With the slightly refreshed perspective provided by a few months of hindsight, I have finally had a little time to start sorting through some of the documentation gathered during our epic ILIAD project – our durational verbatim performance of Christopher Logue’s poetic text War Music, and mine and Mike Pearson’s third large-scale collaboration with National Theatre Wales.

Specifically, over the past couple of weeks, I have been exploring the fixed camera ‘surveillance’ footage recorded during our first ever all-day marathon performance of the full four-part work. This footage recorded multiple single-shot wide-angle views onto the room of ILIAD, as it was performed on the day of Saturday 26th September 2015 – monitoring the hundreds of people, white plastic garden chairs, used car tyres, assorted pieces of timber and rope, and hours of performed and projected material, that shaped the room that day.

To begin to fix some manageably compressed visual trace of that place, cycling through the relentless views provided by those four cameras, I have compiled a complete x20 speed time-laspe record of the physical movements and spatial developments of the work across the full duration of that day-long event.

ILIAD – Ffwrnes, Llanelli, 26th September 2015