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I hope 2023 is rolling well for you so far. This is my first attempt at a newsletter. It’s taken me until now, 2023, to get that together – better late than never I guess (and my apologies to those who disagree, or who have ended up here by accident – exit button below…)

This mail comes from ‘rooftop’ – but if you need to be in touch with me directly, my normal mail is, as always, ajh@…
And my dear producers Luz Algranti and Sofia Medici are info@…


1. Running since January 18, my first ever audiowalk,Des Rives Vivaces (in French only) with Rita Pauls, created especially for Théâtre Vidy Lausanne (CH), who open their new building with a great programme including work by Forced Entertainment, La Ribot, Lina Majdalanie and Rabih Mroué.
La possibilité « d’être au même endroit à des moments différents » est peut-être le plus grand plaisir offert par la forme audio-guide. Avec Des rives vivaces, Ant Hampton et Rita Pauls proposent un voyage dans le temps depuis les rives de Vidy. Pour cette promenade auditive hivernale, enveloppez-vous chaudement et mettez une couche de printemps sur vos oreilles. Les enregistrements binauraux de la saison estivales brillent d’une lueur impossible sur la mélancolie du bord du lac. De la piste sonore émerge une communauté diversifiée, un·e par un·e, des habitant·e·s de la plage aux pieds nus racontent des histoires.”
42 mins.

2. This interview with Thessaloniki-based Dr Maria Ristani at Critical Stages is a good one, focusing on the Showing Without Going working group, and the ‘Atlas’ which resulted from it. (Do explore the Atlas if you didn’t already – especially if interested in the challenge / potentials of showing live work without the artist travelling. It offers an expansive array of possible formats, questions and considerations – hopefully useful for creating your own connections and paths towards new ideas, or for thinking further about existing projects.)

3. A new Italian version of my recent collaboration with Tim Etchells, Not to Scale, will be launched at Triennale Milano for FOG festival, with a multi-table setup in a spectacular space.
As always, available too in English, German, Spanish, Dutch, Portuguese and Russian.
March 30 – April 2, 2023
info will be here

4. New work and project in the pipeline: working title, Almost Not There, “a bruised, psychogeographic narration built from encounters and observations made during a journey between Lausanne and Izmir, a web spun from many threads; Sephardi histories and language, the end of the Ottoman empire, mental health and earthquakes, friendship, tourism and forced migration, dementia, swifts and swallows, Eliot’s ‘The Wasteland’ and an urgent insight into hidden atrocities at the edge of Europe being funded today from its centre.”

Almost Not There will be a printed book of mostly photographs accompanied by a soundtrack which threads you along a non-linear path through the book.
This format of audioguide/soundtrack + printed matter will be expanded by different artists across a series of books: together with Athens-based artist David Bergé, we’re starting a new publication imprint, Time Based Editions. More on this coming soon.

info / dates / more >

all the best



end of year

Just found a random text file from some years ago. I have no memory of compiling these, or writing them, but feels like a good thing to share at the end of a year’s ups and downs. Some names here still close, some dead, some lost, gone with the weather. Happy new year and much love to all friends near, far, absent.


the sun is just pushing through the fog
good afternoon Zsuzsa

the streets are already dry again
have a good day Blake

the day’s turning out to be quite warm
have a good day Nick

It’s muggy eh.
Good evening Glen,

It’s a strange evening, London reminds me of ten years ago in this haze, but vulnerable
Good evening Sam and Joji,

London is cracking, in the broken sense, it’s like it mistook Spring for Autumn
good evening Nico

It’s timeless here, misty
good evening Vallejo

I don’t know what’s happening, and looking out the window doesn’t help
Good evening Joji and Sam,

Dalston’s completely nondescript tonight in fact. Beginning to be warm perhaps.
Good night mum.

London’s warming up to body temperature isn’t it.
night Jamie

It’s smokey tonight
Good night Anton,

it’s rainy and grey here – i’m not even opening my blinds
good morning Eliot

what a rainy day… warm though
good afternoon Britt

how wet this city… can’t wait for Texas
good afternoon Anna

Hope you’re keeping dry.
Good evening David

It’s soggy.
Good evening Martin,

The sun’s out, it must have heard you were planning a sortie
Good morning Anna, hope to see you later

Sunshine for breakfast,
goodmorning Sam and Joji,

Not quite Salta but London is sunny for once
Good morning Vivi,

London’s gurning.
Good morning Hannes, Julia

It’s sunny but not springy.
Good afternoon Eamonn,

It’s Spring isn’t it.
Good evening Donald,

It’s colder than we think.
Good evening Martin,

Seems pretty gorgeous now though. Sun day.
Good morning Martin

here London’s pretending nothing’s the matter as usual
see you in texas soon Sarah

It’s pouring with rain here in Newark. Our flight is delayed 9 hours.
Good evening? morning? Donald,

Huge thunderclaps and torrential rain here in Newark, been waiting for 9 hours for connecting flight to Texas
good morning, i suppose, Anton

grackles are cracking in the blue sky
good morning britt

It’s a muggy midday here.
Good evening SJ,

It’s sticky and grey here, on a daily basis it seems.
Good evening Mladen,

drifting a line from Lausanne to İzmir

Reaching out to friends and contacts with knowledge of Jewish (especially Sephardic) history in relation to Italy (Liguria, Tuscany coast, Napoli, Puglia), Patras area, Athens, Thessaloniki, Samos island, Mycale Straits, Kuşadası, Istanbul, Sofia…
We will soon be drifting a line from Lausanne to İzmir, tracing 500 years of Sephardic routes and the fade-out of a language, a century of ‘Turkey Turkish’, of ‘The Waste Land’ and of divergent and criss-crossing migratory routes, invasions, expulsions, ‘push-backs’, exterminations, survivals…

Since 2018 we have developed a practice of journeying, drifting, observing, engaging and picking up voices and sounds, all the while playing back and forth along a spectrum of intentionality and control; at times understanding what’s happening and knowing where we are, at others getting lost, getting it wrong and not knowing, while deferring knowledge to others, trusting strangers to guide or mould us. The performance work we make as a result of these trips aims to consolidate such spectrums through craft that takes time – for example, for Mund-Stück, we slowly learnt by heart what people said to us in a language we didn’t understand (German), eventually revoicing it verbatim and in sync with each other, on stage.

Voices will remain our material, but this time the work will be to sew a Sebaldian story-map with the multicoloured and trans-lingual threads of place, history, people and the language they speak or spoke.

If any of the subjects mentioned above strikes some kind of chord with your own knowledge, history, connections or interests, please be in touch – we’d love to talk and maybe come and meet you on our way (29 April – 20 June)

ps our soundtrack is probably something between


This continuation of the Mouth Piece project is made possible thanks to a precious collaboration with Buse Yildrim and her team at Beykoz Kundura.

Not I (Not) – Ant Hampton / Samuel Beckett / Peggy Phelan, for Imagined Theatres

Imagined Theatres_AntHampton_Beckett.pdf

Notes on Mouth Piece 2 – A letter to Nata and Sam

A public letter to Nata and Sam, Afghani twin brothers who grew up in Iran and who since 2015 have lived in Germany.
In 2019 they saw
Mund-Stück (Mouth Piece) at Theater Rampe in Stuttart, a show I made and performed with Rita Pauls which involved a curious approach to learning / absorbing German and Germany, via a week of random hitch hiking. In fact, barely speaking more than some German phrases we’d learnt to carry it out, the concept Rita and I stuck to was to ask drivers the same question – “What In Your Opinion Needs to be Said?” – and request to record whatever reactions or anwers they gave while driving, in order then to learn it by heart over about 6 months. In the performance we revoice a patchwork 45min edit of these responses, verbatim and together in sync – having also learnt and practiced the hesitations, breaths, thinking time, mistakes etc.
In an after-show talk we mentioned that we’d be interested to some day commission two other artists – with different motivations to assimilate into a given culture / language – to go through the same journey / process, and create their own performance. Nata later approached us and said he’d be up for it… Last weekend at Ballhaus Ost in Berlin
we performed both versions. I wrote to them on their birthday 2 days later, and with their consent now share these thoughts here.


Dear Nata, and Sam

First of all – happy birthday. I hope you’re still enjoying the good feeling of having done something truly fabulous on Saturday.

It was so special for Rita and I to be in the audience for the 6pm showing of your version of Mund-Stück, and then to swap places so you could then watch us in ours, at 9pm. The evening really felt like a celebration, for all four of us, and for both audiences.

After we finished, you came to us with sparkling eyes and told us how much you loved watching it. I remember thinking this must be how it is for people who practice a certain sport and then watch others doing it, live or on TV… just watching, but with that special body/mind knowledge of what it means to physically do it: a deep sense of what is at stake, of the risks, of the work or training that goes into achieving certain movements or that particular state requiring both alertness and calm. It was the same for us watching you. So great to feel that the four of us could share this awareness of what lies behind the performances we gave.

And then you said something that has been coming back to me, since then. You said, ‘…and your version is so much better than ours!’

Don’t worry – I know what you meant. I know it was your way of telling us that you could see and appreciate the work we’ve done, and I thank you for that. I’m sure you’d agree that there are many reasons why it makes no sense to ‘rate’ the two versions next to each other – and as I think through those reasons now, I’m starting to understand better what made your performance so very precious and unique. Yes, ok, our version is longer, it involves more voices, more switching between different characters. It’s more ‘sophisticated’, you could say.

But being sophisticated or perfect was never really part of the plan behind creating Mund-Stück. The question of virtuosity is something Rita and I have been grappling with since the start. For example, despite some similarities our aims are very different from Joris Lacoste’s with his project ‘Encyclopedie de Parole’, whose actors re-speak other people’s words verbatim with astonishing perfection. I don’t remember any mistakes there; the vulnerability on stage wasn’t real but represented (for example Emmanuel Lafon’s extraordinary rendering of a mentally unstable person in the Paris Metro which left me in tears, and still hasn’t left me). The situation of performing in Mund-Stück is never an entirely stable one. We’re forever teetering on the edge of language and expression; there’s always the risk of falling out of sync, of one or other tongue not quite getting into the right position between teeth or lips, of saying something wrong and producing some other meaning we’re unaware of, of memory failing. We’re all four of us somehow tresspassing on-stage – mad dilletant imposters with no business selling tickets for something that might collapse so easily.

When we worked together in Stuttgart, I remember telling you how Rita and I realised at a certain point that we wanted the audience’s focus to be shifting constantly between three different ‘poles’ while watching us perform:
– 1. The meaning of the text we are speaking (which, if or when what we say is understandable, should take care of itself)
– 2. Everything about the job we are doing, the ‘task’
– 3. Who we are as people and the relationship between the two of us.

With your performance, the big difference to ours is of course in 2 and 3, and how they relate to each other. The ‘distance’ between who you are and the job you’re doing is just so much bigger than it is for Rita and I! (Even if it’s been 18 years since I last performed on stage, I’m a theatre artist and I’m comfortable in these buildings. I’ve become a performance ‘animal’, and Rita perhaps even more so, despite her being 18 years younger than me.) Without wanting to go into it too much, let’s say this clearly: you arrived in Germany 5 years ago with nothing. It’s hard for us, the privileged ones, to fully comprehend what you must have gone through, but we have an idea. And so the ‘job’ (2) that you’re doing on stage is infused with this awareness of who you are (3) – and the journey you’ve taken to get to the point of standing in front of us to do it!

This journey of yours includes not just the week-long trip when you recorded the voices, but also before that the moments of seeing our version the first time, meeting us, talking with us, building trust with us. I think trust is really the magic ingredient in this work. In our version, we put a lot of emphasis on the trust between Rita and I as friends, and the unique ‘reciprocal’ trust between us and the strangers who picked us up while hitch-hiking.

It strikes me that despite you choosing not to travel by hitch-hiking, the ‘trust’ element in your version is also very complex and deep. It’s grounded in that huge ‘leap of faith’ you made to get involved with us in the first place. It’s infused of course with the trust between all four of us and the amazing people at Theater Rampe who decided to support every step of your project – financially, practically, dramaturgically, emotionally. As with ours, the text you speak in your version is framed and driven by an ‘economy of trust’ between you and the people speaking to you (ie, a trust not to be taken for granted, a trust which easily comes and goes). Then later in the long process of learning the text, and turning it into a performance, the trust you had in us when we told you, it is possible, you can do it… just think of how many times you must been tempted to give up! As I say in our intro, ‘it seems kind of impossible…’ And finally, in the performance itself, there’s something like a call to the audience that they are being trusted to be good witnesses. It’s not a simple situation of sitting comfortably in the dark watching people whose job it is to give us a show. There’s vulnerability here and the level of risk and effort coming from the stage is way up in the red. I think this really is why we make live work, and what we hope for when we go to see it.

I cannot tell you how happy it makes me to think that all this happened, and that you made it to Berlin at last, both of you travelling away from home for the first time as professional artists! It seems clear that this is the start of something for you both – the ideas you shared with us for what you want to do next are so surprising and great. I look forward to it all, and thank you again for believing in this project and taking it as far as you did.

with love and respect


Interview in Riga about The Extra People

This is quite old, but a good interview about The Extra People, a piece which is no longer touring but instead rather morphing into our reality.
The interview is from August 2017 when it played in Riga as part of the great Homo Novus festival.

See the last post for passwords and access to full documentation of that work. And info about it here.

the sensitive evidence of the body. Reading Augé during lockdown

“Metro, boulot, dodo [subway, job, sleep]: only a somewhat lazy irony could contest this triad as a symbol of modern alienation. The constraints it reflects are those of all social life; one might even, continuing along this line of thought, note that the somewhat inverted negative of the sequence (no more work, no more subway, no more sleep) would be a better symbol for the difficulties of the time, by making free hours and insomnia a result of unemployment. Subway, job, sleep: the interesting thing is, to the contrary, to understand how the sense of individual life is born of the global constraints that apply to all social life. Except for a few cultural details and a few technological adjustments, every society has its subway, and imposes on each and every individual itineraries in which the person uniquely experiences how he or she relates to others. That the sense is born of alienation has long been shown by ethnology, among other disciplines, and this truth remains paradoxical only because a certain idea of the individual resists it, anchored in the sensitive evidence of the body, which, in turn and return, defines the limits and meaning of the social.”
– Marc Augé – In the Metro – 1986

Autoteatro – some documentation during Covid-19

During the Corona crisis i’ve been noticing some questions popping up from people in the performance and theatre arena trying to imagine or getting interested in new forms that might be more possible within the current and forseeable constraints we’re facing.

I’m working on a number of things that I hope will help this debate and will post them here and elsewhere when ready, but for now –

I’ve decided to share some passwords to videos of past work below, not because the work in their entirety offer any packaged-up solutions (they all require a presentation framework and people coming together to do them) but because i think there are some approaches and formal devices within them that might give rise to other ideas by people who are already heading in a certain direction.

Most of my work is pretty hard to capture in documented form, but I think these ones come over kind of ok.

I’d be happy to hear any thoughts / responses / questions – you can get me on twitter @aantt or email


THIS IS NOT MY VOICE SPEAKING – 2011 – with Britt Hatzius
For between 2 and 4 people at a time in a simple, large-ish room.
password – notmyvoice
info here >

GURUGURU – 2008 – with Sam Britton and Joji Koyama
pw dicky
info here >
‘Without giving away too much, I can tell you that for 50 minutes, I sat on a named seat (‘Dickie’ to correspond with my name tag) in a non-confrontational group therapy style semi circle with the other four participants, facing a TV monitor, while we were each sporadically given instructions for what to do and say via headphones. And I thoroughly enjoyed it. As someone with a strong dislike for enforced participation and ‘organised fun’, this may seem to be quite a turn up for the books, but there could be a number of factors that contributed to this (…) The piece unfolds into exactly the kind of performance I enjoy, with quite ordinary people saying quite ordinary things in an increasingly un-ordinary situation, carefully engineered by the artists. And they successfully manage to construct a sense of temporary community without even being in the room – impressive!’
– from “Tonight Matthew, I’m going to be Dickie…” by Rachel Dobbs.

The Extra People – full video

Info here >
password is > extras

Here’s a few notes to clarify the video –

• All the sound is heard via by participating audience via in-ear headphones. The audio from the video is best listened to with headphones, to give a sense of the binaural effects (once in the space).

• The voice is a text-to-speech ‘tool’, a child’s voice, which exists here (‘Olivia’, in English/Australian) as a commercially available download for a computer – it cost me 15 euros. In the intro section (the ‘induction’) the voice talks about itself and touches on this. There is ‘no-one there’, no human intention behind the utterances – all this stuff that’s being ‘said’ has actually never really been spoken by anyone, only assembled algorithmically from many other recordings made with that child (which are then sliced up into different phonetic utterances). There’s something quite worrying about this tool that can be made to speak things which have absolutely nothing to do with being a child, that the voice is being literally instrumentalised. At the point of arrival, you type words (“describe your own voice in two words”) into a box and hear them spoken back to you by the same child voice immediately.

• The video shows the piece in Philadelphia – where we did runs of 6 hours, so about 180 people per night – and the situation there was interesting – a big old theatre right in the centre, with union laws meaning we couldn’t do things like move stuff from the back wall without the festival having to pay thousands of $ for a whole bunch of guys to come in and do it for us. So the paper backdrop on the back wall ended up being pretty ragged! In a way the falling-apart look goes well with the piece, but it’s not usually that messed up.

• The video at the end (59.11) no longer exists. Despite being fascinating and very disturbing, I found it stamped too much of an interpretive gloss onto the experience so I cut it.

Some writing about it all on my site here

And here’s the full documentation
password is jia

Looking for admin / manager / producer

dear friends and colleagues,

I’m looking for someone to take on the role of admin / manager / producer of my work. This role is quite particular due to the nature of what I do

(which often varies in nature!)… a brief outline below, and a longer one available for anyone interested. Contact 

hope to hear from you



Artist producer / manager (part-time/ freelance basis) for Ant Hampton


What’s required – 

A person in charge of production and administration for my work

• Main tasks: negotiation of fees and other financial conditions, tour and gig organisation (travel, accommodation, transport,…); budgeting and organisation of new productions and new language versions of performances; invoicing, following up on payments; keeping track of income and costs; preparatory work for German tax declaration (income and VAT)

• Other tasks: support activities for performance production and distribution (e.g. following up on venues’ expression of interest); set preparation; support with other administrative aspects (e.g. KSK). Distribution work (trying to find me gigs) is not required. 

• Hours per week: 20-25 on average (flexibility required and offered)

• Skills: good planning skills and equal ability to respond and adapt to unexpected situations; good budgeting skills and ease at managing money; knowledge of German tax system and admin, precision, reliability; speaking different languages is a plus. 

What’s offered – 

• Adequate salary based on percentage (20% of artistic fee) that results in ca. 10.000 -12.000 Euros per year (gross / brutto); extra tasks if / when possible (e.g. set preparation) paid on top.

• Flexibility regarding when / where work is carried out. 

• Chance of working internationally even if travelling is not required; possibility to work autonomously and freedom in defining many aspects of the job and rethinking them, work with different artist through artistic collaboration

Blue Jeans

While I was at the urinals, you were over there straddling the Dyson Airblade™, blasting the soaked crotch of your wet jeans with compressed air. We’re in central Coventry’s basement public toilet together with a handful of other strangers, all of us bathed in an intense blue glow designed to disrupt a junkie’s progress by obscuring veins. Perhaps it was the light that pushed me to mistake you for someone beyond a stranger’s help. It wasn’t until the deafening white noise of the Airblade™ cut out, just as I was leaving, that i heard your broken voice responding to the toilet guardian approaching you – something about it all being a bit embarassing.

(Your voice remains with me and I wonder why I didn’t help you. I’m thinking maybe the picture of what I saw somehow obliterated the moment I was in, while I was in it. That my awareness of looking at a powerful / compelling image meant the actual moment itself was able to be displaced and vacated.
An invitation to myself, to swap compassion for irony; gratefully accepted.
So that I should no longer be there, but somewhere in the future instead, sharing the moment in conversations, or online.
Certainly not there for you.
Not there but here.
What can I do for you from here?
Not much. Too far away, too late to be useful. I can’t say that actually there’s no need to be embarassed. I can’t offer to go out and spend £3 on a pair of trousers from the Primark next door. I can’t simply make any fucking gesture at all of assistance, solidarity or tenderness and then just see how things go. All I can do is sit here in a bloodless online future, sharing regret and trying to forget about it, until an enthusastic algorithm pops up to remind me about it again three years later.)