The road to Edinburgh from London goes via Frankfurt. Well at least that has been the circuitous route I have followed in order to get the new production of mine 24/7/52 to this year’s festival. There is a lot about this piece that has not followed the most obvious paths and I should like to say something about these paths and why they were followed.
The show and indeed my work more generally, doesn’t fit easy categorisation; it deliberately sits between forms exploiting the languages of performance or live art, experimental theatre and corporeal mime. Over the last 7 years it has been developed within the frame of a part-time practice-based PhD yet I choose to make and show my performances for and to a general public, not content to work the conference circuit only. While the performances are clearly intellectually devised, working from structures and concepts first and arriving at material second, they are very dynamically realised and often funny. This sense of slipperiness, of there not being a single language to contain the work within, is something I quite precisely look for; it is not a fault or a weakness but rather a defining feature of the work.
