I think of this kind of work as a composition of text, image, sound and movement.
My thoughts on this article in 2018:
It is always of interest, if a little excruciating, to read previous writing arising from a particular moment of your life. I distinctly remember my first encounter with Hans-Thies Lehmann’s book Postdramatic Theatre as an MA student when it felt like everything he was describing was what I had seen happening on stages for the past fifteen years but hadn’t found the language to articulate. I sat in the brutalist caverns of the Barbican Centre (of course) in London and read it voraciously before heading into the theatre, no doubt to see something postdramatic.
These kinds of interests wax and wane and when I read this, I’m pretty clear that I have probably mined the postdramatic enough. I’m interested in different things just now – my head is deep in postdigital theory (another post!), ideas around place-attachment and finding productive ways of making work with people in my community. However, I do still return to and enjoy some of the activities, particularly the karaoke choreography and task-based performance exercises. The latter, as referenced below, emerged from a workshop I did with Karen Christopher, formerly of Goat Island. It was such a brilliant experience and reminds me again how vital it is for teachers to sometimes be taught. I guess I would like to change a fair bit of what I wrote in the article. I think I was quite pressed for time when writing and there’s lots more that I could add.