Mapping as Prompt and Documentation

Although I am not entirely sure about the practical application of this yet, cartography has become an inherent part of my research, both as a means of documenting the material generated in the Performance Research Tests, and as a prompt to help create said material. I am increasingly convinced that you can’t separate culture from geography (which means I am currently on Team Nature as far as the old debate is concerned), so it makes sense that I should use maps and mapping as tools in a theatrical project involving  languages, cultures, and borders.

I was a bit stuck about how to integrate these notions into the design of my performance research lab, however, but it turns out that the National Library of Scotland has perfect timing with its events and today I visited the You Are Here exhibition, just after attending a workshop called ‘Mapping in Words’, led by poet Marjorie Lofti Gill.

This visit and workshop have provided me with very useful ideas and helped me find some much needed motivation again. Inspired by the beautiful Chimney Map and by the question “how is a spherical world made flat?”, I (who am not a writer) wrote the following bits of text as a response to the workshop, which I intend to further explore with actors in the PRTs when I get to do them:

The first bit that is missing is a reason. Discovery is exciting.

She would love to have a dress made of a map, in which she could mark the places she’s been and the places she wants to go to. In fact, she would have an entire wardrobe made of creased, rescued maps printed in silk, linen, canvas. Wearable geography, embodied cartography. Maybe tops would be made of her places, the ones close to her heart. Bottoms and even shoes would be the places where her legs would still take her. With time, borders would fade and boundaries would be torn. Meridians would shift and fold and she would get lost again.

Like removing the peel of an orange,

tell me where you want to go and I will help you find your way there.


The Chimney Map – photo credit: National Library of Scotland website


Practice as Research and The New Thing

My posts over here will probably seem a bit erratic, but I have decided to not follow a linear timeline of my research, embracing the chaos of my thoughts instead. I’m sure it will all make sense at some point.

My proposal was (is) practical, or what you can call practice-as-research (PaR), practice research, practice-led research, practice-based research, etc, etc. I have seen performance or embodied research used as well, but I eschew these terms because I am not a performer. My research does not happen with (or through) my body – I need the bodies of others to conduct it. Does that mean it is their research too? Possibly, because I do not see my performers as subjects but as collaborators. This is probably why I have been referring to my  laboratory as Performance Research Tests but I reckon that the answer to that particular question will come from the lab itself once it gets started.

I am still defining what these are and struggling with the fact that I have to design them within a more traditional academic framework, instead of having a starting point which may or may not lead to refining my research questions and methodology.

Whilst trying to wrap my head around all this, I have recently stumbled upon this manifesto on the Theatre, Dance, and Performance Training blog: The New Thing. I am not entirely sure how exactly what use it will be to help framing my concept for the PRTs, but it felt like a breath of fresh air. The following extracts from the manifesto are the ones that excite me the most at first glance:

  • horizontality of organisation
  • valuing of chance and composition
  • potentiality of performance as a means of creation
  • resist the pull towards the romance of self-assuredness and self-righteousness (things which unfortunately seem to plague a lot of the theatre industry)
  • the new thing as a process in perpetual reification, something which needs to be continually revivified/re-enlivened/re-newed
  • there is no product as such, there is only the search conducted on the edge of our knowing the unknown
  • newness cannot be absolute
  • its pursuit will inevitably disappoint
  • ungraspability and fugitivity (ironically, there is something quite tangible here about the ethereal quality of performance research and performance/theatre as an art form)
  • performance of political/utopian possibilities > the new thing tilts at windmills (and I am a sucker for anything Quixotesque)
  • it is against method and the instrumentalisation of art
  • performance is most itself when it is completely fake
  • confusion is a gift
  • bodystorming
  • collaborative questioning
  • the new thing is impossible and we do it anyway

There is a short list of practices without any further discussion embedded in the manifesto that I find intriguing too. These are:

  1. bracketing of meaning
  2. distillation of experience
  3. rupture
  4. dream logic
  5. form as content
  6. content as form

I would like to invite any readers to check out the full text in the link above and expand on what these practices might represent and how (or if) they can be applied to their own work.

Dramaturgy Chat

One of the many layers of my research is finding the right language to describe my practice as a director/researcher, which has been an issue since my undergraduate. I think that partially this is because I am not a director in the traditional British sense, or as I have recently put to a couple of actors I worked with, I’m not a director with a vision. I see myself more as a facilitator-translator-dramaturg type of director. My job is to help unlock the creativity of the actors (and the playwright, if I’m working with one). I will write more about this in the future, but for now, you can read more about where dramaturgy stands in my work in this interview I did for Andy Edwards a few weeks ago, featured on Magda Romanska’s Theatre Times . Do check Andy’s blog on dramaturgy for really insightful chats with other artists as well!