In Club of No Regrets, the central figure Helen gives orders to a pair of performers to enact a series of scenes inside a crude and tiny box set, located centre stage. A second pair of performers – who function as brutal and incompetent stagehands or captors – either facilitate or hinder these enactments. Having bound the first two to chairs and threatened them with toy guns, these cruel assistants proceed to bring them the texts and props the performance might need.
The scenes enacted in this manner – fragments of made-for-TV movies, love stories, cop shows – are replayed many times as though Helen is unsure about their true order or correct arrangement. Becoming increasingly violent and chaotic (with talcum powder, fake blood, water and leaves hurled around the stage), these scenes are framed by a further text, a confused narration of Helen’s fairy story/history which she calls Club of No Regrets.
High quality multi-camera performance documentation recorded at the ICA, London, December 1993, 90 mins. approx.
Publication series commissioned by European Theatre Network House on Fire. Co-published by the Live Art Development Agency.The series focuses on the relationship between theatre and politics, and asks: How can theatre engage...
We all have an animal story—the pet we loved, the wild animal that captured our childhood imagination, the deer the neighbor hit while driving. While scientific breakthroughs in animal cognition,...