outside light (Page 281)

outside light

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day 10 @ the soap factory

a method of continuous production – meaning that fresh ingredients are added to the mixture up above, while down below, the finished product is drawn off … – RJF Project (pages opposite) I might have said at some point, in respect of documenting the process of forming these texts – RJF project – into dramatic

necessary elitism and the gratuitous scratching of your ear

A work of art asks to be judged by a standard which has no meaning for the majority of its spectators. – David Hare, Obedience, Struggle & Revolt, p. 14 On the same page, David Hare continues, about the film, Sylvia, a biopic on Sylvia Plath and Ted Hughes: An actor

the contract with the audience: day 9 at the Soap Factory

Critics love to reiterate the uninteresting idea that theatre depends on conflict. But actually it doesn’t. It depends on engagement – engagement between the action on stage and the audience which attends. Screaming and shouting don’t make a play. Nor do swordfights. Lectures and plays are alike in relying

at the sf, inconvenient glaciation: Day Eight

You can phone your glacier and listen to him die. – BBC World Service, Go Digital, 12/6/7 There is demand for this product, allegedly. Developed by Vodaphone Germany and demonstrated – ‘exhibited’ would be too strong a word – at the Venice Biennale, it gives you a realtime glacial death-rattle and

the meniscalist

A cotton shirt, ironed smooth, should lead the eye down to good tweed trousers, just as a crafted and cut sentence blends into a second thought as it finishes with the material of the first. – Gerard Donovan, Schopenhauer’s Telescope, Simon and Schuster, London, p. 12

excerpts from a slim volume which ends with Beckett rather than with Brecht and points to a practice that in the silence can’t go on but does

At its most fundamental, authentic belief does not concern facts, but gives expression to an unconditional ethical commitment. – Slavoj Zizek, How to Read Lacan, p. 117 the paradox of surplus-enjoyment at its purest: the more the object is veiled, the more intensely disturbing is the minimal trace of its remainder.

some days at the Soap Factory there are no interventions that so offer the possibility of summing the whole thing up

Mexican soap operas are shot at so frantic a pace (every single day a 25-minute episode) that the actors do not even get the script so as to learn their lines in advance; they wear tiny receivers in their ears that tell them what to do, and they learn to