Editorial

Feature in Issue 11-4 | Winter 1999

Welcome to the new millennium. And, as I heard the Divine David observe recently, isn’t it a shame that monorails haven’t sprung up ovenight and that we’re not all decked out in silver lamé suits and living in Jetsons-style homes? So much for the space age!

In this, the first twenty-first century issue of Total Theatre, you won’t find any further millennium references. So you can breathe a sign of relief. Instead, we have an interview with La Ribot, the enterprising Spanish-born performer who has a unique way of raising funds for her work: each of her performance pieces can be purchased, just like a painting. La Ribot’s patrons get nothing more for their money than a certificate to authenticate their ownership of the work and the satisfaction that they have helped to finance the ongoing creation of the artist’s exquisite but ephemeral pieces.

If money’s too tight to mention, then why not follow in the footsteps of artists like Max Emst and Laura Godfrey-Isaacs and invite audiences to performances staged in your own front room? David Harradine reports on the joys of side-stepping the conventional touring circuit and staying at home. Also in this issue we have two unique and personal diaries written by practitioners: Jonathan Grieve of London-based para active itemises the pleasures and pains of working on the company’s current show, Holy Terror; and Dymphna Callery gives a step-by-step guide to the process of adapting a novel into play form for Bare Faced Cheek Theatre Company. In addition, Dorothy Max Prior reports on Dramaturgy: A User’s Guide, a symposium hosted by Central School of Speech & Drama in conjunction with Total Theatre. The symposium sought to demystify the dramaturgical process and shed new light on the dramaturg’s function in contemporary theatre practice. Central School of Speech & Drama have produced a special symposium magazine available free to Total Theatre members.

Remember that all members are invited to attend Total Theatre’s AGM on Saturday January 22nd. This will be followed by our seventh Critical Practice Debate. See page 19 for details.

This article in the magazine

Issue 11-4
p. 3