'Bloody Mess is composed in a spirit more akin to that of painting, choreography or even late night channel hopping. It's about the collision of different worlds and personas - collisions at which sparks fly, collisions that can be both comical and disturbing...
For us, the mess and its structured exuberance is something of a manifesto; an insistence that theatre can be be more than a drab story or literary rhetoric, that its heart lies in play, in liveness, and in the event.
Something happens. Something unfolds. And you're there to join the dots and enjoy.'
Tim Etchells
This blog charts the development of a piece of devised theatre about disappearance: text, improvisation exercises, ideas and thoughts - seeking to make connections, interactions with real and virtual audiences as part of the process. This is my working notebook for the duration.

Tuesday, 5 July 2011
Monday, 4 July 2011
In Good Company
In 1967, an anonymous woman, confused and frustrated after watching a production of one of Harold Pinter’s earliest plays, The Birthday Party, wrote a letter to the playwright:
Dear Sir,
I would be obliged if you would kindly explain to me the meaning of your play The Birthday Party. These are the points which I do not understand: 1. Who are the two men? 2. Where did Stanley come from? 3. Were they all supposed to be normal? You will appreciate that without the answers to my questions I cannot fully understand your play.
Pinter responded to the letter with the following:
Dear Madam,
I would be obliged if you would kindly explain to me the meaning of your letter. These are the points which I do not understand: 1. Who are you? 2. Where do you come from? 3. Are you supposed to be normal? You will appreciate that without the answers to these questions I cannot fully understand your letter.
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