GRIFFIN ARTIST BLOG

Griffin Artist Card membership is an initiative to increase access to our theatre. This program facilitates the coming together of artists across different disciplines and at different stages of their career. It supports and strengthens a vibrant emerging artist community, as well as acknowledging this community as an important part of the Griffin family and the wider theatre world.

How does it work? We want to offer a place where artists can see work, discuss work and make work.

To see work, we will continue to offer heavily discounted $15 tickets, which can be booked in the first fortnight of all Griffin and Griffin Independent shows, Performance Space shows at members' rates and ticket deals and giveaways to other theatre companies.

To discuss work, we are introducing regular Artist Card events where the community can come together for a drink.

And finally, we are supporting emerging artists in their making of new, bold and exciting work. Griffringe will continue to be a great avenue for artist card holders to display their work. We will also be offering (where possible!) free use of our space for readings and developments.

The Artist Card is a community. It is the glitter glue that brings all the cool amazing arty people together and helps them sparkle. So it's almost like glitter glue squared. If you are interested in joining the artist card outfit, please email artist@griffintheatre.com.au or come along to our next shindig….Hope to see you there!

Posts tagged Jane Campion

Apr 30

DAY #3

Back to Van today and The Bull, The Moon and the Coronet. The piece had a reading at Merrigong Theatre on Saturday, apparently to resounding success.

OK, so. Things learnt today.

1. If you dig symbolism as a playwright, you must always keep the question ‘how does this symbolism drive the action?’ tucked behind your ear.

2. If your play is veering between being a play about the past and being a play about now itmustbe a play about now. I can’t stress enough how much this was made a point of today.

3. It is always better, if your play is based on real-life events (eg. if your characters are modelled on relations, etc), that you find out what actually happened rather making shit up. (That’s verbatim, people).

4. If you are at the video store right now, hireIn The Cut, a Jane Campion film with Mark Ruffalo and Meg Ryan. It’s much hated because of its promotion of feminism but it is well worth the watch apparently. Mainly because it is a perfect exemplar of a perfect relationship, which may only be achieved once women have understood violence and men helplessness.

5. Never forget the value of the diegetic. You, as a playwright, must put us in the realness of your world. For this, exploring the sensory faculties is very useful, although don’t overdo it. Good one.

Another day, another draft.