Making A Show For Touring Limits Creativity, But There Are Ways Around That – Maas

Theatre-maker and co-founder of the Pan-African Creative Exchange (PACE), Erwin Maas, said creating a performance for the strict purpose of touring, limits one’s creativity and imagination, which should both be allowed to run free.

Maas made this known at a workshop class he facilitated at the just concluded Abuja Fringe Festival, featuring state delegate and students of the Federal University of Lafia, Nasarawa State.

“I don’t make a show for touring. I create a show and if it tours, so be it. I think it’s a manner of putting the cart before the horse. Art is not something to be restrained. As a creator you shouldn’t limit your creation or imagination, which is what thinking that way does. You need to dream and fully flesh out your imagination.”

However, recognizing that most Nigerian theatres owing to lack of resources create theatric performances of the most basic designs, and less technicality, he suggested other ways around the dilemma.

He noted that while technicalities of a production are important and will come-up at international festivals, Nigerian theatre-makers should begin by asking important questions.

“The questions you should always ask are: What story am I trying to tell? Why am I telling this story now? Are you making something that is really local, and speaking to a specific society or community? Also, think about the universality of the production’s theme. How will it speak to audiences elsewhere?”

“Also, be curious about other peoples’ stories. Don’t just be interested in yourself or what you want but other peoples’ stories as well. As you think of what you are selling to audience elsewhere – focus on the language of art – passion, emotion and curiosity.”

Similarly, the ex-director of the International Society for Performing Arts (ISPA) and the International Performance Society for Youths (IPSY), urged the participants “to yourself and recreate your production wherever you want to tour, with local actors in that community.” To overcome the challenge of casting unknown local actors, he suggested using one’s networks at foreign festival to reach out to the local acting community, and to host auditions.

Lastly, he urged actors to view themselves not just as actors but creators and theatre-makers.

“You can’t wait for a director to come to you. You might have to wait for a long time. You can create work for yourself to perform. As actors you can form a company yourselves and create works to perform.”

Addressing the universal obstacle of funding for all artistes and artistic groups, Maas urged theatre-makers to look outside of the arts space for NGOs or Science or Education funds. “These funders are more interested in seeing an artistic approach to their projects. Try to be flexible up to a point. But don’t throw away your artistic integrity,” concluded Maas.