By Tim Etchells

An exploration of what lies on the center of up to date theatre. Written by way of the creative director of pressured leisure, it investigates the method of devising functionality, theatre's interdisciplinary function, and the city's impression.

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There were the kind of contemplative stops in Let the Water…where the players would cease their game for a moment and consider its consequences. And there were the kind of strange interludes where people committed to one task for more or less a whole performance would give it up for a while and do something else. All through Showtime Cathy pretended to be a dog—on her hands and knees in an old overcoat, with a ludicrous dog’s head mask (I can’t remember where we got it from—some crap costume hire place—the kind of costume no one else had ever hired).

It seemed like it. They drew a map of the country and marked on it MR BUYRITE. Hi-Fi WORLD and BARGAIN LAND. They even saw a street somewhere called CAR PARK WAY. They marked this street on the map. At the end of this line lies I CAN’T BELIEVE THAT’S NOT BUTTER and a beer called THIS BEER IS THE BEST BEER I’VE EVER DRUNK IN MY WHOLE LIFE I SWEAR TO GOD. After the seductive power of ambiguous images it all comes back to hard sell. They marked on the map a bar they’d seen in Zurich (1988)—THE EVERYTHING A MAN COULD WANT BAR.

The reports always seemed more real. From the Gulf War (summer 1990) I remember several times getting up in the middle of the night to go for a piss and turning on the TV to see what was happening—mesmerised by the quality of those news programmes where there is no news at all but where they have to stay on air anyway and keep talking. One night I saw a report based on a French cable television report based on a freelance journalist’s story based on unconfirmed sources that an American F1–11 had been forced down by Iraqi fighters.

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