What if we define values, principles, and methodologies, resisting the pressure to define outcomes? What if we focus on what drives us and on how we want to live and work together, but leave the imagination open to the concrete shapes our collaboration can take?
The theatre that must exist is ugly and unsatisfying, much of the time. It is defined by failed efforts and a bizarre-bordering-on-pathological determination to return to the scene of the crime (in this scenario, artists are the criminals; art is the bullet; guess who the victims are?).
It is raw, it is real, it is happening with you in the room and can only be experienced in the “here and now.” It is open to a multiplicity of heres and nows depending on the realities, perceptions, localities... of those present.
that moment before something is about to happen where anything is still possible in between this is where you are stuck
"These People Have Contributed Materially in Many Ways to Make Our Music What it is. Please Do Not Hold it Against them."
Possible structures are being created by their movements. Different shapes, sizes, and contour lines. They offer in their movements all of the cities Haifa could have been. Cities are formed and buried immediately.
When you leave you leave the windows open and the doors and because the house sits by the sea by first light a film of sand gilds the floorboards and the kitchen chairs
It’s an experiment in placing the private in public, says the director—a device HE will learn to use well in the many years to come.
Actors do their best to blend in to the faceless glass city. They get desk jobs, they settle down, they raise families. None of it is real.
The curtain opens on the cold, wintry Atlantic Ocean.