The writing of the typology developed simultaneously to my own writing, out of the necessity to clarify the silences that were emerging in my plays. Beginning as a sprawling mind-map trying to categorise ‘types’ of silence, it broadened significantly to questioning the dynamics of silence and language, silence and power, and silence and the body. It also notes the lexicons and punctuations of silence, the implication of rhythm, and silence as both absence and presence. The typology’s playful form explicates the actual process of making silences through playwriting. It recognises that to attempt to categorise and anatomise silence whose very substance is outside of language is impossible, the emergence of silence often exposing the holes in language and challenging its reliability.

​

​

 

​

​