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Abstract
Playwright and theatre-maker Chris Goode considers the sometimes troubled relationship between performers and audiences, asking in particular what assumptions are made about the latter by the former. This document makes reference to Tim Crouch's play The Author, in which Goode was performing at the time it was composed. However, Goode's personal, performative reflections also draw on his experiences with other recent work of his own (including King Pelican and … SISTERS), and on the nonsense poems of Edward Lear.
Notes
J. H. Prynne, They That Haue Powre to Hurt; A Specimen of a Commentary on Shake-speares Sonnets, 94 (Cambridge: privately printed, 2001), p. 3.
Edward Lear, a book of nonsense (London: Random House, 1992 [1846]), p. 47.
Chris Goode, King Pelican (unpublished ms, 2009); first performed at the Drum Theatre, Plymouth, 5 March 2009.
Lyn Gardner, ‘Sisters.’ Guardian, 14 June 2008. Online at http://www.guardian.co.uk/stage/2008/jun/14/theatre.reviews [accessed 17 April 2011].
‘Tone clusters; or, The audience is listening …’ at Thompson's Bank of Communicable Desire: http://beescope.blogspot.com/2008/07/tone-clusters-or-audience-is-listening.html. 11 July 2008 [accessed 17 April 2011].
Chris Goode, Who You Are (unpublished manuscript, 2010); performed at Tate Modern, 15 March 2010.