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Simon Taylor

Simon Taylor

https://orcid.org/0009-0008-6687-4647

to self: STOP STOPPING! (a note about a dramatic act)

note to self: remember that each act demands (or deserves) a different approach, a different mood, which is in the characters, as much as the characters are in it; each act is a whole play, in part. And each act feels its own sufficiency. And then is subsumed to a

ТЕАТР НА ТАГАНКЕ (cf. the Wyly theatre)

– Gorky & Chekhov in Yalta [Chekhov] warned the younger writer [Gorky] against ‘rapture,’ reminding him that grace depends on expending the least possible movement on an action … – Michael Pilkington, Are You There, Crocodile? Inventing Anton Chekhov, Oberon Books, London, 2003, pp. 92-3 – the theatre on Taganka Square, in Moscow, former

how do you like your actor your puppet your doll? rigid or soft? Plushie or Anatomically correct?

Can a mask have vision? We know it can grant vision and produce spectacular effects. But without eyes, can a mask have vision? – Mask, Ferdinand Khnopff, c. 1897 We know eyes as an answer to the problem of light. Humanists make the distinction, moralising, that men and women walk in

Residual/Vestigial (neither sublime, nor quintessence or essence)

Residual would be the word I was looking for in the previous post, in which Duchamp’s infra-mince is again at work… …or David Byrne’s sound that never leaves a theatre… – knee play 1, drawing by Robert Wilson …from the knee plays… – for the CIVIL warS, Robert Wilson, the

Between Complexities (Dense/Heavy/Solid): Exploring the Rift (Vestigial/Light/Fluid) between Two Self-organising Forms, Poem & Play: project description for creative and professional development, in part, in draft

What happens when the characters from this play drop the words that up to this point they’ve been speaking, when they forget the expressions and gestures they’ve been rehearsing, and leave the play behind altogether, to walk, like children in an enchanted wood, through the story of Semele,

innocent of everything

Jonathan Kalb tells Heiner Müller that Brecht has never been in fashion in the States, to which Müller, according to Kalb, answers: “”That’s because Americans are all innocents.” The most difficult audiences in the world and “the most dangerous people” are “those who feel innocent of everything.”” – in Jonathan

Revisiting Chekhov, after 20 years’ neglect, with Michael Pennington, who is passionate about his subject, & talks of revisiting the playwright after his own period of neglect. Then, what’s a year to a grand passion? What’s a hundred? Seven hundred?

– Three Sisters at the Moscow Art Theatre Chekhov is also bringing from his journalism a sharp eye for the obsessive, for the ludicrous ease with which we ignore other people’s needs. This is a farce technique, but now used for something a farceur hardly aspires to: a hymn to