I’ve
got an itch it’s a Scratch.
For sometime now this word has seeped into
the plethora of wanky words solely used by live artists who didn’t really
understand what it meant until they applied for one.
I believe the word originates from Battersea
Arts Centre (I’m sure a performance artist will email me highlighting the fact
I’m wrong, again as it was actually developed by an underground American
actionist reenactment group - niche), they describe their scratch program as ‘new theatrical
ideas developed by artists and shaped by audience feedback’ – in short
scratching is a group of unpaying punters in a room with feedback forms looking
disappointed at someone covered in eggs / paint. Here is my beef - the act of
scratching is basically a cleverly rebranded ‘work in progress’ by arts venues
with abit of space to whore out, a way of showing an audience of about 30
people (usually other artists with their own agenda and feelings towards your
work), an unfinished, unformulated and underdeveloped idea which future is
decided by said feedback forms.
Now unlike most Scottee beef with the world
of performance I have done it and have the insider knowledge. I previously
scratched and found it a hard task, which ultimately wasn’t rewarding and
became increasingly frustrating but the ‘scratch night’ is growing ever popular
around the UK art scene and I’m not willing to go down without my say. Do we
really want our work practice to entail asking other people if our ideas are
good enough before we really work and commit to them? I feel scratching is abit
half arsed – ‘here’s an idea, its just an idea, can you tell me if its good
enough before I put some effort into it’ – Could you imagine if Adele released
a scratch album or Hurst invited you to a scratch gallery show? What happened
to the art of risk taking in performance? God knows how many artist websites
contain the phrase ‘risk taking’. Most scratch programs are unfunded too, this
means the artist is just given space for the entitlement of the scratch and any
box office sales are kept by the venue or split 50% / 50% (the likely hood of
getting this back is small), well above industry standard – fair trade dear? It's also worth noting spaces apply for Arts Council funding to run these programs and still take their share.
Now I’m not saying work in progress isn’t
progressive and that everyone need burn their scratch proposals but formats like
papering (comps to industry folk during a run), previewing and ‘Pay What You
Can’ nights are more effective and in my world fair.
I think this blog has come from the launch
of BAC’s ‘#DigitalScratching’ – a live, online platform – because what we really
need is another way to scratch / hash tag.
Since when was theatre/performance/stuff sitting in a room with broken windows, one light, 3 chairs and broken toilets an enjoyable experience for artist to make work in or audience to view it?
Since when was theatre/performance/stuff sitting in a room with broken windows, one light, 3 chairs and broken toilets an enjoyable experience for artist to make work in or audience to view it?
I think its time we put our necks on the line, stood by
our ideas and rehearsed them in nice heated rooms with tea for a length of time. Learn your craft treading the boards and feeling the crowd, ask yourself if it was a good show and what could be improved. Lets make work for real people not other artists. If an audience of paying punters doesn’t like your ideas then at least we can all
say we have tried, failed and learnt rather than attempted, pretending and
procrastinating (with forms).
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