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With a focus on the graphic score and the notation process, this article breaks down notions of dimensionality in theatre and offers insight into my compositional techniques derived from understanding the relation of these dimensions as elements in a system. I come to generating theatre with a critical eye on the interdisciplinary potential structurally lodged in what we call theatre, a potential which for the most part remains unquestioned, passed over, and left intact. The notation process unearths this potential at its structural level, offering a radical re-knowing of the form, a re-presenting of content. This article then considers the politics of naming inherent in the generation of any new notation system and the implications of such naming. Interrelatedly, I examine the capacity of notation to reveal social paradigms found in the dynamic junctures of the everyday and the capacity to (re)compose these junctures anew – an urgent rattling of the everyday. Finally, I consider the graphic score and its capacity to represent multiple fictional times as they co-occur within the duration of a given performance time and the ramifications for theatre.

Towards a Rattling of the Everyday Performance scores and graphic notation