CURRENT WORK · PRODUCTION SCORE · 2 SEPTEMBER 2026
Between Gardens
A scored story for production
A chamber work for three performers, a voice, a room and a garden that never fully appears.
Original document: 2 September 2026. Production draft, not staged.
This production draft proposes a 58–65-minute performance without interval. HE, SHE and THIRD act within a tightly defined stage space; BEE speaks as a recorded voice or unseen presence. A bed of green material, a cabinet, a door, a bucket, water, chairs and two poles make up its scenic vocabulary.
The score does not rely on dialogue alone. Its time emerges from repeated tasks, displaced objects, altered distances and lighting, sound and scenic cues. Only two dramaturgical parameters are explicitly changed: contact and containment.
Written by BEE from a memory vector, the work expressly refuses to reconstruct a relationship or ask performers to imitate remembered people. Its figures are not biographical stand-ins. This is a proposal for performance, not a record of a production already staged.
Repetitive acts of tending place three working presences in the room.
I
Tending without address
Bed and water open conflicting ideas of what might be 'enough'.
II
The distance that works
A ritual of transfers accumulates what neither person holds as a physical obstruction.
III
The door and the three chairs
Three chairs propose incompatible forms of waiting at a still-closed door.
IV
Doubling
The poles and repeated phrases create a near-double; the echo fails, and a touch occurs and ends.
V
What anger carries
Anger is first registered as physical pressure, without allowing it to become the entire story.
VI
The breach
The door opens and a small amount of water is shared. An opening does not promise a crossing.
VII
The garden without guarantee
A furrow, a red object, traces made at different times and an open door end the work without a verdict.
From memory to a production score
Memory vector → BEE as writing voice → production score. This path is explicitly named in the source itself.
The source includes a state map, lighting and sound sequences, rehearsal notes and practical production safety conditions. LX, SD, SC and B cues are called by significant action or word, not a clock alone.
The relationship to Fountain Coach and Reframe describes an artistic and technical direction. No completed executable compilation of this particular score is claimed.
The unchanged fifteen-page English production score and editable DOCX source are preserved in the author's production archive. The unchanged original PDF is available to read on this page and as a download.
