By Tim Etchells
An exploration of what lies on the middle of latest theatre. Written through the creative director of compelled leisure, it investigates the method of devising functionality, theatre's interdisciplinary function, and the city's impression.
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Extra resources for Certain Fragments: Texts and Writings on Performance
D) Deng Xiaoping after the Tiananmen Square massacre? In what way did Willie Horton affect the US election? Who put out the flames of Piper Alpha? Part Three Cathy: At the start of the shows they’d lay bare the means they had at their disposal like a bunch of crap magicians keen to prove they had nothing up their sleeves. As if to say you can’t believe this ridiculous pretending and yet against your better judgement you will believe in its outcome. They told you so many times they weren’t acting that when they did act they hoped you’d think it real.
Then they got lots of other blood and pumped it into us through all possible entrances. This new blood they put in us was stuff they’d collected here and there from other people. The blood it mixed together all these people’s blood and thoughts and everything and this was our biggest problem you see: because the blood moved inside us, changing and turning: one person then another, we dint know who the fuck shit piss we were, we’d say one thing then another, stand up, sit down, the blood moved, we didn’t know.
Hans: I see. Mike: Well, that’s not the kind of work we want to do anymore. (Some Confusions in the Law about Love, 1989) Terry: We wanted to look back on the decade 1984–1994—the ten years in which we’ve been making our work, and we knew that this looking back would have to include the things that hadn’t happened as readily as those that had. We had in mind a map of the last ten years—a haunted map—a false map—and yet, in some ways, an accurate map. And at some point we realised that this map-making, this charting of a time and a landscape, was what our work had often consisted of.