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about the project which resulted from the Cadair Idris experience, I thought it involved finding erratics and restoring them to their motherbeds, that is reversing their glacial migrations, and taking them home. That would have had an emotional logic, and seemed fitting, but perhaps a bit too nice and too logical. The actual project involves helping erratics to ‘fare well’, that is, taking them even further away from their motherbeds. They travel in a suitcase with Hallett on planes and trains, in what is essentially a combined form of land art and performance art
staged a site-specific Come and Go which the company readapted for an off-off-Broadway auditorium. Like Lee Breuer of Mabou Mines, Patricia Rozema's film from 2001 and Arlene Shechet's performance art of 2018 produced and staged their Happy Days in site-specific locations. These adaptations manage to blur the borders of what is Beckett and what is theatre by exploring the gaze in his work, and in doing so the audience finds themselves looking at the way they look at Beckett's women. Beckett scholar and director Nicholas Johnson has stated that
's chapter, which combines four cases: Mabou Mines’ production of Come and Go , first for the outdoor Brooklyn Bridge Festival in 1970 before moving to an indoor off-off-Broadway theatre venue four years later; Peter Brook and Marie-Hélène Estienne's 2015 staging of the same play; Canadian director Patricia Rozema's screen adaptation of Happy Days for the Beckett on Film project (2000); and Arlene Shechet's performance art piece Passing By (2018), set in New York's Madison Square Park and based on Theatre for a New Audience/Yale Repertory Theatre's production of