Ten Years in the Making
How Long? You’re Kidding
Ten years ago I started performing a series of poems that coalesced into a gloopy mess of words and ideas. Four years ago I gathered a group of friends to try to make enough sense to perform it as multi-media, immersive performance for the Bournemouth Emerging Arts festival. Since then I have been working with the voices of those performers to get the whole thing recorded as an audio piece. Just over a year ago I started a podcast, Tales From the Cliff Edge with the aim that this would eventually host Life and Death. Finally after a lot of prevaricating and shilly shallying we’re ready to go live. Will it make any sense to you? I have no idea but it is made with a huge amount of sweat, a certain number of tears and a lot of love so do give it ago and see if our work has amounted to more than a hill of beans.
All these People as well
Over those ten years I have been helped by dozens of performers and musician who have taken part in various iterations of the piece. I will include a thank you page later in the Website. I owe them all so much. I’d also like to thank those organisations that have hosted those performances and to Bournemouth Borough Council that funded the show at the Bournemouth Emerging Arts Festival (BEAF). There is also a page with some of the reviews an reactions we have had and somewhere buried here will be various videos and artwork from some of the earlier versions.
Timo Peach wrote about his involvement:
“Peter works in the echoes of Forkbeard Fantasy Theatre or Douglas Adams or Python – a delightful preposterity, a willfully intelligent silliness, that sets out to undermine the pompous follies of human loftiness in the face of the horrors of existential scale. Life and Death offers a sort of cheery nihilism that subverts our grand schemes for, well, a kind of reverence for life’s sheer unlikeliness. Something I’ve been discovering in my own way with The Shape of Things to Hum and Unsee The Future. But where I can’t help but be theatrically hopey-changey, Peter’s outlook is much less camply didactic, even as it’s even more absurd, inviting us to suspend disbelief in the finest traditions of high-concept but heartfelt sixties experimental theatre.”
Timo Peach’s full post