With a little help from my friends

Art for art’s sake is fine. But art for making a living is even better. How do you turn your ideas into viable productions and secure the future of your company? Sarah Ford, internationally active dance producer, gives the low-down on practical assistance and the legal and financial implications of performer-producer-presenter relationships

Tanz - Logo

When a very talented Australian dance company recently asked me to elaborate on the “very juicy carrot” of the possibility of international co-productions I had dangled before them, I admit I felt a pang of guilt at having mentioned something that could perhaps take years to achieve. On the other hand, it is not entirely impossible. But why do companies want to have international commissions and co-producers? After all, this company has no trouble raising national funding to create its own productions.

Isn’t it enough to simply organise an international tour? Doesn’t this in itself create sufficient publicity and recognition?
Well, the answer is simply “No.” Having several international organisations putting their names to your new production is very attractive to artists. It shows a great deal of confidence in those artists’ future productions. It raises their profile on the international stage, and: the company is no longer a one hit wonder.

Why co-producing?

So, having dangled the juicy carrot, how can it be achieved? My initial reaction was to put things into perspective and to be realistic. Why is it so hard to get international co-producers involved in a new project? A ...

Weiterlesen mit dem digitalen Monats-Abo

Sie sind bereits Abonnent von tanz? Loggen Sie sich hier ein
  • Alle tanz-Artikel online lesen
  • Zugang zum ePaper
  • Lesegenuss auf allen Endgeräten
  • Zugang zum Onlinearchiv von tanz

Sie können alle Vorteile des Abos
sofort nutzen

Digital-Abo testen

Tanz Dezember 2006
Rubrik: Co-Producing, Seite 68
von Sarah Ford

Vergriffen
Weitere Beiträge
Leipzigs neue Tanzakademie

Die vom Sparzwang geplagte Leipziger Oper hat in diesem Sommer ihre Ballettschule geschlossen. Die verbliebenen 80  Eleven mussten in andere Institutionen ausweichen. Zusammen mit einer Eltern­initiative möchte der 43-jährige Neuleipziger Michael Apel (Foto unten: Uwe Meißner) sie nun zurückholen. Die 1996 komplett sanierte Ballettschule der Oper mit den großen...

Yasmeen Godders «I’m Mean, I Am»

Yasmeen Godder in der Kammer des Schreckens: Die neue Arbeit sei ein Versuch, die Leere und Depression im Tanzstudio zu überwinden, bekennt die israelische Choreografin freimütig auf ihrer Homepage. Dazu hat sie sich mit dem Horrorfilm beschäftigt, in der Absicht ihn vampiristisch anzuzapfen. «I’m Mean, I Am» klingt verdächtig nach einem Böse-Mädchen-Manifest,...

Mauro Bigonzetti: "I fratelli - Die Brüder"

Mauro Bigonzetti, as a resident choreographer of Aterballetto in Reggio Emilia, you accepted the challenge of creating your first full length ballet in Stuttgart for the company of the Staatstheater. It is a return to Stuttgart for you – with a particularly challenging task? This is, in fact, my fourth creation in Stuttgart, after “Kazimir’s Colours” in 1995,...