a durational piece,

devising new modes of “rehearsal” in public space. it was a critical rehearsal.
in collaboration with London Studio Centre.

a critical rehearsal considers the work of “becoming” and
rethinks performance as a series of trialled possibilities crafted through collaborative action.

this collaborative durational piece of research focused on decadency and its metaphysical relation with space and situation.

{Reference}


Beckett, S. (2009) Endgame: A play in one act. London: Faber.

Dickinson, E. (no date) I'm nobody! who are you? by Emily Dickinson: The poem.

Close transcription[2]	First published version[3]
I'm Nobody! Who are you? Are you - Nobody - too? Then there's a pair of us! Dont tell! they'd advertise - you know! How dreary - to be - Somebody! How public - like a Frog - To tell one's name - the livelong June - To an admiring Bog!	I'm nobody! Who are you? Are you nobody, too? Then there's a pair of us — don't tell! They'd banish us, you know. How dreary to be somebody! How public, like a frog To tell your name the livelong day To an admiring bog!

Bachelard, G. (1992) The poetics of space. Boston, US: Beacon Press.

http://culturalstudiesnow.blogspot.com/2011/06/gaston-bachelard-poetics-of-space-attic.html

The house,  is a body of images which gives the illusion of
stability. He offers a vertical image of the house which is created by the polarity of the attic and basement which denote, for Bachelard, irrationality and rationality respectively. The reason for going up to the attic is rather obvious for the attic not only shelters us from the
weather but it also makes apparent the whole structure of the house. The attic, in Bachelard's The Poetics of Space, is a metaphor for clarity of mind. The basement, on the contrary, is the darker, subterranean and irrational entity of the house. Both this sites appear in our dreams and produce varying kinds of them.

Bachelard relies on Jung to account for his psychoanalytic
metaphor in which when a person hears suspicious sounds
coming from the basement he rushes to the attic to see what
they are, fearing to go down to the basement.

One of the problems with this metaphor introduced in The
Poetics of Space is that urban homes do not have an attic nor basement, contrary to the countryside homes which Bachelard obviously has in mind. Therefore Bachelard concludes that urban homes lack the vertical quality of intimacy. The urban boxes, as Bachelard puts it, have neither roots nor a space around them.
Their relations with space have become artificial. the only way
urban residential apartments can offer the experience elaborated upon by Bachelard in The Poetics of Space in by employing our imagination, and here Bachelard describes his own personal experience in a Paris apartment in which he had to mentally imagine his room and the city as nature, turning the sofa into a
boat rocking on the waves, and the city into an ocean.