outside light (Page 245)

outside light

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excerpts from interview with Alan Schneider (12 December 1917 to 3 May 1984) & Reza Abdoh (23 February 1963 to 12 May 1995) and the classicism of avant-garde performance, by John Bell

– Beckett left & Schneider right Alan Schneider: … indicative of my whole position, philosophical or aesthetic, if I have any – is that, to the theatricalist guys, I tend to be a realistic director, a Stanislavski-oriented director; to the Stanislavski guys, I’m a theatricalist director. … I will use any and

the structure of rehearsals with book—mementi vitae (or three & four paradoxes of time): contemporaneity, coexistence, preexistence & conservation or coexistence of the past in and with itself [Levi R. Bryant's Difference and Givenness]

the structure of rehearsals with book—mementi vitae (or three & four paradoxes of time): contemporaneity, coexistence, preexistence & conservation or coexistence of the past in and with itself [Levi R. Bryant's Difference and Givenness]

the following is taken (and rehearsed) from Levi R. Bryant's Difference and Givenness, Northwestern University Press, Illinois, pp. 112–125 Regardless of whether we wish to think difference as essence, structure, assemblage, machine, system, or whatever other term we might fetishize to the detriment of actual inquiry, all

from the Lives of the Saints series

make it difficult from the Lives of the Saints series

a festival means holding tight to something wild for the photo opportunity

‘Samey’ could have been misleading in the last post. I meant same-ily different, heterodox and differentiated; each show / event in the programme possessing a clearly separate, a recognisably different, and in sum a recognisable identity. This identity, however, is about marking difference rather than making difference or different. It

here is a piece of shit

Reading through the programme for Auckland’s biennial festival of the arts, struck with two thoughts: we have discovered avant-garde theatre; and it’s all so aesthetically pleasing, visually rich, hybridized, sexy, with striking branding… and samey. Makes one want to say: Here is a piece of shit, visually

the text is that you missed your cue –

the mise-en-scène is flexible in order to cope with absent performers. LeCompte: There are very cued things that I start with, that with this piece, I knew may not happen. More than ever, we may have people coming and going because of the money situation. So I developed