* dialogue progresses the action. At least in conventional theatre it does; and I am starting with dialogue because dialogue usually covers speaking, where there is more than one of them, roles in theatre. * there are two types of action: conscious and unconscious. It would be a mistake to consider the

Ricky, Nick, Chen, Chenby, Mike, Alex, Rachel, through Ricky's recommendation, Ann, Kwan and Yuka from about 4.30: I talked too much but explained the notion of gesture, its double constraint, the one I impose by asking you to put the actor's gesture who leads the

Finding myself writing about character in the journal I'm keeping on Minus Theatre workshops, it is in respect of character, of the curve of character, that this short note is the asymptote. I read Jess Walter's novel So Far Gone, 2025, and requested the other three

is the power of affect more than that of affecting and being an agent of affect causing it. This I was thinking on my way to the workshop at Ellen Melville Centre. The thought grew from the perspective of David Lapoujade, in his small book Powers of Time, 2018 translated

In the workshop I did recently, run by author of Matter of Fact: Talking Truth in a Post-Truth World, 2018, Jess Berentson-Shaw for those who work in libraries (there is no guarantee anymore they are librarians) about countering false information, certain statements were made I wrote down that are the