 So for those of you who have been working with me, I'm David Doward, I'm the co-sponsor of the New York Residence page, and you're here at Georgetown University with a whole host of wonderful people, devisors who support their work, and a bunch of front row gimme picks, and if you missed the first act, you've had some brave votes. Thank you all so much for joining us. There are just so many of you who could have done this within, I appreciate that some of you volunteered, and if you don't know the work of the rest of these companies, make it your business to find them and go see them, because these are some extraordinary people who have been here tonight. I want to bring up Barney O'Mann from State Health, please. Thank you, last but not least. I've been playing Anne Bogart all weekend, so I think I'll continue. If I were Anne Bogart right now, I would probably say these are the seven things I know for sure about devising theater, but I'm not Anne Bogart, so I don't have to do that. So I've got to talk about our process, and get to sort of what for us is, and I'll speak more specifically for me, and I know some other people in this room, the source, what is theater, what's it made from? It's a pre-idea, pre-text, pre-anything, so I thought in the time that we'd have remaining with my friends and with you all, that we would just do a little meditation on space, and the language of space. The Z-Bytes training, which was created by Mary Overlay, is essentially a practice of looking at what the theater is made of, and what the language of the theater is, and when we spend the new points of action studying, learning to speak these languages, so that we can create our own theater. This one looks like anything, it's not a style, it's what comes from you and your experience. Without further ado, I'm going to kind of lock the visible to much. I do that, I can page the invisible, but I don't want to be visible. The first thing, I'm going to actually ask everyone to practice this, just in your scenes. One of the ways of locating, specifically about space, is learning to perceive it. Learning to work with your perception, your sense of perception. The first thing that I'm going to ask you all to do is just listen. I can't, I can't stop listening. I'm actually going to ask you all to listen again. At this time I'm going to contextualize how you're listening. Imagine that there is a composer somewhere who got a big fat commission to create an all environment that plays this group. So let's listen to that piece of music. So all the silings and shifting and snickering, they become the composer who are adding to the soundtrack that's already here. So part of our job in practicing it is noticing what's already there and noticing how it's actually heard. So at any time, we all in the front row are free to just come into the space and practice listening or what else I might suggest to you. Or you can stay there. So let's now go to our eyes and just look and actually see. I prefer you can look around, you can look around. And when you start to look, you can see that you're getting a lot of visual information, just because you're getting a lot of oral information. There's a lot to take in in this space and around you. And they're not just general shapes and colors, they're actually highly specific. So you can practice using your eyes very much like a cinematographer. Try to get close up on something, just choose something or someone and really go in on it, even closer to it. And if you're looking at, say, Jeff is looking at the edge of a chair here, it's not just chair, general chair shape. But if he goes deep into it, he'll notice that there's fabric, that there's color and texture. There's fabric, there's texture, there's fabric because of the eave. And you can just keep going deeper and deeper and deeper and suddenly something like chair becomes much more complex. And like a movie camera, you can pull out or pull back and do a wide shot. And by softening your eyes, you can actually take in a lot of information. It becomes a little bit less specific, but you can see more of a panoramic view. And at any time as you're practicing seating, you can go back to your listening and listen to how the soundtrack keeps changing. There's football, there's all kinds of new information. So each moment there's new information, it's not the same moment. You're getting different stimuli through these two sentences. So you can practice direct looking for working with a close up. You can do a wide shot, you can pan through the room. And as you're looking at practicing seating, you're being supported by the soundtrack in this room. And any time you just let your attention go back to these two sentences or a note's going to get full, something attracts your vision or something attracts your hearing. And now we're just going to switch as neuroscience or neuroscientists would say the spotlight of our attention, we're going to bring our attention to the feeling sense, literally the body's feeling, not your emotional life necessarily, but literally how you feel when you chair, the texture of the clothes on your body, the temperature of the air, the information you're getting through your epidermis, your skeleton, study your body, study your body's feeling in each moment as you shift in your chair or as you move somewhere in the states. Don't worry more and just enjoy that it's there. And again don't think of showing anything or performing anything other than your choice. Just be in your choice, receive the feedback through the five senses. You don't have to perform your idea of what's happening. Just be. You can work the spatial relationship and keep changing it if you can relate to the negative space. And lastly, space includes focus, distance, direction of focus. Rarely looking. How close or far is that thing you're looking at from you? It could be something imaginary, it could be something out of this room that you're seeing in your mind's eyes so you can spatially go outside of this room. You can play with a very near focus, a far focus, or an infinite relationship. But have a focus and allow it to change and enjoy the feedback from the difference. You're just going to practice relating to the positive space of spatial relationship, trying it out, enjoying the negative space, all of us having a focus. It's very articulate and you're free to enter and exit so you can come back to the chairs you might be through the doors so not everyone has to be on all the time. And as you begin to have a deeper and richer dialogue with space, keep receiving the news of a difference. But each moment is wildly different. You get a new visual information, new oral information, tactile information. The composition of the space itself keeps changing. A vertical space or a vertical space. And try to keep time quiet. Just let time do its thing. Really, really partner space and allow yourself to be seen in this practice, this process. You don't have to show us or perform anything. Just invite us in. I'm going to put on a piece of music that's really just for the studio audience and for me. Just consider another element in the environment and the sound environment. Just let me make you wait back down to your seats because there's only one person left on stage.