficult.
- I found the way in which the method was presented very clear and the way of working in groups very functional. The atmosphere was pleasant and not too serious. Thank you!
After this first experience we would be interested in proposing other feedback sessions, we would like to keep inviting not only general audience but make the sessions also specific to dance teachers, that could find it a beneficial teaching tool as well. The aim? Cultivate an audience that is critical and responsible for the artistic work.
Giorgia & Silvia
