journal

. . .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

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

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