ww documentation

8/14/2019 WW Documentation

http://slidepdf.com/reader/full/ww-documentation 1/31

Wr i t i n g / Wr i gh t i n g

D o c um en t a t i on

R o b Dr umm er

Wi n t er / / / 2 0 0 9



/////intro

Thisdocumentationisanattemptat

coherentlycreatingarecordoftheprocessof

writingforperformance.

Thisdocumentationisanattemptatexposing

processes,quantifyingthewritersprocessas

hemovedthroughatermatCentralSchoolof

SpeechandDramaexploringthewritingand

wrightingofperformance.

Thisdocumentationcomescloseto

contextualisingthereadingof AboutFacefor

assessmentinweeknineofthefirstterm.



/////definitions

Writing

Writingistherepresentationoflanguageinatextualmediumthroughtheuseofasetof

signsorsymbols(knownasawritingsystem).

Itisdistinguishedfromillustration,suchas

cavedrawingandpainting,andtherecording

oflanguageviaanon‐textualmediumsuchas

magnetictapeaudio.1

Wrighting

thecreatingofawright(askilledcraftsman) 2

1http://en.wikipedia.org/wiki/Writing(accessed8/12/2009)2http://www.urbandictionary.com/define.php?term=wrighting (accessed8/12/2009)



/////thetext

AboutFaceisaresponsetoprovocationshandedoutwithintheWriting/Wrighting

clusterandhasmovedthroughseveraldrafts.

Thefinaldraftsfollowshere.



Characters

M

O

Time

Now

Place

Here

NotetoText

/ Pointofinterruption

… Timepasses

‐ Break

, Wait

Spacesbetweenpassagesoftextarenotvoid.



Severalchairsnotnecessarilythesamearrangedinacircle.

MandOsateventuallybutenterwithaudience,theiridentityasperformers

concealed–theycantalkwiththeaudienceiftheylike.

Theyaresatoppositeeachother.

Theydonotlookateachother.

Somethingaboutacircleevokes–afocusgroup?Atherapygroupperhaps.

M Iwalkedaroundforhours.After.

Iwasalone‐freezing,stilltryinghard

to‐

Istoodagainstawall,unable–no.

Istood.

O You threw me against that fence –

why?Howdidyoufeel,doingthat?

,

M Good– yes,actually. Ifelt great. It

wasagreatfeeling.

Howdiditfeelforyou?

O Inall honesty, when I think about it

now ‐ It turned me on, I wanted to

hateyou–butIwasgettinghard.

M Really?Ididn’t/noticeyoubeing‐

O Really. I really was getting hard ‐

watching you do that thing to me.

Watching you, feeling my body. I

don’t think I hated you, not that I

haven’t ever – but then, in that

moment I was stood therewith this

thing.

M Thiserection.



O Yes,stoodthere–with thiserection,

youdoingthatthing/andallthetime

makingthatface…

M Thatthing?

,

O …Making that face – that face, you

hardlyevermakeitbutyou/didthen

– I couldn’t get enoughof that face,

thebloodwas‐

M Thatface?Thebloodwas/rushing

O Yesthatface,theonethatyoudon’t

like to make – it isn’t the face that

youlikepeopletosee.Rushing,the

bloodwasrushing,south.Filling.But

here youweremaking that face and

thereIwaswatchingyou,despitethe

paininmyshoulder/gettinghard‐

M Whatshoulder?

O Myrightshoulder.

M I’msorry.Iwasn’tthinking./Ireally

did–youreallyhad‐

O Yes?Ihaveneverfeltsuchpotential

in a cock. My cock – that/ throb.

Thatpotential,Iwasso

M I am sorry for hurting you. Throb,

that is such a – potential, you were

reallygettingthatturnedon

O Myshoulderisfine.

M Thatdoesn’tmakemefeelbetter.

O Idon’tknowifIwantyouto‐Ididn’t

say it in order to make you feel

better.IswhatImean.

Theycannotgetpastthis.

Theydonotwanttogetpastthis.



Theyreturnandreturnandreturntothis.

O Whyisitso‐forustospeakinperson

–live–wenevermasteredit.

Theywait.

M You’re right, we never did – never

have‐IthinkIknow–itterrifiesme

tosaybutIthinkInowknowwhatit

wasthatmademe,apart/fromwhat

youmademe

O Goon.

M Notyet.Letswait.

Theywait.

Theyforgeteachother.

Theyremember.

M I’mreadynow,areyou?

O I’mready.Yes.

M I can’t imagine. No ‐ I can imagine,

but I can’t imagine a way of ‐ then

beingwithout you. Wait. Iwantto

beclear.Iwanttomakesense.

Iamnotaviolentperson.

Ihavenoteverbeenofaviolentmind

orthoughtaviolentthought.

WhydidIwanttohityou?

Iamterrifiedofthat–ofsayingthat.

Preciselythat.

WhydidIwanttohityou?

IhopedIwouldfeelbetter–selfishly.Punishyou?



Punishyou,yes.

No.

Iwasstandingthere–shaking. Iwas

shaking.ButnotbecauseIwas,then

at least aware of myself. I was

shakingbecause itwasn’tenough to

hearyoumakethatnoise.Toseeyou

slamintothatfence.Iwantedtokick

you,topunchyou.Tobreakyourskin

andthentostepbackandtowatch.

,

Kick you then punch you then break

youand thenwatch. Stepbackand

watch.

,

Ididn’tthough.Icouldn’t–Ijustdid

thatthingandwatchedyou,watching

me. Pushed you and stepped back,

shaking. Now I know you were

getting hard,watchingme. Violence

isnotromantic.Itwasfearandthen‐

Almosttoomuchtimepassesbefore

Youwerereallygettinghard?Allthat

time getting off on– mewanting to

see you bleed – wanting to torture

you–hard?Ihateyouevenmorefor

that – I hate you because I don’t

knowwhattodowith/that–Ihave

no

O It’s a compliment. I was hard, you

mademehard.Mycockagainstmy

jeans

M Thosetightjeans

O Tight, yes. Your re‐branding ofme–

skinny jeans, loose t shirts –

musketeer.

M Myfault.



O Notsuchabadthing–acompliment.

Youmademehard,youstillmakeme

hard.

M Areyou…

O Iamnothardnow,no.

M I still miss sleeping with you, you

knowthat.I–

O Youwouldneverjuststay–

M Youwouldnever just letme– I’mso

angry

O Really,Imakeyouangry–Ihurtyou.

Ihavehurtyou.

M No.

O Then–

M Ijustdon’tunderstandtheadmission

of–the…

Ijustdon’tunderstandtheerection.

O Youdon’t…

M I don’t – no, I don’t understand theerection. How was I doing that, to

you –when Iwanted to – Iwanted

to…

O Stop.

M …

O Don’tgoon.

M Ishouldstop.Here?Stopnow–yes.

OlooksatM.

O That–there,thatface.Thatlook.



M Even after I have admitted – and

whatis thatlook,I don’tthinkI have

alook.HowdoIlook?Idon’tlookat

you–ImeanIwasn’tlookingatyou

inanyotherwaythan.Idon’tlook‐

youdisgustedmethen–Iwantedto –I,doI?Iwantedtoyes,Iwantedto

‐Istillwantto‐Iwill

MlooksatO.

O Willyou.Iwantyouto.Iwantyouto

kickme.Punchme.Breakmylip.Itis

that look that I want to remember.

Breakmynose.Movecloser.Crush

myhand.Bitemycheek.Ear–hitit.

Even after you have admitted, yes,

admittedwhatitwasyouwere‐Myhair, pull my hair. Spit. Spit in my

face. I am hard. That potential – I

want that potential. Go – please.

Willyou,Iwantyou–pissinmyeyes.

Iwantto bleed. Yourmusketeer. I

wantto smell fear– I don’twantto

run–out.Please.Iwantyouto.En

guard.Iwantyou–Icanhave.For

me,us–dothisforus.Idon’twant

you to go on – having, having not.

Thereisno‐wearedoingthat–weare startingthat cycle– this iswhat

always happens – and I am saying

now,Iamgivingusthatchoicenotto.

Tobreak–breakthatcycle.Lets–

MstilllookingatO.



/////theprovocations

Ireceivedtwostartingpointsorprovocations

andtheseinformedtheearlydraftsofthework.

Theseprovocationsfollow.



1. Doapieceon/aboutpathologicalliars(Pseudologia

fantastica)

2. ‘Toprovokelaughterwithoutjoininginitgreatly

heightenstheeffect.’

(HonoredeBalzac)

SOTOMAKEOTHERSLAUGH?!

RemindsmeofstandingoutsidetheDeafInstitute–

Relationshipbreakingdown.

StayOutofTroubleKingsofConvenience(Song)

Iwalkedaroundforhours,twotenpence

piecesinmyhandIwasaloneandfreezing,stilltryinghardto

understandyou(Myunderscore)

IlefttheothersknowingIhadtoworkthis

bymyself

butnowthefeeling'sgrowing,Iwouldbe

betteroffwiththeirhelp

sobaby,whatwe'vegothaslately,notbeen

enough

IwishIhadyourscarfstill,thatonce

embracedandkeptmewarm.

Iwishyoucouldbewithme,intheselast

dayswhenIamstillhopelesslypoor

stayoutoftrouble,stayintouch

trynottothinkaboutmetoomuch(My

underscore)



“Pathologicallyingisfalsificationentirelydisproportionateto

any discernible end in view, may be extensive and very

complicated,andmaymanifestoveraperiodofyearsoreven

alifetime."3

Characteristics

Thedefiningcharacteristicsofpseudologiafantasticaarethat,

first,the stories are notentirely improbableand oftenhave

some element of truth. They aren't a manifestation of

delusion or some wider form of psychosis: upon

confrontation, the person can acknowledge them to be

untrue,evenifunwillingly.Second,thefabricativetendencyis

longlasting;itisnotprovokedbytheimmediatesituationor

social pressure as much as it originates with the person's

innateurgetoact inaccordance.Third,a definitelyinternal,

not an external, motive for the behavior can be clinically

discerned e.g. long lasting extortion or habitual spousal

batterymight cause aperson to lierepeatedly, without the

lyingbeingapathologicalsymptom.[2]Fourth,thestoriestold

tend towards presenting the person in question in a good

light.Forexample, thepersonmight bepresented asbeing

fantasticallybrave,knowingorbeingrelatedtomanyfamous

people

Whathappenswhenapathologicalliarisinarelationship?

3

Charles C. Dike, MD, MRCPsych, MPH, et al.. "Pathological Lying Revisited".

Journal of the American Academy of Psychiatry and the Law.http://www.jaapl.org/cgi/content/full/33/3/342?maxtoshow=&HITS=10&hits=10

&RESULTFORMAT=&fulltext=malingering&andorexactfulltext=and&searchid=

1&FIRSTINDEX=10&sortspec=relevance&resourcetype=HWCIT . Retrieved

2008-01-21.



/////reflectiononreadthrough

Writing/Wrighting

Wednesday2nd December2009

Reflection

This final version of the text, now called About Face feels

somehow the most definitive and has given me the greatest

amount of satisfaction. Re focusing the work so that it is

performedinacircleofaudience,whomaredirectlyaddressed

and acknowledged as present felt important. The reading

allowedforthewordstoliftfromthepage,thespacetheyweregiven leant them new meanings for me. I was listening as a

performer,asadirector–somehowthewriterhadleftme.

Alotofthisfinaldrafthasmaterialisedandperhapssettledfrom

the final communication I received from Duncan, the greatest

provocationofall.IhavereconciledtheinfluenceofCrimpand

Crouchintheworkandamattemptingtofindwaystodealwith

this. Crouch is an influence in performance more; I have

borrowedhisbeliefinexposingthetheatricalityoftheworkto

theaudience,somehowaidedbymyplayingthepartofM.

Looking back over the many drafts of this text now, it is

interesting to see how it has progressed. The characters andnarrativeremainintact,theyareandwerealwaysIbelievenow,

stableandhonest.WhatIhaveattemptedthoughistopursue

thedualthemesofsexualarousalandviolenceingreaterdepth,

giving more weight to the action. Making sure that the

characters are affecting something, that I am writing their

actionsforthemhasprovendifficultbutIthinknowIhavehad

somesuccess.

Thedialoguefeltexcitingtoperform,Stevenotedtooanenergy

andappetiteforthewordswhichisreassuring.Iamintriguedas

towhereImaytakethiswork,howIcanworkasanauthora

littlemore.Idonotmassivelytrustmyselfasawriter;Iamnot

surethatIamtellingastorythathasappealbeyondtheconfines



oftheinstitutionbutamintriguedtofindout.Whetherthereisa

completeplayinmeIamnotsure.

Duncanhasinstilledinme,though,apassionfortext,arenewed

passion for the words on the page and their translation into

performanceinspacewithbodies.Ifindalotofhisprovocations

andexercisesuseful still nowand have mentionedto him thatthey apply well to a directorial practice. My writing has

improved,ithasdevelopedbutIwonderifithasbeengroomed

throughmyowntastesanditishereIstrugglewiththeideaof

‘stealing’,(whetherform,orstyle,rhythms…)fromotherwriters

anddonotfeelthissamefearwhendirecting.

NowIhavethistext,Idonotwantittovanish,itiswithmeand

has become more than an experiment for assessment. I have

beganajourneyhere,onethatmakesmelookatdefinitionssuch

asartist,writer,director,maker…wrighter?!

RDDecember,2009



/////Duncan&Feedback

HiRob,

Thanksforthescript.Ithinkthere'ssomegreatwritinginit,youshouldbereallypleased.It's

interestingtoseehowthethingswe'vebeentalking

aboutinourclusterandtheplayswe'vebeenlookingathavefoundtheirwayintoyourwork.Becareful

thattheinfluencesdon'ttakeovertoomuch,itshould

stillreflecthowyouexperiencetheworld,nothowthosewritersdo(ifthatmakessense).Italsofeels

quitecomplete,there'snothingmoreIwanttoseeabouttheirlives,it'sallthere.I'mnotsureIquite

understandtheending,butperhapsI'mnotsupposed

to.Myonlyrealthingtolookoutforisthat,andIhopeyou'llforgiveme,likeMartinCrimp(abig

compliment)orSarahKane,Ithinkyou'reonaveryfinelinewhereyoucouldeasilyfallintopretension.

WhatImeanbythatisthatthereareflourishesboth

inthedialogueandinthestagingthatarebeautiful

andinterestingbutwhicharen'tyetquitecommunicatinganythingclearlybeyondthat.Every

element,everyword,everygestureneedstoearnitsplaceandbetherefirstandforemostfortheaudience.

Thedialogueisbothlyricalandveryrealandcompellingbutfeelsquitecrystallineandalmostabit

precious,asifthere'sasortofassumedreverencefor

thecharactersandtheirsituation.AtitsbestIthoughtthedirectnessandtheclarityoftheconversation‐

someonehasactedviolentlyandboththeperpetratorandthevictimhavemixedfeelingsaboutit‐was

extremelywellwroughtandreallyexciting,don'tget

toocaughtupinflourishesunlessthat'sinherently



partofwhatyou'retryingtocommunicate.Itwould

begreattoseehowyoucouldsustainthatoverafull‐lengthpiece.

Ihopethismakessense.Let'schataboutittomorrow

ifwegetthechance.

////

Rob,sorryI'venotgotbackbeforenow.IlookedforyoulastThursdayasIfeltbadaboutusingtheword

'pretentious'(!)IjustwanttoclarifywhatIintended

bythat.Therewereimagesandideas‐forinstancethefenceattheendofthepreviousdraft‐whichI

thoughtwereprobablyverybeautifultoseebutwhichdidn'tconveyameaningtome.That'sfineofcourse,

butitleftmewonderingwhetherIwasjustmissingsomething,whetherornottherewassomethingI

wasn'tabletoaccess.Ifeelabitaboutthisaboutalot

ofBeckett,forexample,wherethere'sacertainimagewhichclearlyresonatesforhimbutwhichIfeltleft

behindby‐ittookquiteabitofwider‐readingtoget

thesignificanceofthe'redearth'mentionedinGodot

forinstance,averypersonalreferencetohisexperienceinaparticularareaofFranceduringthewar.Crimpwalksafineline‐IlovedreadingTheCity

(morethanwatchingitstrangely),butItrustedthe

unrealrecurrencesofthenursesuniform,thepinkcoatetc.andwasevendisappointedbythe

'explanation'attheendwhichtookawayany'poetic'

meaning.

I'dliketomaketwosuggestionsifImay,andfeelfree

torejectthementirely,theyarethereasprovocationsmorethanadvice.

1.Trychangingtheformatting.There'ssomuchspace

aroundthewordsitfeelsquitestiltedandeven'precious'.LookatMike'splay'Cock'inproduction‐

thedialoguewhizzesbyatninetymilesanhour,just

asitdoeswhenyou'rereadingitonthepage.Crimp'splaysdemandtobereadandperformedatafar

slowerpace,exceptAttemptsandFewerEmergencies

whichneedtobedeliveredatamuchmorefrenetic

speed‐lookattheseplaysandseehowtheyaregivingthereader/director/performercluesastothe



paceandthetonesimplybythearrangementofthe

dialogueonthepage‐lookalsoatANumberbyChurchill.Atthemomentthereishugeweightplaced

onthewordsyourcharactersuse,whichI'msureisadecision,butwhichindicatesaparticularlyslowand

austeretoneandwhichleadstowordslike'terror'and'terrorism'becomingalmostdeafeningwithmeaning,ameaningwhichdoesn'tnecessarilygeta

payoffandwhichisfarbiggerthanthesituation‐

perhapsanothersensebywhichImeant'pretentious'isthatIdon'tknowifyoucanadequatelycontainthe

ideaof'terror'and'terrorism'inthisshorttimeandwithinthissituation.Morethanthat,terrorism

doesn't'add'tothepersonalsituationwe'rewatching

‐itisperhapsalittleexploitative'rebellingagainstyouismyown9/11.'Perhapsthat'sintentionalbutI

justwantedtoflagitupasatthemomentit'ssucha

throwawayremark.LookatMarkRavenhill's'Shoot/GetTreasure/Repeat',oneoftheplaysinthe

collectionIthinkiscalledTheMikadoandisabouttwomeninmiddleagesittingonabench‐oneof

themhascancerandsayshewishesitwasabomb.It's

beautifullywrittenyetutterlyrootedintherealworld.Theterritoryofyourplayfeelsmuchmore

ethereal,dreamlike,theatrical,butitstillmaybeausefulreferenceforyou.

2.Atthemoment,thestrange,veryhumaninternalconflictofbecomingarousedwhilstbeingscaredis

formingthedramaticcoreoftheplay‐theconfession

ofthisandtheapologyandlackofcomprehension.Thisisfantastic,butcurrentlymakestheplayalittle

lopsided‐there'snothingasextraordinaryinthesecondpartoftheplay,justagradualgridlockand

fallingapart.Iwonderiftheremightbeanotherreveal

orchallenge.PerhapsOwantstobehurtorthreatenedmore,whichMisconflictedabout.Perhaps

MtriestothreatenorhurtOoutofloveorviceversa.Somethingdarkerorlighterbutsomethingotherthan

aconfessionIthink,somehowitbecomeslessactive.

Thepushandpullgamewas,Ithink,abrilliantandcleardemonstrationofdramaticaction,butit

demonstratesthatgooddialoguehasapushorpull

inherentlywovenintoitsfabric.Itwouldhavebeengoodtohaveusedsomebaddialogueandseenthat

therewasneitherapushnorapullonanylineandthatnonecouldbeimposed.I'mnotsayingfora

momentyourdialogueisbad‐farfromitinfact‐butIwouldsuggestthedialogueisalittlelessactiveasthe



playgoeson‐thecharactersareintrovertedandare

notlocatingtheirneedandtheirtacticoneachlineinsidetheotherperson.I'mabsolutelypreparedtobe

provedwrongaboutthis.

Anyhoo,letschataboutittomorrowifuseful.D



/////TimCrouch&MikeBartlett

TimCrouch

Discussion

Wednesday25.11.09

Discussionabouthisplaysandideasaboutplaymaking.

Theplayisnotdead

Acontainerforthedrama

AnOakTree–1973ArtWork

WhydoesHamletneedtobestagedinacastle

Telltheaudiencesomethingandletthemmakethe

imaginativeleap

Sodoweneedtorehearse?

SpokealotaboutEngland/TheAuthor/AnOakTree

FunnyanecdotesaboutcostumeforTheAuthor‐howreal?!

Verypassionateaboutbeingkindtoactorsandtreating

everyoneintheprocesswell–respectingeveryone–

especiallytheaudience.

Exposethetheatricalityandallowthattolive–the

audiencewilldoalotofworkifyouallowthemto,theywillfindthisexhilarating.



Letthethingexistinthemindsoftheaudience,theycan

bringmultiplesofthesametotheperformance.Example:

England,Timmentionedthebestcharacterhehasever

writtenisthatofthewidowofthemanwho’stransplanted

heartisinthephysicalcharacteronstage,(Tim’s

character).

Timwaspassionateabout“acting”opposedtotheDrama

Centremethod(abookoftheplaythatisreadandstudied)

andledaworkshopatCentralwhereactorswerereplaced

withobjects,(notaspuppetsbutobjectsthatareseenor

readbytheaudienceasanimate–alipstickformother

etc.)Someplayswrittenasresponsestocertaintypesof

actors.Thisisinteresting,thequalityofacting,howand

whatisthebestwaytoperformarole?Weareallhuman

sohowdoweplayhumansonstage?

Theplayisnotdeadand“play”isthevitalword–playful.

Whatexistsiftheplayisdead?

MikeBartlett

Discussion

Thursday26.11.09

TheplayisnotdeadbecauseunliketheAuthor(Roland

Barthes)theplaywrighthasneverhadsoleauthority(ifat

all?)thereforetheprocessofplaywritinginthe

“traditional”(NickWood)modeisthatsimplyofdevising

intheheadoftheplaywright

ThisdevisingisaBritishfinancialdeterminationasunlikeEurope,fundingisnotthereforlongprocessesforlarge

companies.

EXERCISE1:WhatisDrama

EXERCISE2:WhatisDramaticAction

EXERCISE3:Twoactorsleavetheroomandaregivenan

instructioneach,nolinesallowed.Audience

watchformomentsofdrama.



EXERCISE4:Tworeadersofatext,twoperformers.

Performersrepeatthelineafterthereader,

onebyoneandtheneitherpushorpull

(makingsureyouhaveasenseofthemajor

objectivesofscene)...Thenthetwo

performersplaythesceneforrealandtryandfindthesamemomentsofdrama.Alice

andIattemptedthiswithMike’splay,

Contractions.

Mikewritesaplayfromtwolinesandfindsit,outthere.

Perhapsthismakesitautobiographicalinsomesense.

Shortplaysshouldeither:beaboutamomentyouhave

surprisedyourself,orhadathoughtthatyoudidnotexpect.Orbeaboutsomethingnew,somethingdaringand

somethingthatcannotbesaidwithalongertext.Thiswill

makethemrelevantandprovocative.

Betruthful–aboutyourworldandyourexperience,itwill

beshared.

Thinkofsimplesituationsandembracethetheatricalityoftheatre,donotusespectaclealwaysbutacknowledgeand

knowthatthereisspectacleintheaudiencesminds.

Donotpanicaboutcompetitionjustmakegoodworkthat

istruthfulandtrainyourself,workhardandyouwillbe

noticed,thecareerfollowsthework.Makeyourselfthe

bestartistpossible–readandrereadandlookandrelook.

Theworldaroundusistheworldthatwerepresent.



/////frommyblog

Tuesday,17November2009

Writing/WrightingScriptDevelopment

Attheclustersharingyesterdaymorningitbecameapparentjusthowtoughitistogettherightfeeling

establishedforsharingwork.Wehadalreadybeenaudiencetotheperformersdynamicpresentationof

exercisesandsmallpiecesofworkthatshowcasedthe

genesisoftheirideasaroundatext.Thenwewereabletointeractwiththemoodboardsfromthe

scenographyclusterandJuliawasgreatattakingus

allthroughtheprocessesandoutcomesoftheirworkofthepast2weeks.

IamnotsurebutIhadthefeelingthataswecameto

shareourwork(yes,itismassivelydifferentfrom

whathadgonebefore,beinglargelyroundtableworkandlotsofdiscussion)therewasacollective

disengagement.Thisofcourseisapersonalresponsetotheenergyofthecirclewhichwassomewhat

solidifiedbyAyse'scommentonthewritersnot

includingtherestofthegroupinthereadings.Thissomewhatupsetmeasitsuggestedwewerenot

includingorsharingaswellaswecouldhavebeenbut

Idothinkthatitisusefultohavethecorrectgenderwhenreadingnewworkwhichisdelicateand

somewhatpronetocriticismforbeing'new'/orunderdeveloped...

Anyway,Idigress...

IchairedtheshowingandspokeaboutourworkwithClareandsomeofourdiscussions,(bestnottodwell

asthissortofinformationisoftendulltothosenotat

theoriginalseminars)thenmovingontoshowcasing

theworkofthecluster,eachofuspresentingourassessmentworkthusfar...



Whichbringsmeontomytext.ImustsaythatIamfindingtheroleofwriteratoughoneandsomething

thatIamhavingtonavigate/(improvise?!)quickly...thetextcertainlydoesfeelexposedwhenput

beforethatmanypeopleandIhavestruggledwithdirectingmyownwritingasIfeelIhavean"ideal"inmindevenatreadthroughstage.Iamstillwaiting

somemoreformalfeedbackfromseveralpeople

whichwillhelpmedevelopthewritingbutuntilthenIamlookingoveritthiseveningtoseewhatre‐draft

workcanbedonepostthesharings.

Tuesday,24November2009

Writing/WrightingDocumentationMetwithDuncantodaytodiscussthescriptand

mentionedafewwaysofpresentingtheworknextweek.Ithinkascriptinhandreadingisgoingtobe

thebestchoiceandwillallowmetocommunicatethetextinthebestpossibleway.Perhapssomedesigns‐

somedirectionstheworkcouldtakecanbeincluded

inthedocumentation?!

IthinknowthatIhaveobstructedthewritingandre‐

draftedseveraltimestheworkisreadynowinitscurrentcondition.Duncanaskedifitwasascene/

beginningofaplay/afullplayandIamnotentirelysure‐perhapsitisawholeplay?!Perhapsascene

fromalargerstoryaboutarelationshipormultiple

relationships?!



/////scribblelivedocumentation

Pseudologiafantastica[WorkingTitle]

Writing/WrightingDocumentation• Startedwritingtodayat11.17am

byRobDrummer at11/11/200911:17:45

AMWedNov1111:17:452009• Man

Iwalkedaroundforhours,twotenpence

piecesinmyhand

Iwasaloneandfreezing,stilltryinghardto

understand‐you

Istoodagainstawall,smoking–no.Istoodagainstawall,waiting.

Waiting.byRobDrummer at11/11/200911:18:03

AMWedNov1111:18:032009• Interestinghowlettingthestimulisettle

overnighthasproducedalotofmaterialbyRobDrummer at11/11/200911:23:22

AMWedNov1111:23:222009• KingsofConvenienceareagreatdirectionto

pursue.ThanksSteve!byRobDrummer at11/11/200911:24:23

AMWedNov1111:24:232009• ShouldIbelisteningtoanalbumthoughorjust

theinitialstimulus?!Ilikehavingtheabilityto

takeinanalbum‐itissomehowhavinga

massiveimpactonthewritingthough...good?

bad?byRobDrummer at11/11/200911:25:03

AMWedNov1111:25:032009



• BorrowingmassivelyfromCrimpwithTime

andPlacebyRobDrummer at11/11/200911:26:24

AMWedNov1111:26:242009• personal.thisisfeelingpersonal.Iamnervous

writingthis.byRobDrummer at11/11/200911:31:22

AMWedNov1111:31:222009• Itisinterestinghowapproachingwritinginan

academicway‐studyingformand

constructionseemstobepushingmeina

formaldirectionthatfeelsfalse.


AMWedNov1111:34:592009• Imean‐howdoIrepresentthisworld‐onthe

page.Inmyownway?byRobDrummer at11/11/200911:35:23

AMWedNov1111:35:232009

• Howlongis5minutesbyRobDrummer at11/11/200911:35:29

AMWedNov1111:35:292009• Man

Evenafter/IhaveadmittedObjectofAffection

Evenafteryouhaveadmitted,yes,admitted

whatitwasyouwerethinking.

byRobDrummer at11/11/200911:37:55AMWedNov1111:37:552009

• “Pathologicallyingisfalsificationentirely

disproportionatetoanydiscernibleendin

view,maybeextensiveandverycomplicated,andmaymanifestoveraperiodofyearsor

evenalifetime."byRobDrummer at11/11/200911:38:57

AMWedNov1111:38:572009• Readingbackoverthebeginningandthere

seemstobeanarc.byRobDrummer at11/11/200911:42:18

AMWedNov1111:42:182009

• thisdoesfeellikeanintroductiontosomethingbyRobDrummer at11/11/200911:42:26

AMWedNov1111:42:262009• isthatthewaytoapproachthiswork‐Iwould

ratherwritemore‐shouldithaveadefinite

endtoconformwiththe5minutelimit?byRobDrummer at11/11/200911:42:58

AMWedNov1111:42:582009



• byRobDrummer at11/11/200911:47:43

AMWedNov1111:47:432009• IgnoringCharacternames(Man,Objectof

Affection)hereisagraphicrepresentationof

textsofarbyRobDrummer at11/11/200911:48:19

AMWedNov1111:48:192009• HavedroppedObjectofAffection,replaced

withObjectbyRobDrummer at11/11/200911:55:42

AMWedNov1111:55:422009

• HaveaddedbyRobDrummer at11/11/200911:57:36

AMWedNov1111:57:362009• NotetoText

/Pointofinterruption

…Timepasses

‐BreakbyRobDrummer at11/11/200911:57:40

AMWedNov1111:57:402009• Re‐listeningtoStayoutofTrouble,Kingsof

Convenience

byRobDrummer at11/11/200912:01:48PMWedNov1112:01:482009

• byRobDrummer at11/11/200912:01:55

PMWedNov1112:01:552009• Man

Iwalkedaroundforhours

Iwasalone‐freezing,stilltryinghardto

Istoodagainstawall,smoking–no.

Istoodagainstawall,waiting.




PMWedNov1112:13:392009• HowusefulwouldTime:Now/Place:Herebe

inperformance?Wouldacompanyneedmore

toapproachthetext?

byRobDrummer at11/11/200912:27:07PMWedNov1112:27:072009

• Draftonecomplete.Willreturntoreadlater

thiseveningbyRobDrummer at11/11/200912:46:09

PMWedNov1112:46:092009• Sirensprecede,bluelightends.Objectvanishes

andrecordedvoiceofmantakesoverthose

finallines,perhapsfenceisrevealedby"robdrummer"viaemailat11/11/2009

1:39:36PMWedNov1113:39:362009• hirob‐cameacrossthis'event'quiteby

accidentandthensuddenlyrealizedwhatthis

is!goodstuff!

byalexeisenberg• ProblemsloggingintoScribbleLivelastnight

butmajorredraftachievedbyRobDrummer at11/12/20098:32:36

AMThuNov1208:32:362009• Potential(11.11.2009,RD)

•Makemoreofthelie–repeatwholetext,

nicer,funnier?•Howdoesit“read”?

•Doesthedeviceofbluelightwork?Doesit

conveytheObject’sattack?Doesitexposethelieenough,ortoomuch?

•Morerelaxedanecdotesperhaps?!•Ismorebackstoryneeded?

•Formally,doesthiswork?

•Isthisastandalonescene/moment/eventORisitthebeginningofalongertext?

•Whatarethestructures?(Cantheclassdo

that?)byRobDrummer at11/12/20098:36:59

AMThuNov1208:36:592009• PrintingcopiestotakeintotheClusterthis

morning,lookingforacritiquethatcouldlead

toare‐draftbeforeObstructionsperhaps?byRobDrummer at11/12/20099:07:30

AMThuNov1209:07:302009• Iamintrigued(andhavejustremindedmyself

oftheseobstructions).Howwillthework

changeandwillitbethesameworkthatIacknowledgenow




AMThuNov1209:07:562009• Afterlisteningtothereadthrough(during

clustersharings)Ihavestartedaredraft.byRobDrummer at11/17/20099:00:39

PMTueNov1721:00:392009• LayoutonthepagehaschangedandIhave

strippedthegenderedlabelsofMan(and

Object)awaybyRobDrummer at11/17/20099:00:53

PMTueNov1721:00:532009• ThisdoesnotmeanthatObjectisgenderlessas

theerectionreferencesdoesdetermineheis

malebyRobDrummer at11/17/20099:01:11

PMTueNov1721:01:112009• Layoutinterestingthough,doesitgivemore

room‐orisitarbitrarytoperformance?byRobDrummer at11/17/20099:01:26

PMTueNov1721:01:262009• Thereisastrippingawaygoingonherethough

Ithink,removingtheunecessaryandclarifying

thethemeofthework.byRobDrummer at11/17/20099:01:53

PMTueNov1721:01:532009• Itis,Ithinkreadyforobstructions(althoughI

amawaitingsomepeerfeedback).



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Chekhov,Anton.Plays.London:PenguinClassics(2002).

Churchill,Caryl.FarAway.London:NickHernBooks(2000).

Crimp,Martin.Plays:1.London:Faber&Faber

(2000).Crimp,Marin.Plays:2.London:Faber&Faber

(2005).

Devine,Harriet.LookingBack:Playwrightsatthe

RoyalCourt.London:Faber&Faber(2006).

Ionesco,Eugene.Rhinoceros,TheChairs,TheLesson.

London:Penguin(1962).

Kane,Sarah.Cleansed.London:Methuen(1998).

Macmillan,Duncan.Monster.London:OberonBooks

(2007).

Roberts,Philip.AboutChurchill:theplaywrightand

thework.London:Faber&Faber(2008).

Sierz,Martin.TheTheatreofMartinCrimp.London:

A&CBlackPublishers(2006).

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