Monday, 16 August 2010

Creation according to Cathie Boyd

Cryptic's very own Cathie Boyd explains 'Creation'

You talk about creation. What do you mean by this word?

"Cryptic refers to the word creation for rehearsals and the creative process – a term we learnt through our collaborations with Montreal based artists. The word rehearsal is derived from the French word repetition (to repeat), which is too narrow for the creative process. We believe that creation allows for a more open mind. We only enter a rehearsal period once the work has been established, usually after its Premiere and before we go on an international tour.”

Please describe the creative process?

"The company conducts one project per year. Initially the director and artists such as visual artists, composers and performers come together for a period of about four weeks. During this time we review ideas. At the end we usually stage and record for internal use what we have created.

After a three to four month break we return to creation to develop the work further over a two to three week period. During these first two stages the company works as an ensemble. It is only in the third and final stage that I adopt a tunnel vision on what we want to present on stage. In that final stage, which usually lasts for about six weeks, we involve a full technical team for the last two weeks.”

Why do you apply this staged approach?

"We utilise this method of creation to provide a supportive environment in which artists can take risks. Giving artists time and support to experiment is the best way to continue developing innovative and multidisciplinary projects. This way we can also pay attention to detail and produce quality work."

Is much of the work created in residencies?

"Part of the creative process takes place in residence. The idea is to remove the company from city distractions which affect creativity. We have found that the work developed during residencies is of a higher level. This is the result of being able to focus entirely on creation.

Past residencies have included a collaboration with The Shamans from Hungary during two weeks in Shinaz Talia, Budapest, developing the choreography of Prologue (1998). We spent three weeks in Riga, Latvia, in 2000 to develop the movement of the Latvian Radio Choir in Black over Red. We have also been in residence on the Isle of Arran and many times at Cove Park, Scotland."

What are your reasons for operating internationally?

"With each new work we collaborate with artists from different cultures. We want to learn from them, looking at their approach to creation and involving their creative skills to stimulate our development. Since 1994 we have worked with artists from France, Canada, Denmark, Ireland, Hungary, Belgium, Scotland and Latvia. This has not only improved our work and given it a unique quality, but also offered us the opportunity to tour and present our work at festivals throughout the world."