less than fragments
It may just be an inevitable consequence of the work that I make, that the things I do often appear to become simultaneously more disparate and more consistent. And in reality, they are only – and intentionally – disparate in form.
I have always tried to find the shape of each new work without assumption. And probably still naturally try never to make the same thing twice – one of a short list of rules I gave myself, standing in the middle of my very first studio, as part of an early attempt to develop strategies for keeping myself critically aware of the choices I make.
As opportunities and interests spark further opportunities and interests, possibilities expand. But over time, it is always the choices and decisions – much more than the possibilities – that reveal the work’s real behavior and intentions.
Early in 2011 – following the success of our located production of The Persians, within the landscape of an MOD range in the Brecon Beacons, for the 2010 inaugural session of National Theatre Wales – my long-time periodic collaborator Mike Pearson and I were asked to develop a new large scale theatre event of Shakespeare’s Coriolanus, for National Theatre Wales and the Royal Shakespeare Company, to be performed within the World Shakespeare Festival, as part of the 2012 Cultural Olympiad.
I opened this informal blog project, to correspond with the official launch of that commission, as an ongoing attempt to see what might build here in parallel to my other processes. And initially, simply to see what choices might collect here, over the period of a year, in parallel with our development of Coriolan/us. But long before that project’s completion in August 2012, these periodic posts had begun to find a quiet tone and purpose of their own. And so less than fragments remains open and ongoing.
As much as possible, I try to limit my posts here to simple descriptions and recordings – as fragments of things that I consider or do – with their chronology reflecting a progression across the varied threads of the work, rather than its history, or daily life.
It has to be said, that I have never been very interested in process, not even when the process is my own. But my hope is that, as time and ideas continue to unfold, these fragments might accumulate – and that their accumulation might occasionally reveal something useful.
They may, of course, remain merely a pile of fragments. In which case, I will be able to throw them away.
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