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Lucy on The Lab “Like scientists we have a laboratory down in the basement at CPT, to experiment with new ideas and make new discoveries.  It’s so much fun, and surprises me every time! This keeps the work fresh and keeps us alive as a company.  Any discoveries we make feed into the bigger projects in some form or another and we present our experiments to the public regularly, as the audience is central to our work.  The Lab is the heart of the company.  It keeps us, going, and reminds us why we are here.” – to read more about our latest experiments, please see Lucy’s blog at http://apocryphaltheatrelaboratory.blog.com

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While apocryphal theatre creates performances, the heart and soul of the company is its on-going laboratory, where the ensemble has the time and space to explore specific theatrical ideas, which can further the mission of the company.  Our experiments involve isolating aspects of theatrical language, and creating exercises to explore the limits of these languages.

Julia’s primary technique throughout all of the labs is cutting-up

To read more on Cutting Up please click here

We have performed showings of The Lab work all over the UK and internationally for images and excerpts, please see the below links:

Cut Up Close Up
Lorem Ipsum Gallery November 2007

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Has It Started Yet?
2:13 Club, Stoke Newington July 2007

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The Lab at
Tate Modern 2007

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Has It Started Yet?
Camden People’s Theatre 29th-30th January 2007

A Lab Showing
23rd –24th Jan 06
for pictures from Birthe Jorgensen click here
for pictures from Chiara Contrino click here

A Lab Showing, Camden People’s Theatre  
18th-19th Jun 05

Verbindingen/Jonctions 9 Festival,
November 2005 in Brussels

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Cutting Up

The first ideas for this way of working was inspired by the cut-up techniques in The Third Mind by William Burroughs and Brion Gysin, and the first cut-ups were of found text and first memories of issues like gender, class and religion. Now, this technique has evolved to include far more than pre-existing words on a page. Once having isolated these many different theatrical languages as languages, we can then cut them up into each other to see how by comparing and contrasting different words, different presence, different gestures, etc., the mechanisms of the creation of the language can come through. These cut-up experiments are improvised and therefore happen in four dimensions and between players so there are many more variables than static words on a page. This gives the players and audience a way to see what is considered usually stable as mutable, and also through the surprising conjunctions of words, physical gestures and presence, hear and see different possible resonances of these common place words, gestures and modes of presence. As these explorations evolve, we disseminate the discoveries by showing the lab experiments to an audience, creating experimental performances, and teaching workshops. As the relationship to the audience is key to these explorations, bringing in audience periodically is critical to our understanding of this process and to ensure we are not speaking only to ourselves but are in reality embodying the principles we are espousing.

 

 

 

 

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