By Tim Etchells
An exploration of what lies on the center of latest theatre. Written through the creative director of compelled leisure, it investigates the method of devising functionality, theatre's interdisciplinary position, and the city's impression.
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Extra resources for Certain Fragments: Texts and Writings on Performance
It was all Victorian family values, back to the 70s, back to basics, back to square one. Hadn’t Bush said he was going to make the country a lot less like The Simpsons and a lot more like The Waltons? Cathy: We knew something strange had happened to time. At night we lay in bed and waited for the Zeppelin raids to start again. And every time we heard the word ‘history’ we felt sick. And everyone said time didn’t matter any more— and distance didn’t matter any more—everything was immediate everything was NOW.
They drew a map of the country and marked on it which roads were safe, which places one could sleep in without fear for one’s life. They marked on the map which cities were still functioning and who lived in them. They marked on the map the places where the phone system was still operating. We drew a map of the country and 45 46 Section I tried to mark on it the places where one could still fall in love, the places where one could still believe in something. ’ On Risk and Investment On Risk and Investment was written in May 1994 as a kind of public provocation, in response to an invitation from Alan Read, who was then head of the Talks Department at the ICA.
Will it change you, will it change me, will it change things? If not it was a waste of time. Play On: Collaboration and Process This piece was written for and first presented at a seminar on play and performance in Leuven, Belgium in January 1998. The considerably expanded version here makes use of material I presented in Wolverhampton during a paper I gave there in 1995 on creative process and collaboration. The essay is a fragmented, speculative account of our own process, an anatomy of collaboration and an investigation of the role of play itself as a force of transformation, subversion and resistance.