Theatre critics have no special access to the truth. And there should be no objective truth to art.
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.
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.
Uncertainty is a very good thing: it's the beginning of an investigation, and the investigation should never end.
I am particularly interested in creating a relationship between ideas of reception in conceptual art and theater.
'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.
'The Author' is subtly unflinching in its satirical attack on certain practices in the creation of art and the mediation of violence.
Unease is not an emotion I get often in the theatre, and I like it.
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.
Keeping young people away from Shakespeare is like removing a link to their humanness.
There is a satire that exists in 'My Arm,' but there is also an honoring of some of the stronger ideas that I've raided from visual art.
To have a sense of contemporary ownership of Shakespeare is the most important thing to his work.
I'm attracted to the underrated characters.
I'm excited about the idea of an act of theatre triggering a parallel creative act of writing.
It's important to find characters that share sympathy with a young audience, not just in the story but their role in the world.
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