First of all let me say that I'm really excited about the project's
potential and the level of discourse has been really great.
I am a playwright and producer in Chicago and have been lately working as a
producer so I'll just offer my observations in the context of the projected
Oudeis presentation scheduled for October 1997.
Typically, as you all know, with conventional theatre production begins with
a finished script and an artistic vision. Budget and theatre space then
determine how the project will proceed and eventually affect the final
presentation.
Oudeis is definitely a unique project and the technical element is a major
portion of the project. Oudeis, as I understand it, will not have a
conventional script but will have some sort of performance plan. Certainly
the story of the Odyssey will affect what sort of technical equipment we use
(and determine use of space) but likewise the technology used will affect
the story as well (also the perfomance locations - as we have already
discovered regarding choice of languages).
It seems to me that at this point there are two ways of proceeding:
1. Continue the creative dialogue, develop the script or performance plan,
THEN determine the technology needed and identify performance sites that
could support the needed performance requirements. In this case, you would
present prospective producers and funders with the performance plan,
required budget, and technical requirements.
2. Identify the sites immediately. Develop the script given the technical,
cultural and production backgrounds of the various sites. In this case you
would probably have to limit or identify primary collaborators (bring
together the creative team). Once the team is identified, you would then put
together your fundraising package, targeting the cultural, political, and
technical institutions that may have an interest in the Oudeis project.
I think each alternative has its good points and bad points and would be
interested in hearing thoughts from others involved in the project.
Looking forward to more dialogue,
Dan Zellner