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Time lost along the way: Gone or Lost?
Let’s imagine a duration without regular pattern. Nothing in it is recognizable, nothing ever recurs. It is just a duration […]
How can we rehearse for a future we don’t have an image of?
What if we define values, principles, and methodologies, resisting the pressure to define outcomes? What if we focus on what drives us and on how we want to live and work together, but leave the imagination open to the concrete shapes our collaboration can take?
the theatre that I do not wish to imagine but wish to have
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?).
performance score built with undated performance notes
sharing rhythm creates a political question about who determines rhythm and when trio in unison, with the possibility of becoming either backup dancers or soloists open-ended and absurdist and nonsensical shame as part of gaze
The Flowers of Manshiyat Naser
Under El Sisi, where every inch of the city is controlled by the army, censorship spreads like a plague, and the possibility of any form of creative expression in the public space – especially graffiti, which was an extremely important medium during the revolution – is close to nil. And so the appearance of a work of street art on such a gigantic scale is phenomenal.
night dreaming
Cycling through the city, I sketch out our theatre. I imagine the possibilities of claiming these spaces for performance instead. A multitude of contexts, rooms and stages for artists to create the tiny and intimate, the bold and epic.
feast
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.
WEST END EATS ITSELF IN GAY PC SNOWFLAKE BLOODBATH SHOCKER
Eddie Redmayne has gouged out his own eyes on the steps of the National Theatre after having come under fire from disability activists protesting his plans to play Lear. His long-anticipated return to the stage looks set to break box office records. Kevin Spacey makes dazzling Old Vic comeback starring in play about his own downfall.
Dear Joan
A theatre foyer. Night. It is empty. The doors are locked. But if there were a woman there...