ABSTRACT
This essay suggests all staging(s) and theatre(s) are ‘haunted’ and processual experiences, recollections and colourings event to event, and to the ‘eftermæle’ or after. Aspects of the sensory system are outlined with respect to re-cycling and originality. The work of Arlander is presented as a case-study in repetition. The universal proclivity for stories is examined as a part of embodied simulation. Some snap-shots of re-worked pieces are presented as forms of ‘playing it again’.
