Clowning is going good, have found my grotesque-psychopathic-clown that will the basis of Richard. Lines are slowly coming together.
I also have a bookchair, which means that I have another hand free to type, which is always nice.
So far, I've read Lefevbre's Writings on Cities, re-read Pearson's In Comes I and am about to finish Lights Out For The Territory by Iain Sinclair. I'm flitting from Psychogeography to Site-specific for economic reasons but also, because it allows me to make sense of the shape of the essay as I'm reading. The parallels I have already found between these books have spurred me on further and have reassurred my choice in making this line of research.
Since, the PhD proposal (By the way I got a rejection letter from Queen Mary, gutted) application, my idea of backpacking and dramatised landscape has lost its appeal. Firstly, in terms of economocs such a study would prove financially draining and secondly, it would probably overwhelm me.
I have therefore returned to one of the first topics I happened across back in February: Psychogeography. There is only one book with that title in library - sat amongst the philosophy section - and its title alone intrigued me. It made me aware of the fact that I really needed to get out of the theatre. I've been in it for nearly 10 years now and its got a bit claustrophobic. Whether it was stifling black box 'studio' at my high school, the stuffy nearly black box 'studio' (one side was blue) at college, the windowless studios at Aber, the poor acoustics at Morlan or now the illusionary vastness of Roborough; I needed to get out. These next 3 years therefore will not only be an important part of my life in terms of career prospects, they will also mark an evolution in my dramatic learning. A friend asked me the other day where had the wannabe actor gone?
He's gone for a walk.
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