14.

Where were you on the day that the blithe elision of live and new media arts became untenable? It was years before Ekow Eshun made his pronouncement on the topic. My company, Signal to Noise, was still in its early days, we’d started to make a little name for ourselves doing performances in people’s homes. One source of inspiration was Pierre Joris’s nomadic poetics manifesto. Dissident cultural activity had to occupy the same circuits that military industrial power used to move information around. The old buildings and monuments, the spectacular sites of institutional control, were no longer meaningfully occupied. I remember posting something online suggesting that the only efficacious political poetry now feasible was the writing of viruses. It seemed like we were living in Tron, battling the neocons on light-cycles. And then, on September 11th 2001, we were reminded, acutely and sensationally, that, to take out of context a brilliant phrase of Utah Phillips, “the past didn’t go anywhere”: buildings and machines and bodies were still on the frontline, and live arts and new media sat in quite antithetically distinct relations with those entities.

7.

A friend of mine once went to see Fiona Shaw performing Beckett’s Happy Days, and hated it. After the final words were spoken, and the stage lights had dimmed, right then in that little niche of reverent blackout time before the inevitable rapturous ovation, my friend, without entirely intending to, found himself saying aloud: “Utter shit.” All eyes turned on him and he now describes it as the most embarrassing moment of his life. The level of embarrassment he experienced seems to me to reflect the violence of the situation. For some, that violence will appear to be contained in my friend’s exquisitely timed heckle, just as those in the seats around him clearly adjudged his wounding remark – wounding not just to the actress on stage but to the silence that was rightfully hers – to be a violent act. But isn’t it rather that my friend was acting in self-defence, in the refusal of a tyrannical violence that the whole apparatus of that theatre event is designed to uphold? That system demands a total complicity, and our choices are three: silent assent and collusion; tacit distantiation; or to speak, and thus ventriloquize the violence that inheres in the situation.

3.
In this dream, it’s 2010 and I’m not even a dog. I’m just a theatre maker. We are in a theatre. In fact we’re in this theatre, and it’s now, and we’re actually here, and it’s not even a dream. What does it smell like? Nothing in particular. // We’ve been in exile. For a while, theatre wasn’t very welcome here. Having found itself, perhaps somewhat unwittingly, in a coalition with new media arts, it had allowed itself to appear to some people to stand for nothing in particular. It was a sector described as lacking “depth and cultural urgency”, and we were duly outraged. Some of us said we never wanted to come here in the first place, and some of us felt that the relevant powers wouldn’t be able to pick out depth and cultural urgency in a line-up of six items or less. But didn’t it, come on, didn’t it slightly feel like a punishment? And didn’t we go off that night and see a performance somewhere and secretly think, hm, that was actually kind of lacking in depth and cultural urgency? Didn’t we worry a bit about our own work? Didn’t it feel just a little bit like a punishment? Wasn’t there a moment of feeling caught out?