Experimental Performance Quotes

The great countercultural movement that we all know from the mid-1960s was epitomised by popular music. But within a few years another shift happened: the birth of alternative theatre.

I come from 'black-box' theater, where basically, you make your own adventure out of nothing.

On the other hand in London you can get an audience that desires dance to go as far as it can go: they've seen the bricks of ideas built over a period so therefore there is an acceptance of what otherwise might seem out on a limb.

Neil and I have always been big fans of drag, emerging theater, and anything that is really 'out there' in terms of performance.

I put the cameras on her and told her to be obnoxious as she could possibly could be. She was.

Seeing the work of directors like Romeo Castellucci, Ivo van Hove, Thomas Ostermeier, and Simon McBurney and Theatre de Complicite, was, and continues to be, hugely important to me. To my mind, these are artists who are forging new languages of performance and storytelling, and their constant reinvention is very inspiring.

I think theatre should always be somewhat suspect.

Living and performing in New York has allowed me to try my weirder and more experimental things.

I came to NYU to study experimental theater. Shortly thereafter, I was featured in a 'Newsweek' article about the emerging downtown club scene, and, well, that was it for NYU. I was off and running.

In subsidized theater, you are encouraged to take risks. It's about being imaginative and artistic. That's the priority. It might not be a success, but let's try.

I sometimes feel I would like to do crazy things with 'Endgame,' where someone says something, but the words, instead of being spoken, are written words projected out of their mouth.

In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.