Is it any good? How do we tell? If nobody comes is it shit?

Caitlin Skinner, 6 August 2012

Some thoughts that were shared on the topic:

At what stage to we recognise the process when judging work? Is there space to let artists breathe as they develop?

What do we mean by success? How do artists judge success? Full houses? Critical acclaim? Have to get out and meet the punters, find something they want to come and see. As long as they are happy its a success- if the critics are happy that's a bonus.

It is easy to get too close to the work, have to just come to it at the end. When people say they like it, what do they mean?

It's about emotion connection. Good doesn't sum up how that feels but that is the question people how ask.

You have to look at the question of ‘good’ at different stages- writing-performance-audience response. What does this mean at different cut off points?

When watching a show you have to be open to experiencing it, then afterwards reflect in wether or not the experience meant something- to you- to other people- not to you but maybe to other people? DID IT MATTER?

If it doesn't absorb you its ok- you can take form it what you like. When it is totally transporting, that is when it is good.

Its good when it opens you up iaginatively- aesthetically-politically-emotionally-socially.

Do audiences know what they want? Do we have to provide for that? What is the difference between eastenders and blackwatch? There is lots of good work that people don't see.

The idea of what is good is dynamic and changes within you. Might feel good at the time but not leave anything siginificant a week later. Relationship to the work changes.

How do bodies (sucha s Creative Scotland) judge the work? What are the rules? Work can be life changing for 3 minutes and desperately dull for the rest.

Is it good in its own terms? Not do to with wether I like it or not. Does it work for the target audience?

Do we need target audiences? Can work just find its own audiences or audiences find the work?

Bad art is not a waste of time- mediocre art is a waste of time.

You have to make lots of bad art on the way to making good art.

You have to be succinct about what you are creating because todays audience

receives so much media.

Should there be an audience award in scottish theatre?

How do audiences give feedback? Should they influence what we do?

Have to take the audiences frame of reference into account- have they seen enough work to know that it is good? Are they coming for different reasons (ie to be close to a famous actor) and therefor the experience is about something totally different than weather the art is good or not.

We need to develop audiences. Moving them from populist towards more challenging work. Starts with young people.

Different stages of reflection taken by artists to determine if it is good at different points of creating it.

Does twitter give honest feedback?

Theatre audiences have no voice. How can we give it one? Digital? Personal contact?

Small companies struggle to get hold of audience data- this is a problem. Down to the venues to sort this out and find better ways of getting that info to companies.

Should this matter what an audience wants? Don't audiences want to be surprised?

Need to get an in depth, informal conversation, not just simple questions- this can give

astonishing feedback.

4 year olds give most honest feedback- ask them!

Do we need honest audience feedback?

When you have made the work do you know that its good? Are you still not sure?

Can there be a chance for audiences to review work alongside critics? Try

N.B. Apparently the Susan Boyle musical is actually quite good despite our assumptions.


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