PRIMARY SOURCES & MEDIA
PRIMARY SOURCES & MEDIA
SOURCE STATUS
No dedicated Lloyd Newson CPPM workshop folder has been located.
No complete daily protocol has been located.
No verified workshop dates have been located.
No dedicated CPPM video or audio archive has been located.
The current structure is therefore based on:
- participant workshop memory;
- Clarisse’s Weekly Question;
- previous CPPM group maps;
- official DV8 work context.
CLARISSE — WEEKLY QUESTION / TERM 1
https://docs.google.com/document/d/1BnaG7A-ZVdk7CctMq2P1R_vW1oW_RvVpM006n734gHE/edit
Relevant title:
What happens when voice and movement are split?
Lloyd Newson’s anti-synaesthetic dramaturgy
PREVIOUS CPPM GROUP MAP
MINDMAP : Ana, Charis, Dita, Cla
https://docs.google.com/document/d/1iYuMNeDN3SJXVYEsEKN5T0e_XhwcMEobe3l-ElbI5Eo/edit
Relevant group-map categories:
- BODY
- SPACE
- RHYTHM
- VOICE
- TRUTH
PREVIOUS VISUAL MAP
MindMap 2 : Ed, Cla, Avery, Elar
https://drive.google.com/file/d/1QAg1FGVv-IFk8qrupM0IytEBfAai4EAB/view
This large visual PDF requires manual review. Do not infer the meaning of every colour, line or icon without verification.
MOODLE MINDMAP PROJECT DOCUMENT
https://docs.google.com/document/d/1qxbJODkHC9R0ZSvVv5xiCVNKP12OLX-Gj58o8s_EBn0/edit
PREVIOUS TERM 1 MIRO MAP
https://drive.google.com/file/d/1SAHH-a2CbCHaLvV_dhVfrwQkskQJgjVL/view
Use only as an archival cross-map reference.
OFFICIAL DV8 ARCHIVE
https://dv8.co.uk/
CURRENT ARCHIVE STATUS:
The official website states that Lloyd Newson has retired and that DV8 Physical Theatre has come to an end. Keep this inside the source note. Do not overwrite the existing Guest Artist Profile.
CAN WE TALK ABOUT THIS? — INSTITUTIONAL CONTEXT
https://www.onassis.org/whats-on/can-we-talk-about-this
The institutional description identifies documentary-style dance theatre, real-life interviews, archive footage, multicultural policy, press freedom, artistic censorship and movement-and-text research.
JOHN — INSTITUTIONAL CONTEXT
https://www.onassis.org/whats-on/john
The institutional description identifies interviews with fifty men, questions concerning love and sex, one central life history, movement, spoken language and set design.
LLOYD NEWSON INTERVIEW — EXTERNAL CONTEXT
https://officiallondontheatre.com/news/the-big-interview-lloyd-newson-137116/
The interview discusses why Lloyd used words, movement, song and projections according to what material required. This is not CPPM workshop documentation.
OFFICIAL WORK CONTEXT
CAN WE TALK ABOUT THIS?
Use the work only to contextualise real interviews, archive material, political investigation, movement-and-text synthesis, factual speech and contested public questions. Do not reproduce its complete political argument or treat its historical subject as the subject of the CPPM perfume-text task.
JOHN
Use the work only to contextualise testimonial material, personal history, sexuality, survival, violence, the body as bearer of a life story, and space/scenography as dramaturgical forces.
ARTIST INTERVIEW CONTEXT
Outside CPPM, Lloyd explained that movement could not always communicate the precision of a political or textual point. Words, movement, songs and projections could therefore be used according to their different capacities.
SOURCE-RECORDED PARAPHRASE.
Do not insert a long direct quotation.
CURRENT COMPANY STATUS
The official DV8 website now functions as an archive. It records that Lloyd Newson retired, DV8 Physical Theatre came to an end, selected films remain available and early archival material is held by the University of Bristol Theatre Collection.
CLARISSE — ANALYTICAL CROSS-MAP INDEX
Clarisse’s Weekly Question proposes ANTI-SYNAESTHETIC DRAMATURGY: her description of a dramaturgy built through deliberate non-coincidence between voice, movement, fact, physical spectacle, thought and feeling.
PROVENANCE: CLARISSE — ANALYTICAL INTERPRETATION.
SONG OF THE GOAT CONTRAST
Clarisse describes a Term 1 arc:
SONG OF THE GOAT → fusion of voice and body
LLOYD NEWSON → conscious dissociation of voice and body.
POTENTIAL LATER CROSS-ARTIST LINK.
Do not create the Jump Link now.
HENRY MCGRATH CONTRAST
Clarisse contrasts HENRY MCGRATH, accessing an inner source of personal expressivity, with LLOYD NEWSON, initially using the body as identifying information or physical tag.
POTENTIAL LATER CROSS-ARTIST LINK.
Do not create the Jump Link now.
THEORETICAL REFERENCES IN CLARISSE’S QUESTION
Clarisse relates the workshop to Siri Hustvedt, synaesthesia, Laura Mulvey, image/identification, Brecht, Artaud, theatre of cruelty, documentary truth and critical distance.
CLARISSE — THEORETICAL INTERPRETATIONS.
They are not confirmed Lloyd Newson references. Do not create theory Thoughts or Jump Links.
LATER ANALYTICAL CONTEXT — DO NOT LINK NOW
PRIMARY MOVEMENT CANDIDATE
POLITICAL, SOCIAL & DOCUMENTARY PERFORMANCE
Possible grounds: testimony, interviews, social investigation, political argument, documentary material, movement-and-text composition, controversy and critical spectatorship.
HISTORICAL / THEORETICAL CANDIDATES
BRECHT / CRITICAL DISTANCE — possible comparison: interruption of emotional fusion, refusal of automatic immersion, spectator attention and contradiction between registers. This relation comes primarily from Clarisse’s interpretation; do not identify Lloyd as a direct Brechtian practitioner without further evidence.
DOCUMENTARY / VERBATIM THEATRE — possible relation through interviews, testimonial material, researched language and documentary construction. Use “verbatim” only for specific works and sources.
POSTDRAMATIC THEATRE — possible relation through coexistence of text and body, non-hierarchical signs, scenography as dramaturgy and tension between semiotic and phenomenal presence. This is a later comparison, not Lloyd’s declared framework.
CONTACT / RELATIONAL MOVEMENT — possible relation through physical negotiation, contact, weight and social relation through movement; no direct CPPM evidence currently supports a complete lineage.
CROSS-ARTIST CANDIDATES
SONG OF THE GOAT — fusion versus separation of voice and body.
HENRY MCGRATH — inner source versus body as social or identifying information.
ULTIMA VEZ — relational risk, physical metaphor and space.
TROUBLEYN — transfigured body versus testifying body.
STACY MAKISHI — fragmented personal-symbolic material versus direct documentary address.
MARCO DONNARUMMA — body/technology feedback versus body/text disjunction.
Preserve these only as later possibilities.
MEDIA STATUS
No dedicated Lloyd Newson CPPM workshop media archive has been identified.
Do not invent a media index, claim a recording exists, assign generic CPPM videos to Lloyd, invent an Open Class recording or timestamps, or use production trailers as workshop evidence.
Official DV8 production material may later be attached as EXTERNAL WORK CONTEXT but must remain distinct from CPPM WORKSHOP DOCUMENTATION.
MANUAL MEDIA SEARCH REQUIRED.
SOURCE AND TERMINOLOGY SAFEGUARDS
- Always use Lloyd Newson and DV8 Physical Theatre.
- Anti-synaesthetic dramaturgy is Clarisse’s analytical formulation, not an official DV8 method.
- Clean voice is participant workshop memory, not universal DV8 terminology.
- Testifying body is previous CPPM group-map language, not a direct Lloyd quotation.
- Use “verbatim” only where a specific external source uses it.
- Preserve the contradictory voice/movement formulations as SOURCE DISCREPANCY.
- Do not attribute “Try again. Fail again. Fail better.” to Lloyd; if retained elsewhere, identify it as a Beckett reference preserved in the previous CPPM map.
ATTACHMENT STATUS
Core source links are preserved in this note. Native URL attachments are created separately where supported.