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Richard Layzell – Notes from Perth
Day 32: Thursday 23 Oct 03
1. Practicals and Methods 2. Intuitions and insights 3. Freeflow 4. Tania’s view
Woke at 5am, with flood of unconscious response to last night’s performance.

Five people, part of Mary Brennan’s workshop, write reviews of Eleanor’s Falcon.

A day looking for kangaroos, emus and landscape, hosted by PVI [performance collective]. To create visual memories of the extraordinariness of Australia
before London winter sets in? Or give some psychological space.

Audience member for lone twin’s performance lecture

More specific self-feedback

Thinking about it in relation to NRLA in Glasgow in March. The work that this may have been a precursor to. What goes, what stays.

Re-usable elements [initial thoughts]:
Relationship to video
Bridge sequence
Vocal piece [pre-recorded]
Relationship to structure: physical
Opening phrase to audience as the derelict area was momentarily lit: “It’s good to go to the dark places sometimes”, became a useful framing statement for the piece. Wanted it to be dark[er] than normal [for me].

What I see as personas others call characters. Am uncomfortable with this. Peter Vulture was an easy sequence and good in relation to the here and now [re audience]. “I’ve got some people with me, David… yes, there is some interest… we're talking square metres here”
Drift around the Lodge from 6am, assessing the extent of the peak. Getting a perspective on initial feelings and responses. Why had it been so intense?
Why had I invested so much in this piece? What were the many agendas [undeclared to the audience] going on? Why was the response so varied and
Told you it was risky getting someone else to be me. And I heard that some people who couldn’t see Rosie thought it was pre-recorded. But I got plenty of other mentions, so that was cool. Single words on A4 paper, yes. But why not spend more time on this? Or were you on some ‘using chance methods’ trip? If I lived here would it be Freo or Northbridge?
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