Toby Jones Practitioner Visit

notes after performances

--Think about when to start, when to stop looking. How do we indicate?

--as audiences we must assume that Everything is deliberate.

--it's always fascinating what you Tried to do, but it's completely irrelevant to what you Did.

--it was interesting watching you watching a show through the lens of your camera. documenting the first go.

--I saw something of the previous piece in it. what was lost, what was gained?

--Do we like being led around? 'We're ready for you' as a starting point for the audience. We don't like being placed.

--all the pieces shared abstraction, an atmosphere of silence and contemplation. Nothing was fast, sudden, or jerking. All studied proximity in some way. Great care was taken.

--secret codes for practitioners: putting a moment of theatre in a real-life setting.

--many concurrent languages

--humans have been installed, freeze frames--indicates that the first movement will be important.

--a toy car on stage can be a real car. Objects become symbols whether we mean it or not. We try to create meaning for ourselves, but the question is always pervasive--Am I getting it? We try to understand patterns. Is there a pattern, or am I overanalyzing? It all matters to the observer. Each movement affects our relationship with the objects onstage.

--Why did we enjoy watching a clockwork train? (If we knew that, we wouldn't need theatre.)

--That which is open to any interpretation has no value.

--Please, then rupture. Form, shape--then take away. Establish then destroy--what is that feeling, loss of what we understood or identified with?

--Strictly observed ritual behaviour. What does this do to the un-invited audience? Effective atonal silence, tonal silence. Articulating interesting shapes, arranging recognizable moments into new sequences.

Out of Light Comes Sound.

Why are the performers drawn to the light?

If you can make Out into In, you can play with preconception.