Jeson

Jeson's research is comparatively resistant to dense theoretical scaffolding. His questions often emerge through intuition, practical comparison and scepticism toward the cultural performance of seriousness. Grotowski and Henry McGrath become connected not through an elaborate genealogy but through a felt similarity: the attempt to move beyond superficial acting toward something experienced as more immediate or truthful.

At the same time, Jeson repeatedly questions whether contemporary performance turns its own claims to depth into pretension. Surprise, authenticity and the value of seemingly simple actions remain open questions rather than established virtues. One of the most suggestive later questions asks what might happen if a chair or a stone could speak. This marks a small but significant shift away from a purely actor-centred understanding of interest.

For Clarisse, Jeson is useful precisely because he reaches some neighbouring questions without the dense theoretical apparatus that characterises her work. The possibility that a stone or chair might become an interesting presence approaches material agency and animist thinking from an almost naïve theatrical question rather than through Beuys, Mendieta, ecology or philosophy. This reveals that Clarisse's theoretical constellation is one route toward these problems, not the only route.