3.24pm
Mole asks Tim to write a stategy for performing the same text outside of the pattern in which he usually performs. Tim says 'Outside the pattern we usually perform?' Mole says 'Yes'. Tim says 'I have a pattern?' It's funny how they repeat what the other one says as a question all the time. Tim writes down his strategy and begins to perform. We watch.
We have one week
Seven days
168 hours
In this time since I wrote this it's become a little random a little confused slightly off
kilter
behind me there's no
no tickertacker board
The clocks
are
still
there
but but
we can see how they're put in place with wires and cables
Which is fairly obvious
There's no catwalk
There's no rostra
We see a mountain of sunglasses
There's a board at the back
It reads
Wednesday
Outside we can hear
Trees
and traffic
and noises and cars and
aeroplanes
But not at the moment
And whenever an aeroplane passes
We move an object
It all looks a bit shabbier than I originally imagined
I read this
Again and again
And it doesn't make
sense now
I've read this again and again
And it doesn't make sense now
And I don't know
What it means
I've stopped
Writing
And I've stopped
Reading
There's a television over there
And I don't want to switch it on
There's a television over there
And I don't want to wake Tim up
I'm Tim
I don't want to wake myself up
One week
Tuesday, 18 September 2007
In the time that I wrote this
3.12pm
We had a week. We had a week.
An apology for what we have.
In the time that I wrote this it's become a little random.
There's no ticker-tacker announcement board.
The clocks are still there but we can see how they are put in place with wires and cables.
There is no catwalk.
No cameras.
No glamour.
There is no rostra.
We see a mountain of sunglasses.
There is a board at the back it reads Wednesday.
We can see outside the trees and traffic and we can hear outside whenever an aeroplane passes we will move an object...
It all looks a little bit shabbier than I originally imagined.
I'm in the control booth.
Tim is on the stage.
I've read the text again and it doesn't make any sense.
I 've read this again and I don't know what it means.
I'm going to stop writing and I'm going to stop reading.
We had a week. We had a week.
An apology for what we have.
In the time that I wrote this it's become a little random.
There's no ticker-tacker announcement board.
The clocks are still there but we can see how they are put in place with wires and cables.
There is no catwalk.
No cameras.
No glamour.
There is no rostra.
We see a mountain of sunglasses.
There is a board at the back it reads Wednesday.
We can see outside the trees and traffic and we can hear outside whenever an aeroplane passes we will move an object...
It all looks a little bit shabbier than I originally imagined.
I'm in the control booth.
Tim is on the stage.
I've read the text again and it doesn't make any sense.
I 've read this again and I don't know what it means.
I'm going to stop writing and I'm going to stop reading.
Window
2.43pm
Tim stands silhouetted by the window. The window is a cross. Christ. Standing on a bucket in Abu Graib or Guantanamo Bay. Mole moves the white board behind him to make him disappear. Then moves it offstage. Like a man in brown overalls. He looks like something out of Morecambe and Wise. Tim describes a limbo space somewhere between real life and theatre, onstage and offstage, light and dark, arrival and departure. He holds out his hands like Abu Graib or Guantanomo Bay and shuffles off to the side. Mole says now come back as a dying swan. Tim is a dying swan. He looks like something out of Morecambe and Wise. He takes a ladder outside and climbs the hill we can see through the window. He stands on the hill. He looks like Christ on the cross at Calvary. Then he gets off the ladder and walks back. Like a man in brown overalls. From Morecambe and Wise to Abu Graib to Christ to Morecambe and Wise again.
Tim stands silhouetted by the window. The window is a cross. Christ. Standing on a bucket in Abu Graib or Guantanamo Bay. Mole moves the white board behind him to make him disappear. Then moves it offstage. Like a man in brown overalls. He looks like something out of Morecambe and Wise. Tim describes a limbo space somewhere between real life and theatre, onstage and offstage, light and dark, arrival and departure. He holds out his hands like Abu Graib or Guantanomo Bay and shuffles off to the side. Mole says now come back as a dying swan. Tim is a dying swan. He looks like something out of Morecambe and Wise. He takes a ladder outside and climbs the hill we can see through the window. He stands on the hill. He looks like Christ on the cross at Calvary. Then he gets off the ladder and walks back. Like a man in brown overalls. From Morecambe and Wise to Abu Graib to Christ to Morecambe and Wise again.
Two way conversation
2.53pm
I have this dream of making a piece of theatre without a technician and people come in and the florescent lights are on and the tabs are open like this. And over the course of the performance we create a piece of theatre. The final image is the starting image. They are points of arrival and departure. The flightpath. It's not like its an open rehearsal though. I think we have to be really careful about that. It's not like seeing a show being made. But it is about exposing the mechanics of it. A plane flies overhead. It was that moment that made me realise that we were making it up as we go along. Tim remembers performing A House on a Hill and how a member of the audience was talking. He picks up a card and reads it aloud 'This is NOT a two way conversation.' The man stops talking.
I have this dream of making a piece of theatre without a technician and people come in and the florescent lights are on and the tabs are open like this. And over the course of the performance we create a piece of theatre. The final image is the starting image. They are points of arrival and departure. The flightpath. It's not like its an open rehearsal though. I think we have to be really careful about that. It's not like seeing a show being made. But it is about exposing the mechanics of it. A plane flies overhead. It was that moment that made me realise that we were making it up as we go along. Tim remembers performing A House on a Hill and how a member of the audience was talking. He picks up a card and reads it aloud 'This is NOT a two way conversation.' The man stops talking.
Where it is
2.36pm
I think this is crucial. This is about knowing the text and you predicting what is going to happen. But it doesn't really happen in the same tense. Tim says 'you wanted me to do this...' before you do it. We're stuck in the future of the script. And the future of the performance. In the knowledge of the history of the making. Go back. You're suspended on a stool. I can't remember where it is. 'There is a bit. I can't remember where it is. You wanted me to take my clothes off and stand on a stool.' But we can't remember where it is. It could be where it is on the page. Where it is in the script. Where the stool is on the stage. Where the image of the stool is. Abu Graib or Guantanomo Bay. But we can't remember where it is. On the bus today Tim goes 'Oh my god' about a story in the newspaper. He tells us about the story. Mole asks 'Where is it?'. Tim says 'On page 11'. Mole says 'No - where in the world?'.
I think this is crucial. This is about knowing the text and you predicting what is going to happen. But it doesn't really happen in the same tense. Tim says 'you wanted me to do this...' before you do it. We're stuck in the future of the script. And the future of the performance. In the knowledge of the history of the making. Go back. You're suspended on a stool. I can't remember where it is. 'There is a bit. I can't remember where it is. You wanted me to take my clothes off and stand on a stool.' But we can't remember where it is. It could be where it is on the page. Where it is in the script. Where the stool is on the stage. Where the image of the stool is. Abu Graib or Guantanomo Bay. But we can't remember where it is. On the bus today Tim goes 'Oh my god' about a story in the newspaper. He tells us about the story. Mole asks 'Where is it?'. Tim says 'On page 11'. Mole says 'No - where in the world?'.
Objects
1.46pm
We construct histories for these objects. If you have an object what's it history? Where does it come from? Why have you made that choice? I'm starting to think about not having objects. I think it's going to be quite minimal. Because the object isn't there when we talk about it it's more open. It's not so fixed. I suppose that's about planting images. And planting the holes for the audience to fill. I've got two images of stools in my head. One of them in the kitchen which we use for Last Supper and one from my Mum and Dad's house. I've got a milking stool in my house. Or we are talking about giving a stool a history. Different stools. Different histories. Maybe it's the wrong stool and it's got the wrong history. You're looking for histories. Isn't that what it's all about? History. I imagine it's very much about present. When we perform it. Next week. It'll be about now. Being about this time and this place.
We construct histories for these objects. If you have an object what's it history? Where does it come from? Why have you made that choice? I'm starting to think about not having objects. I think it's going to be quite minimal. Because the object isn't there when we talk about it it's more open. It's not so fixed. I suppose that's about planting images. And planting the holes for the audience to fill. I've got two images of stools in my head. One of them in the kitchen which we use for Last Supper and one from my Mum and Dad's house. I've got a milking stool in my house. Or we are talking about giving a stool a history. Different stools. Different histories. Maybe it's the wrong stool and it's got the wrong history. You're looking for histories. Isn't that what it's all about? History. I imagine it's very much about present. When we perform it. Next week. It'll be about now. Being about this time and this place.
Invisible Wall
1.23pm
I feel like its becoming something. Already. Can I ask about the invisible wall? Is that something you've always had in mind or something you've just built? Something I've just built. And that's a response to the idea of vulnerability. Yes. And how some people throw up a wall around them onstage. Yes. And pretend that it's not there. Yes. Although they know it's there. This thing I'm doing now. You've constructed a really strong thing in your head and I've just destroyed it by saying 'Can you do limbo?' At one point before Club Tropicana That beginning page. Several bits during it. Originally I was going to be on a stool. Do you remember. Just before Club Tropicana. There is a stool and I was going to stand on a stool and hang myself. Like Ian Curtis?
I feel like its becoming something. Already. Can I ask about the invisible wall? Is that something you've always had in mind or something you've just built? Something I've just built. And that's a response to the idea of vulnerability. Yes. And how some people throw up a wall around them onstage. Yes. And pretend that it's not there. Yes. Although they know it's there. This thing I'm doing now. You've constructed a really strong thing in your head and I've just destroyed it by saying 'Can you do limbo?' At one point before Club Tropicana That beginning page. Several bits during it. Originally I was going to be on a stool. Do you remember. Just before Club Tropicana. There is a stool and I was going to stand on a stool and hang myself. Like Ian Curtis?
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