It has been a long time since last writing on here, since then so much has changed.
I was looking at the last entry and it was when we started to introduce the idea of the 'Secret Theatre' into our process.
This is now more clearly defined as the process has radically changed.
This change has brought about a lot of more understanding and an acknowledgement of the way we work best. One of the key understandings that I have realized is that the work has to come out from the body, we need to feel a connection to the work being created and this connection is located somewhere in our bodies. If we lose this connection, then we are constantly trying to understand the creative process and work it all out, it is in these moments that we lose a connection to each other, to the space we are working in, and therefore, to the source of the material.
It seems that what we have been doing is going back to the source of our material.
We decided initially on two main elements that were there at the source; these were 'All the people I ever wanted to be', who did we 'desire' to be in this space? The 'secrets' which were not, as we discovered, the 'secret place of the theatre' but the 'secret theatre inside of us'. How could we access these, we knew that the 'secrets' were somehow important to us, but how would these find their expression in the piece? We began again.

We decided that we would bring into the space the costumes and props that belonged to our fantasies of 'all the people we always wanted to be'. We then decided that our strategy for working would be to work with some simple rules that would define the game of 'daring who we wanted to be'. We would decide on a track of music that we were particularly drawn to. We would play this for the 'other person' to improvise with, we would need to stay connected to each other through out the improvisation. We then had to select a prop or costume, that might serve as a prop to use in the improvisation. Throughout this work we were endlessly creating actions together. We were exploring what we desired with these materials we had brought in. Endless propositions, provocations and dares flourished in the space. We worked with very few words, we had the music and our desires to work with. The material was generated with each other in the space; this is our primary source of creativity.
We had probably been longing to express these ideas for a long time, but they had been hidden and suppressed by what we called the other 'performance'. What we had now achieved was a strategy through which we could shake off and 'escape' the other performance. This could only be done by relinquishing control. We had to trick the censorship in us and then we had the key to more authentic material.

The material was very rich and we had discovered a lot of new personas that excited us and that we could continue to develop. We now had the idea that we were 'fugitives'- an idea left over from the process we had abandoned. We were fugitives from the 'performance'; on the run and longing to escape it.

How did the secrets connect up with this?
We decided that if these secrets are inside us, then, when we listen to certain songs we feel something like a longing inside of us, a kind of obsession with certain songs that 'call us'. These songs call and we 'respond to the call'.
The songs speak to these secrets, the secret desires that lay in memories of things that might of happened, did happen or what we might desire to happen. We listened to the songs and we answered the call. We began to write songs in response, songs that came from the source of a secret. So the 'secret theatre' is now the 'theatre of secrets, of desires, fantasies that we dare to express'.
We now have 'Fugitive Songs'!