I remember how in Italy people would sit and talk with you non-stop in Italian even if you didn’t understand a word.
I have so much news coming in from all around, but none telling me if I have any jobs… so I am just sitting here stressing waiting on about four responses…
And now it is the weekend, so I just need to find a way to forget about it! I’m obsessing…
The Rocker wrote about how a Japanese speaker and a Chinese speaker both able to speak English and French could really grab a corner of the Asian performance market. It’s true that the Asian market seems critically underdeveloped in terms of creation of modern work. It’s frustrating when you see the raw talent of the performers here without any modern projects to showcase their energies. If we could combine the Asian way of doing business with the Western way of creating shows, we have the potential to open the Asian market in new ways.
The Rocker has a good base in Taiwan that has a lot of what I should be working to set up in Tokyo: investors in new styles of performance, production know-how, etc. What we need to do is pull these investors’ information together so that we can pitch some sort of project ASAP. Things move slowwwwwly here in Japan. There is the obvious downside to that, but the upside is that we do not need to wait until everything is figured out to pitch our idea. I think that some of the logistics will be cleared up as investors speak with producers.
It seems that Cirque du Soleil is working on a “Cirque du Soleil: The Music” show which travels in areas instead of in big tops. This is a very interesting idea that could be adapted to our work in Asia. I have been in some venues in Japan that could be really well-suited for such a project – spaces that are on the scale of Tohu, but industrial-looking and very flexible.
The project in Taiwan is going to be a two-week performing arts festival (street performing and circus and modern dance, mostly) in Fall of 2006, so I need to make sure my two Adco producer friends here and my Global Live Entertainment in Singapore are on the invitee list.
The Rocker wants me to assist in the direction, coaching, and fine tuning, which is very cool, but he is also open to me performing as well. He just wants to make sure that we keep moving forward. As he says: “there is a demand for creation of modern circus/multi media here in Asia, we know how to do it, and if we want to keep our visa papers and all that shit, well, money talks!! And it talks the same language as my girlfriend’s father!!!”
I hear that. Just in case things fall through here in Japan in the short term I’m thinking of trying to find work in some capacity in Taipei as a contingency plan to get me through this dry patch.
But the big picture is exciting! If The Rocker can establish himself as the leading creator of modern circus in Taiwan and if I can keep developing my production ability, we could solidify our relationship to eventually set up some sort of all-Asia event producing company starting with a joint Japan-Taiwan strategy that connects Taiwanese investors to a larger audience.
The missing link right now is a Japanese company that would be interested in bringing a new circus/multimedia show to tour Tokyo within the next two years. Time to write some emails….
Maybe I am worrying to much about it, but this plane that is supposed to carry me out of here in 2 1/2 weeks has me worried.
If something is going to happen, it has to happen soon!