I am particularly interested in creating a relationship between ideas of reception in conceptual art and theater.
I'm excited about the idea of an act of theatre triggering a parallel creative act of writing.
I'm on a mission to make people aware that I'm not a solo artist. I'm sometimes challenged by the branding of Tim Crouch.
A child knows when they are on the receiving end of a didactic exercise, or when they are sitting in the shadow of something else.
Anything one can do to provoke and inspire an interest in the works of Shakespeare in a young audience is fair game. Anything.
In many respects, theater is still grappling with problems of reality and representation that the visual art movement realized were unimportant many years ago.
Keeping young people away from Shakespeare is like removing a link to their humanness.
Art is a subjective thing, and it should be a subjective thing. And the difficulty of subjectivity is that it becomes hugely problematized when you start applying large sums of money to art objects. That's where it all starts to get a bit sticky.
'The Author' is subtly unflinching in its satirical attack on certain practices in the creation of art and the mediation of violence.
Theatre critics have no special access to the truth. And there should be no objective truth to art.
'The Author' is a play about responsibility, how active we are as spectators and how responsible we are for what we choose to look at.
A mental shutdown can happen when a young person is put in front of a Shakespeare play. My pieces are designed to release young audiences into the story and then creep up with the real Shakespeare, almost by stealth.
I'm attracted to the underrated characters.
Unease is not an emotion I get often in the theatre, and I like it.
