ABSTRACT
Eatough recalled how seeing Bausch's work 'didn't just blow me away it suddenly opened up different possibilities about what bodies on stage could be and how powerful very simple gestural performance can be'. Scenography as a framing device and the use of technology further defined Stan's Cafe's work, as in Home of the Wriggler in which the power needed for the lighting was generated by performers on an exercise bike. Forced Entertainment were 'searching for a theatre that can really talk about what it's like to live through these times', aiming to stage questions rather than make statements. In performance, Forced Entertainment were happy with the less than polished, rough edges rather than slick presentation and were interested in a Brechtian separation of the elements. As Hans-Thies Lehmann pointed out, the traditional synthesis of performance was replaced by ‘intensive moments’, by illogicalities, collage and fragments.
