There have been a number of stages to our creative process:

• Contextual research - five weeks 'walking around' Artaud, studying him from a number of different angles (socio-political context; Artaud as actor/director/playwright; Artaud's theatre manifestos, resulting in the realisation of Artaud's production plan for Strindberg's The Ghost Sonata; other practitioners' responses to Artaud; Artaud and the surrealists...)
• The construction of production plans for There is no more firmament - combining textual analysis, Artaud's stated theatrical intentions and the results of our own practical research (such as the technique of beginning with a particular breathing pattern and allowing this, rather than any psychological basis, to inform an actor's physicality/vocality)
• Sketching - devising performative material from Artaud's text. The group was divided into nine pairs, each pair leading the group in the generation of one ninth of the piece
• Shaping - collaboratively editing/reworking existing material and generating new material
• Rehearsal - concentrating on Artaud's notion of cruelty, in terms of performance rigour/presence
  From a mental viewpoint, cruelty means strictness, diligence, unrelenting decisiveness, irreversible and absolute determination.
  THE FIRST LETTER OF CRUELTY, SEPTEMBER 1932
  
• Performance