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Simon Taylor

Simon Taylor

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

fifty-first part, called “subject matter LI,” of a series of ‘letters’ written to you, the reader, towards a book called, theatre | writing

subject matter Suppression, repression: theatre suffered these for politics. It led to a reversal of roles, but we can only speak of a role reversal in view of theatre, and of the surface with limitlessness in its potentiality, because this is where it occurs. However, there also looks to be

some lines out of Marina & Sergey Dyachenko’s Vita Nostra from the dark academy & the Ukraine + two works by Ivan Marchuk

Everything would amalgamate in front of her eyes, and then clear again. Strange harsh outlines swam out of the darkness. Sasha saw a city, sharp roof peaks, intertwined ropes and wires; one-dimensional creatures, brown like coffee grounds, jumped over them like fleas on unwashed hair. Resembling check marks drawn with

Arriaga, writer of Iñárritu’s “Trilogy of Death,” the films, Amores perros, 21 Grams & Babel, his immersive novel, The Untameable, some lines from it illustrated with works by David Gremard Romero

With pain, at least it feels as though that part of the body is still alive. Numbness is a near certainty that something in you has died. — Guillermo Arriaga, The Untameable, translated by Frank Wynne & Jessie Mendez Sayer, 2021, p.13 the story of David and Absalom … Faulkner had

five questions to assess whether you are human

…”five questions Laurie Anderson had shared with [Sam Anderson], “a sort of test that she uses to figure out whether a piece that she’s working on is good or not. And she said she thinks about this every single creative project, every single medium, whether it’s a song

Camille Paglia & others in Electric Ghost

I recommend David G. Hughes’s interview with Camille Paglia from an online magazine I will be reading more of … when I’ve finished the Cristi Puiu interview… Electric Ghost is here

thirty-third part, called “subjective powers XXXIII,” of a series of ‘letters’ written to you, the reader, towards a book called, theatre | writing

subjective powers The three subjective powers rely on a surfacing constituting their positivity: only at the surface can they be constituted in their positivity. That is, mobilised. Whether they come from the depths or from the heights, as obedience seems to, on the surface, or at the surface, new passages

thirty-first part, called “the subject XXXI,” of a series of ‘letters’ written to you, the reader, towards a book called, theatre | writing

the subject That a beginning actor brings to the stage something of which she feels she is about to be dispossessed is why the notion of sacrifice, that runs through Blau’s reports, manifestos and theoretical writing on theatre, still holds true. Where a selfish actor remains intact, identifying the