suggested: "Everyone carries a shadow, and the less it is
embodied in the individual's conscious life, the blacker and denser
it is. At all counts, it forms an unconscious snag thwarting our most
theatre must be phenomenological.
phenomenological approach to theatre, a "theatre from the
cracks in the psyche of culture", can
provide interventions into the discourse in much the same way that
scientific method can challenge accepted truths.
phenomenological approach posits that art and experience are linked
and necessary for the development of collective and individual
understandings of our existence or at least our actions within
existence. It further posits that each action, each idea and each
feeling that a person may experience is linked inextricably to deeper
and wider underlying forces that are not easily identified. Our
theatre can create and stimulate awareness of the questions that must
be asked in order to see, not only the shadows, but also to see FROM
the shadows of our worldly and physical environment.
to create a phenomenological theatre which utilizes
theatre focuses primarily on new works; works created from original
observations, reflections, interpretations and considered decisions
regarding the validity and meaning constructed for us as participants
in the creative process. Doing this requires a strong collaborative
methodology while retaining a deep sense of personal artistic vision.
phenomenological by design and implementation. The composition of
cast and associated collaborators will by necessity shape the meaning
within the work; evoking a kind of organic responsiveness; maximizing
of the work's potential. An obvious paradox is that the artistic
shaping must still be within the artistic vision of the personal
"i" of the instigator. Such a process requires considerable
challenge to all participants and to the nature of the work itself.
Where possible each work should have built into its creation a
constant antagonism or tension created by the infusion of different
perceptions and ways of engaging within the art form.
defining feature of Shadow House PITS methodology and thinking is its
constant attention to personal and collective challenge within the
actual creative process. This can be summarized under the heading or
"Organic Response". It is used to strengthen the personal
"i" through challenge and constant clarifying and
rejecting. While acknowledging the personal difficulties this
creates, it does have the effect of cementing a greater texture and
bonding of the work to achieve a greater relationship between
artistic creation and philosophical discourse. In this respect, our
theatre owes a debt to the inspiration of Eugenio Barba and his work
on "personal dramaturgies".
theatre will harness the conceptual thinking of people such as
Antonin Artaud, Bertolt Brecht, Peter Brook, Eugenio Barba and others
who work in dynamic ways to open the systems of creation and presentation.
theatre aims to break the subsistence of cultural, artistic and
spiritual ennui and commodification of all facets of contemporary life.
on the title for info re the production):
A Voice (Short play for Bunch Of Fives 2013)
Lady By The Beach Over The Sea (2013)
Bin Faust (2010)
Love: Theatre In A car (2009)
Drive: Theatre In A Car (2008)
Celica Of Existence: Theatre In A Car (2007)
Naked Goddess (2006)
Minds (presented with DNA 2005)
Christabel and Geraldine (1999)
(2001 formerly "Sanctimony" 1996)
In The Dark (1995)
(1982/2003 new version still to be produced)
with bite for teenaged performers
Bin Faust (2010)
Of The Bauhaus (2007)
Is Missing (2001)
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