T-CELL: a terrorist performancell; theatre of terror, mounting the volumes… to sell

mooted, after meeting Tom today in front of a porn-shop on the K, Tom who volunteered for the clinic, volunteered to act in the lab – it might bear some similarities to the RJF project, but there were obstacles I built into that project, which I’m convinced, newly confident, we can avoid with a more modular, rhizomatic approach – mooted: T-CELL. (I’m listening to Clinic as I write this, their 2006 album, Visitations, the eponymous track 12, in fact.) We will justify the clinical term with an outward-looking – yes, RJF looked inward – and critical engagement with the disease. The disease is terror and terror as the current rule of the spectacle, of representation. Mooted, then, performance modules – clinical; theoretical texts – critical, called T-CELL. It would be the work of a groupuscle, the word of a group-subject. The texts to appear here. The performances… who knows?

What I need at the moment is the money to proceed (to live and so that T-CELL becomes active). Tom said he was at Winz the day before. I said, Funny. So was I, said, I’ve a meeting with PACE next week. Does the mooted project fall within PACE’s criteria? Ideally the clinical work would and the adjunct critical pieces go towards doctoral research: T-CELL would join the two strains, critical and clinical, the written word and the performed, because neither on its own is presently strong enough to fight the disease.

I said, This would beat the Invisible Theatre we have now. Tom said, Stage an invisible play. Thing is the play’s in progress. And we are invisible. To become visible we need the sell. To sell we need the spectacle. To represent or reprazent we need terror. So a terror-cell to sell theatre. We will come out and with us out the truth, the error of representation, the deathwish in it, the disease. In it of it … in the middle of it! We have to represent as the violence in the middle of the representation. A theatre of morsels. A feedback from the guts of the audience to the matrix of the spectacular terror inside representation. The cathode-ray nipple as Franti had it in the good old days of Hiphoprisy is attached to a breast to which belongs the urethral and anal sadism of Klein’s maternal, matricial theatre, the matrix itself.

To moot the problem: how to make a theatre? a theatre which attacks representation? theatre being the most representational of the arts. How?

For once, dear readers, comment! And this would also be a becoming terror of the invisible readers, yes, this would be T-CELL.