Friday, 29 May 2009
Wednesday, 27 May 2009
This is one of a couple of images I've just put up on our Flickr photostream from last week's performance project, Table Manners, devised with students of Contemporary Performance Practices at Leeds Met University.
The show was performed for 20 audience members at a time, all sat around a large U shaped work bench, and was structured as a series of one-to-one performance encounters across the table top, including etiquette instruction, drawing, dialogue scene, handwriting demonstrations and an origami lesson. The image above is the 'origami paper store', held in place by candles, positioned on a 'neat table' in the centre of the space. This centre table was partly inspired by the amazing Pile of Index Cards (PoIC) project/system, particularly this image.
The 20 solo performances happening at any one time began in sync, or as a group performance of a shared text, early on in the piece, but moved into individual responses to particular tasks and instructions, sometimes becoming completely different. So depending on where you sat, and which combination of performers you met, and in what order, you could get a very different show from someone sat 4 places away. The intention was to use the table not as a barrier, but as an intimate place to meet someone, talk, hear stories, make something.
Sunday, 17 May 2009
Friday, 15 May 2009
Friday, 8 May 2009
It’s hard to quantify just how important this space has been to Third Angel. We have presented every piece of work we’ve made for theatre spaces here. We’ve made work uniquely for this space and its sister gallery. We’ve had some of our best and one of our worst ever gigs here. We’ve seen work here - work that has moved us, inspired us, entertained us, challenged us. And we’ve talked about work here - work we’ve made and work we’ve seen. This space has been a constant in our planning and thinking for over thirteen years.
It has been a bittersweet joy remembering moments of performance for this project. This space won’t be here for much longer, and compiling this book with Annie has helped me understand its significance - both to myself as an artist and to the alternative theatre sector in the UK. It’s not that big; in fact it is one of the smallest spaces we tour to. But boy, does it punch above its weight. Work shown and developed here has toured across the UK, across Europe, across the world.
In autumn 2000 we were at Leeds Met Studio Theatre with Where From Here, in many ways a coming-of-age show for Third Angel. Rachael, Jerry, Jim and I are in the dressing room, getting ready for the second performance. Someone is reading the paper - a story about how British Theatre is ‘in crisis’. Again. Well, Jerry observes dryly, it wasn’t in crisis in here last night, was it?
Not here, not last night, nor any night that I recall.