Green’s supporters and critics have often made the same mistake. For all the seriousness of her work, she is far from a dogmatic feminist: Trilogy came from a desire to engage with the feminist tradition rather than a settled position and its most moving moments often involved her personal, tentative embrace of this rich heritage. The fractured replication of Bloody Town Hall has given way to this darkly comic monologue, which sets Green precisely in this moment of history, responding not to the political or social news of the day, but to details of scientific research, provided by a Twitter feed.
Throughout Dropping Science, Green foregrounds her own emotional responses to the releases: a snippet on DNA leads her to reflect, humorously, on the dangers of unethical study, imagining a Godzilla style assault on the central belt of Scotland; a line from a paper on pharmaceutical advances is repeated in differing tones, from the initial shout of surprise to a final resigned whisper. The task based choreography of Trilogy is supplanted by a ready wit and a stand up’s sense of timing, but Green’s unique sensibility – determined yet gentle – remains.
Unlike many other successful Live Artists, Green has stayed true to her personal vision, only to diversify her range of approaches and techniques. Dropping Science is largely improvised, but her courage in addressing a wide audience without rejecting her intelligence or beliefs is striking and powerful.