In this paper I aim to explore the different styles of event creation and the diverse dynamics developed among staff, technicians and hosted artists when independent productions are staged in institutionalized structured settings. This necessity arose when reviewing the process up to the final staging of Koumaria Residency (2011) at a high profile commercial art center. As a result, of this experience, in this paper I am going to study the bidirectional relationship between the multidisciplinary character of the independent artist (artist/producer/director/manager); his/her flexibility of handling matters in a commercial environment and the professional staff with very precise and hierarchical boundaries and their dealing with an improvised show like Koumaria Residency is.
First and foremost, the existing hierarchy that exists between technicians and employees in decision making when working in a high profile commercial concert hall, comes to a pull and tug relationship with members of independent improvising productions, often rising issues of control.
My intention is not to judge the institutionalized art system nor to critic multidisciplinary improvisational artists. On the contrary in this paper I will give examples of problems that arise the manner they are confronted. Many are solved some remain because they need retrospection, time and dialogue. I will propose a production structure that could be set as a paradigm for the independent producer/artist/technician to follow. New channels of ongoing communication can be formed which are at many levels to the benefit of the cooperating parties.