• In order 'to build a character' in the Australian geo-political ecology, I choose to reflect upon the ‘characters’ I have played so far in my performative life; which ‘ones’ I still desire to create and especially ‘those’ that seem to make ‘themselves’ known inevitably, with increasing urgency and necessity…..
  • ’They’ are the ‘Ones’ whose ‘her/histories’ I am after. ‘Their’ stories are already there. ‘Their’ history lies in ‘their’ future. ‘They’ are made up and assembled as multi (fragmented) personae trying to compose a coherent ‘soul/spirit’ within the performative ‘researcher’.
  • ’The multiple characters’ faces, make-up, masks, costumes, props and sets are all found cultural ‘objects’ becoming ‘subjects’ in the performative languages.
  • The Australasian performer becoming cultural navigator carrying cult-cargo across boundaries/borders; becoming insider/outsider of multiple cultural expression; allowing/permitting perception and projection of transformative development in 'character building'.
  • The Australasian Actor becoming nomadic carrying the experiences and tools of ‘their’ skills and crafts in everything ‘they’ (re)present, applying ‘their’ multiple intelligences at crossroads and in overlapping interdisciplinary fields/lands(capes) of inquiry.
  • The various yet specific cultural knowledge consultants function as so many dramaturgues/playwrights to guide ‘them’ in their pre-expressive preparatory explorations towards a 'multiplicity of being'.
  • Experience-based and experimental procedures for bringing cultural research through to a level of highly-charged interactive performance.
  • By making use of cultural research data we gather and hunt multiple points of view regarding any subject matter. The information leads to the conceptualisation /construction of a vertical/horizontal montage of time and spatial ‘locations’ which serve as markers or docking stations for arrivals and departures of multiple characters who reflect, digest and express multi-perspectival realities.
  • A vorticity of concentration points/of view are brought ‘into play’ under the umbrella of thematic ‘mappings of contemporary behavioural mythopoetic ‘musings’.

·       Every player/performer is creating/presenting ‘their’ (characters) ‘scripts’ (performative ‘performance’ languaging) in a multimedia, multidimensional environment (slides, video, sound/music, computer/graphics, sites, projections)

  • The Living created and multi expressive performance interfaces with the extensions of its ‘body of cultures’.
  •  The audiences partake at least by the inescapable invitation to edit in real time the geo-leveled ‘landscape and its inhabitants interactions’ allowing each and everyone ‘their’ eyes, ears and ‘readings’ or final cuts.
  • Engaging signature hybrid of multiple theatres: arcane, historical and contemporary theatre techniques and practises: musical, physical and multi-media.
  • Spirals toward co-evolving new theatres?


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