Performance strategies for more-than-human audiences
I. humiliation Move continuously to humiliate yourself. This can be done as a solo, duo, or group practice. Consider the […]
I. humiliation Move continuously to humiliate yourself. This can be done as a solo, duo, or group practice. Consider the […]
Let’s imagine a duration without regular pattern. Nothing in it is recognizable, nothing ever recurs. It is just a duration […]
The remembered theatre used to be, and could be again, made of a simple composition. It begins with a worn […]
The theatre that must exist is ugly and unsatisfying, much of the time. It is defined by failed efforts and a bizarre-bordering-on-pathological determination to return to the scene of the crime (in this scenario, artists are the criminals; art is the bullet; guess who the victims are?).
It is raw, it is real, it is happening with you in the room and can only be experienced in the “here and now.” It is open to a multiplicity of heres and nows depending on the realities, perceptions, localities... of those present.
A theatre foyer. Night. It is empty. The doors are locked. But if there were a woman there...
Dangling in mid-air like a thrust-out tongue, an oval-shaped rocky surface extends from the mouth of a cave to form a rough-hewn apron stage in the middle of a mountain.
Duse’s superpower: her capacity to disappear, leaving only her plaster hands as evidence that she was a material presence in the world. Disappearance. Reproduction. She knew the theatrical drill.
It’s an experiment in placing the private in public, says the director—a device HE will learn to use well in the many years to come.
In the end there is not nothing. In the end there is endless everything.