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. . . it was Ethiopian, came in a small block of stone, cost noncompetitively @NZD5, but that was not all: this café, called Passion with a symbol for wheat, advertised itself as a bakery, we were hungry for breakfast bread (it might even have been the day I arrived, since I got

. . .the King Abdullah Financial District, where the above is shot, with the collection of signature architectures, and before that the neighbourhood where I am at present, and before that Doha, the rain forest, and if you look there appears to be a bright-winged bird. . . then we did a tour of

On page 29 of (Andrew Goffey's translation, Minnesota 2018, of) David Lapoujade's Powers of Time: Versions of Bergson (French: Puissances du temps, 2010) we read: The free act is the integral of the whole history of the person—the integral of its sentiments, its thoughts, and

as I wrote in Minus Theatre workshop 8 this is to be a short report. Schematic even. Drawn from notes I have brought with me to Riyadh. * movement for primitive organisms, cilia and flagella, rolling, swimming— —is perception: single-celled organisms move in the outside world with the same parts as

* 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