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 […]
I do not imagine a theater, because I live theater, breathe it in and out; I dream it. But, if I had to imagine a theater, then I'd like to imagine that the languages that have been forgotten, which are still spoken in many parts of the world, would be part of this new playwriting.
The sun filters through and different hues dance on the table top and blind my eyes. I’m busy but I’ve stopped, and I run my finger softly over it. Its surface, as smooth as a mirror, seems to form a meniscus around my fingers and just for a moment I’m not sure where it begins and I end.
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.
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.
The play begins / The play does not begin.
The curtain opens on the cold, wintry Atlantic Ocean.
Welcome to my gloss.
I would like the house to be un-crumbled, to undo the damage done by an earthquake, time, distance and neglect, and to place the performance and the audience in that house.