Where We Are: Sans Everything

We've spent a good deal of time revisiting material and inventing new stuff. Even though we know a lot about what happens in this play, we really haven't figured out how it happens. The "how" of theatre is actually the part that makes it a play and not a novel or a synopsis. A few days ago we decided to write down all the things we know about the space ship before and after it encounters As You Like It. Here's what that looks like:


Here's just what we know about the ship before:


Here's what we think happens after:


Today we move into the ever-exciting notecard (Strange Attractor language) or paper plate (Lightning Rod Special language) stage. This means we'll start turning our bits into sequences, thus specifying all these ideas into something a little more cohesive.

Someone once called devising "ruthlessly inefficient." Certainly one writer might be able to sort all this out in a more efficient way than a room of actor-creators, but is that really the point? Is art at its best efficient?