Matt Boothman

Viewed in context, HALL is a necessary step in the evolution of audio-instructed performance to a form capable of telling big, sprawling stories as well as brief, compact ones.

In the final 15 minutes, The Author is revealed for what it has really been all along: a daring act of self-flagellation by Crouch on behalf of provocative art and controversial artists.

The machine is the undisputed star of the production, which, after a few deliberately confusing false-starts, eventually reveals itself as a parable about the dangers of stock market speculation.

In Full Tilt’s revival of Orestes: Re-Examined, the audience is brought forward as jury to judge the case of Orestes’ matricide and its myriad ramifications.

Like a glass-panelled clock, Deborah Warner’s Mother Courage and Her Children doesn’t just choose not to conceal its inner workings, it displays them, inviting the audience to marvel at the way the pieces fit together.

Battersea Arts Centre’s Scratch nights have always been about risk-taking and experimentation, and with Freshly Scratched - one of the two parallel programmes in this year’s Scratch Festival - the venue’s staff are taking almost as big a risk as…

As an examination of the overly simplistic adult tendency to classify teenage behaviour as the direct result of easily identifiable causes like alcohol, pornography and violent media, Punk Rock delivers.

ÁTMAN sends participants on a walk around the residential streets and footpaths of Merton, accompanied by an abridged audio-only version of Peter Handke’s Self-Accusation.

In part 3 of his Fringe round-up, Matt Boothman looks at the relationship between physical theatre and technology, highlighting anomie by Precarious and Borges and I by Idle Motion.

Belt Up Theatre, Tickled Pig and Ontroerend Goed are busy blurring the actor/audience divide at this year’s Edinburgh Fringe. What techniques to they use and how do they compare?