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.
Imagined Theatres collects theoretical dramas written by some of the leading scholars and artists of the contemporary stage. These dialogues, prose poems, and microfictions describe imaginary performance events that explore...