The following text from Alan Read's book has led me to consider the space in relation to the audience for my final performance.  An example of Oleg Kulik scuplture and Jonathan Pryce's hands in Almedia Theatre. 

 

The performance 'gene', which makes humans what they are.  Francis Glisson, a physician who studied at Cambridge University in the early seventeenth century, declared that the tiniest particles of matter "perceive, desire and have the spontaneous power to enter into motion, and thus to act and react. (preface xvii)

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In Tate Modern, Oleg Kulik spinning mirrored sculpture with a soundtrack.  The question to ask underneath this artefact was , " would you like to dance?" Now the imperative shines out: 'look at me and look at yourselves", perhaps not surprisingly in this context at Tate modern, "not dancing;, or at least 'not quite dancing'. 

Kulik make an alleged elsewhere in space extending beyond topology or geography that makes for so much drama. An"as if' made up of character acting, say of scenic or illusory escapism, or you might use the phrase'suspension of disbelief'to take on some of the implications of the terms in that left-hand column of theatre identifiers laid out above.  

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The presentation of self here now offers its peculaiar everyday banality, as a corollary to the 'there', the 'then' and the 

'extra daily' of the stage - an excess of a different kind in which the apparently mundane is magnified at a distance to appear exceptional...... he reflects light upon us, apparently beyond our collective gaze covered as he is by a carapace of mirrored camouflage, while ensuring that we cannot take our eyes off him.  (preliminary xxvii)

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Just as humans do not need hands to be humans, persons do not need humans to be persons. Humans become persons at varous moments in which their rights are recognised but can just as quickly become 'less than persons' as the history of the 20th century revealed (pg 91)

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The stage is full of walls and there are walls as far as you can see. There are hands and walls. Animism thus moves us away from the central semiotic image of consuming culture..... an intense phenomenological state of dissolution, subsuming and being subsumed within ever-widening spheres of responsibility.  (pg 93)

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A shock was passed around a one and half kilometre of circumference circle of 200 Carthusian monks linked by iron wire lengths. What these amusements did prepare for was a common understanding of the instantaneity of the medium irrespective of the span of the circuit. These were the first demonstrations of hand-conducted wave patterns, where a digital history literally "handed" over to the circulating patterning of waveform over extended distances. (pg 104)

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