PushPush Announces Plans for Artistic Ensemble in 2010

As part of a two-part strategy to address individual artist compensation, PushPush will create a small artistic ensemble for collaboration, creation, and international touring for 2010. Beyond career development, the immediate priority for the project is financial support for up to six individual artists.

Over the last 14 years, PushPush has faced the recurring challenge of how to reduce what we've deemed "artist churn," or the turn-over of part-time performing artists, contributing to a lack of focus and decreased quality of work. The individual artist is our greatest asset. Therefore, we've focused our work at PushPush on improving results for and from them. For many years we've wanted to focus on a small core group to provide (for the wider field) better understanding and concrete examples of artistic planning and resource sharing, and their results.

"When regional theaters need artists today, they outsource: They ship the actors, designers, and directors in from New York and slam them together to make the show...theaters have gone from a local league with players you knew intimately to a different lineup for every game, made of players you'll never see again, coached by a stranger, on a field you have no connection to. Mike Daisey ("How Theater Failed America")

The ensemble is one of two measures being developed by PushPush to address sustainability for individual artists. The first step was the creation of New Street Arts' individual strategic planning and open-source strategies to aid our film and theater artists.

This 2nd measure, the new ensemble, will work together with PushPush's artistic planning strategies to provide specific examples of how individual artistic planning can create the building blocks of a more meaningful and sustainable career. The ensemble will expand upon our international exchange program, The Portal Project, and will directly engage a small group of theater and film artists in 3 phases over 18 months.

"Those who run theaters have responded that such an [ensemble] approach would limit artistic choices and does not reflect financial realities. Nonetheless, ensembles drive artistic agendas and serve as marketable brands, and often result in the very best kind of theater." Chris Jones, Chicago Tribune

THE PLAN FOR THE ENSEMBLE'S CREATION
The plan for creating the ensemble will begin in August with a series of workshops. These will continue through December and will facilitate relationship building in a hands-on environment. Workshops will be open to all artists in a variety of disciplines, but with an eye toward building deeper relationships with those interested in creating new work with a small group of international and American artists.

Using our existing network of artists, these workshops, and the projects that result, PushPush plans to identify potential artists now through November, hoping to finalize the group by December. A formal announcement about the ensemble will be made on New Year's Eve at PushPush's annual bash.
January will be used to strategize around the ensemble's collective and individual objectives and plans to achieve their goals. Because of the Portal Project's international success toward the establishment of various venues in which it is now possible for PushPush to produce work, December and January will also be used to strategize with the ensemble about the future use of the PushPush facility in Atlanta.

Ensemble members will participate in rehearsals, workshops, performances, planning sessions, and tours, and will be asked to look toward the creation of a more permanent ensemble. However, artists need only to officially commit to participate for an 18-month period. After this time frame, if needed, the group will redevelop.

WHO WILL MAKE UP THE ENSEMBLE?
PushPush aims to assemble a group of skilled artists with a thirst for risk-taking. All artists interested in making a case will be considered. For consideration individuals must:

• Complete at least one (preferably more) of the workshops offered prior to November.
• Submit written interest along with specific artistic plans by October 15 (ask PPT for planning info).
• Have good working relationships with other professional artists as measured by references.
• Be able to commit 20-32 hours per week to workshops and rehearsals for 18 months. Be able to travel for up to two 2-week periods.
• Some preference will be given to artists who show proficiency for risk-taking, have worked professionally in their priMary Field at least twice in the last year, and are able to lead workshops.

THE FINANCIAL PLAN
There will be an initial 90-day trial period where artists will receive a base stipend. During this time ensemble members will define roles and begin work-plans that will help generate additional funds. After this period, participants will receive a part-time salary and will also be able to, if necessary, maintain outside work. Through individual and group planning, artists will strategize about the growth of the ensemble work and income and re-evaluate progress quarterly with the aim of creating livable wages through performances, workshops and development activities by the end of the first 9 months.

As part of the project, these artists will develop personal artistic plans for the short and long term. The money raised for the project will be combined with outside funding to pay the ensemble members an initial stipend, followed by a weekly salary for 15 months.

The goal is to create a core group of artists that will: (1) initiate and create new productions, (2) advance the quality of the work, and (3) lead workshops that develop new artists. The personal artistic planning and the residency itself will generate additional revenue to support the ensemble creating a self-sustaining model after the first year. Performances, workshops, and salaries will all result from the strategic planning efforts and will provide clear metrics for future funding of the project.

WHAT WILL THE ENSEMBLE DO?
From January 2010 to July 2011 we will work on individual objectives, steps toward achievement, long-range plans (to be published on the web in January of 2010), and on the collaborative creation of 2-4 additional film and theater projects aimed for international touring during the 18 months. The ensemble will spend 20-32 hours a week in residence at PushPush to produce at least one original touring show and a new film series, both of which will ultimately create original opportunities for the larger Atlanta arts community. These projects include, but are not limited to, several of our newest film/theater endeavors such as: Channel 4, a new film/theater series, Carrying Cathy, an interdisciplinary performance on the subject of judging quality, and GRFX, a bi-lingual film/Internet series which takes place at a graphic design company with offices both in Berlin and Atlanta.

For more information about PushPush check out their website at www.pushpushtheater.com

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