By Richard Gough
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Extra resources for Performance Research 2:1
How far does this apply to your plant? The philodendron was a gift. It was small and was placed near the door to the balcony outside my studio. It grew well and sent its roots in the air, then grew into and around the bookshelves. The leaves grew bigger and formed wonderful shapes. The roots grew up to 5 m. `~ LETTERS TO AND FROM HAMBURG 37 roots to get on to the balcony; eventually it became an impenetrable barrier, and I had to go through another room to get out on to the balcony So in this context it would be wrong to attach the idea of ‘overflow’ to the architecture of apartments and housing facilities that allows the creation of an appropriate environment for exotic plants.
Now what we do is we go to a level of zero where everything is important. ’ 42 In the case of Moeder en Kind the juggling of details leads to a piece which manages successfully to walk along a very thin borderline of basic human behaviour, between tender and sexual embrace, between teasing and violent touch, between ironic and paedophilic play. Here as well we find the balance of artificial and authentic. The material the children bring up in their state of trusting openness is structured and moved around by the play of actors.
It is not only what is said that is heard, but also the saying itself, the communication or speech act as such. It no longer seems so natural that someone should speak. ‘She cannot express her sorrow’: the actress lacks the ease of language, of flowing words, of a linguistic mother’s lap which, apart from security, also always 20 NEEDCOMPANY offers the illusion of ‘being able to say it’, of the imaginary availability of words that seem to fit perfectly one’s own feeling and affects. But there is more.