Thoughts & parts of thoughts

In 2013 we were performing a rep of King Lear by William Shakespeare and Dido, Queen of Carthage by Christopher Marlowe with a company of 17 performers.

After a pretty solid first preview we gathered for notes on stage, at that time we believed that directors should not tell performers how to 'do'  the text, but despite some fantastic work from the company, something was missing; a lack of cohesion, connection & togetherness. We were surprised to learn how little 'text work' performers had received during training and whilst working professionally, and had been left to their own devices to wrangle with the text.

We knew we had to devise a company text method, not to replace or erase performers own process but to enhance it, and create a shared language & approach.

The Lazarus text process is just one of many ways 'in',  it's designed to be economic, stringent, rigorous and forensic, it helps performers debunk myths, remove baggage or prejudice, supporting intelligent, focussed and grounded rehearsal work, leading to creative and informed offers, and realised in empowered, embodied and powerful performances.