I think the most important ideas outlines by Roberta Uno are "Go there" and "Commitment to the unknown". "Go there" is important because it encourages openness to new mediums and perceptions of the world, which is an essential attitude for artists working across such a broad range of topics. "Commitment to the unknown" encourages activist artists to go and seek out the gaps in the canon or their person practice rather than passively waiting for those changes to be made by others.
Uno's percepts resonate in my practice by encouraging adaptability and engagement with alternative methods.
The type of theater Roberta Uno described reminded me of storefront churches because of the emphasis on community and internal support over external.
Bitter though it may be, when I reached the self-care portion of her list, I wondered where technical crew came into her grandiose vision of healthy theater boundaries, especially given the extremely fickle nature of design in the workshop-type process she outlines elsewhere. Another question I had is who she considers responsible for the curation or integration of "the further margin" into established theater spaces.
Uno's percepts resonate in my practice by encouraging adaptability and engagement with alternative methods.
The type of theater Roberta Uno described reminded me of storefront churches because of the emphasis on community and internal support over external.
Bitter though it may be, when I reached the self-care portion of her list, I wondered where technical crew came into her grandiose vision of healthy theater boundaries, especially given the extremely fickle nature of design in the workshop-type process she outlines elsewhere. Another question I had is who she considers responsible for the curation or integration of "the further margin" into established theater spaces.
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