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 […]
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 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.
that moment before something is about to happen where anything is still possible in between this is where you are stuck
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.
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
KRISTINE: I’m pasting. I’m pasting.