TIM ETCHELLS: In Forced Entertainment’s process, we tend to think about a kind of base line – about the performers being present, in a certain way, more or less as themselves – or as kind of slightly exaggerated or extended versions of themselves. And from there, there is a kind of process of stepping into either task, or character, or role, or into some kind of enactment. I think that often in the pieces you will see both. Certainly, the performers are present, let’s say, ‘as themselves,’ doing the job – and then, in a layer above that, you will see them enacting or stepping up into something that’s slightly more artifi cial or staged, if you like, or that maybe is not exaggerated. A nice way to think about this, for me, is a quotation from Elizabeth LeCompte, the Wooster Group director. She says at one point – I read somewhere – that their Three Sisters piece, Brace Up! (1993), is two stories: it’s the story of the Three Sisters and it’s the story of the actors making their way through the Three Sisters. You see these two stories in parallel – and although we don’t work with dramatic texts such as Chekhov, we do – in a way – often think about the pieces in this ‘parallel track’ kind of a way.