UK

First Person: A New English Theatre of Berlin (Berlin, Germany)

A bomb goes off, a telephone rings in the darkness, the lights flicker, and a thin tract of stage slowly reveals the actors standing dreamily at a hotel’s front desk. But this is no ordinary stage, and it is no ordinary theatre. The world of Hotel Methuselah is a reflection, a refraction, and a hinting at a world that lives somewhere between theatre and film. The stage is a narrow 6-meter long slit — a seriously wide widescreen — allowing us glimpses of actors below the neck and above the knee. Around them, a lush and well-crafted film offers us our only look at their faces, or hands, or whatever else the directors want us to see, while hinting back to lush noir films, French New Wave, and even some old Stan Brakhage. It is not always successful at merging the worlds of T...

Featured: Paul D C Kindersley (UK)

According to the British artist Paul Kindersley, the performance element in his work is, if not acted out, always suggested in his pieces. ‘They are props, which could be left over or yet to be used in some ritual. Objects placed in relation to one another, suggesting an intertwined movement or dialogue. They are pieces that long for something or someone, desiring a completion. Offering but never fulfilling a suggested narrative, one that can only be completed when the work re-enters a shared culture imagination, the interaction with the prop leaving behind a lingering residue. The hand and its marks are ever present, suggesting an interactivity and impermanence.’ I was introduced to Kindersley’s work earlier this year. I admired the relevance of both his live and video performances, in pa...