journal

. . . the happy discovery of a local supermarket with fresh produce, served by a man with a sideways head, his head resting on his right shoulder (who, after that initial encounter, greets me warmly, the second time doing a dance like the dwarf in Twin Peaks), canned, bottled, 0.0 beer

. . . cats, a theme of Türkiye too, here less the public deities they are there, but fed, loved, never possessed. I have so far seen one dog, and there was a dead dog on the drive out to Ushaiqer, أشيقر. . . note the loop with the diaeresis, a very unusual sound to

. . . 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

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