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variety of work.  We have experienced some fear and loneliness within this process.  We have had to confront our motivations for action and interaction.  Mutual trust and reliance have been the result. The activity has brought us together in a consistently revealing and not always pleasant way, but it has seemed productive growth. We present a gallery of thoughts. People should feel free to come and go at any time. NOTES ON THE LITTLE THEATRE (excerpts) BY CHRIS CRICKMAY INTRODUCTION “The Little Theatre” was (and is?) a collaborative project between a group of seven people; Mary Fulkerson, Chris Crickmay, Miranda Tufnell, Libby Dempster, Dennis Greenwook, Colline Anstey, and John Cousins. This is an interdisciplinary group including four with experience in dance, one in music, one in visual art and one in performance art.  The work included a public performance over two days at the Acme gallery in London. The notes that follow are particularly for the participants and anyone else interested in exploring improvised work using combined art forms.  They are intended simply as working notes and try to touch upon factors that we found important. Eventually I hope to add equivalent comments from other participants and perhaps from audience members although these notes already reflect not just my own thoughts, but many of the comments that were made by all concerned.  The Little Theatre consisted of a free-ranging improvisation in sound, movement, speech and assemblage of materials without any prior planning or framework—just the people, a space, some objects and a duration (usually about two and a half hours.)  There were also abstract characters or names which we adopted to identify each person’s way of working.  The rest was simply to do with memories of what had happened, a quest to extend what could happen and the development of working relationships between us. Early on we occasionally worked with questions of form in mind, for example, about continuity, scale, and use of the space, etc.  Otherwise there was nothing to hold onto but one’s own experiencing from moment to moment. It may be worth mentioning that all participants, whatever their background, had an interest in art forms that draw from everyday circumstances, everyday movement, sound, object relationships, etc., and this meant that there was a common aesthetic point of reference, which could have been hard to do without.