20.

24-hour rolling theatre is not a new idea, but as far as I know it’s not been tried for any sustained period. The closest conceptual relation in recent years has probably been Brian Eno’s Civic Recovery Centre, which anyway has only been fleetingly realised, but the presence of actors in the model I’m describing seems to me crucial. Practical obstacles abound so if we have to treat this merely as a thought experiment then, OK, fine, whatever. But see what this does? Everything is improvised, or prepared in the same space that it’s shown and in the same full view. The freighted prestige of the actor within the apparatus of the theatre production is destroyed; the role of the director changes, the role of the writer, the designer, the musician, is folded into the live unit. Nobody mistakes this theatre for a kind of literature. Our current marketing apparatus becomes sublimely redundant. The relationship of the person in the street is not with the individual show, but with theatre itself as a special register of activity, one which simply involves an attentive encounter with others, in a place that’s designed specifically to nurture it.

15.

In the aftermath of 9/11, and as a consequence of it, two things permanently shifted in my sense of my practice as a theatre maker. // One came in the days immediately after. I had a day job as a charity administrator, in an office within St Paul’s Church in Covent Garden. In those few days, many more people came to sit in the church. Mostly they didn’t seem to be praying, they didn’t light candles, there was no visible religious component to their presence. They just needed to wrap a building around themselves, a building with some sort of civic signature. And it seemed to me that there should be a more appropriate building for that function than a church, one that was less loaded with ideology and less intricated in the operations of what we might call the establishment. // The other was an article written some months later by the poet and activist Brian Kim Stefans, in which he described a desire to turn away from ‘internet art’ (his phrase) and towards ‘theatre’. “We need bodies out there,” he wrote, “[. . .] on the streets [where] we live [. . . in] the daylight [. . .] since that is the world in which I was dumped when the planes struck.”