Flavio asks Anapaula Flavio answers on behalf of Adriano (to the question asked by Chloe) Adriano asks Lucia and Piero Adriano answers on behalf of Flavio Lucia and Piero asks Rui Lucia and Piero answers on behalf of Sina Rui asks Sina Rui answers on behalf of Chloe Deborah asks Flavio Deborah answers on behalf Lucia and Piero Sina asks Chloe Sina answers on behalf of Deborah Anapaula asks Deborah Anapaula answers on behalf of Rui Chloe asks Adriano Chloe asnwers on behalf of Anapaula
I AM HERE. ARE THOSE VOICES, THAT I AM HEARING? I AM READING. I ENTERED BY THE ENTRANCE DOOR, AND NOW I'M IN. SITTING. I REMEMBER STANDING FOR SOMETHING. CAN I STAND FOR SOMETHING NOW? NOW SITTING? I CAN FEEL YOU AT MY SIDE I CAN SEE YOU. HOW MANY METERS OF AIR OVER MY HEAD? I'M FLOATING, THE HEAD IN THE AIR. I'M MOVING MY HANDS. I BREATH. THE HEART IS BEATING. ONCE I SAW MY HEART IN THE ECOGRAPHY SCREEN. BEATING. OPENING AND CLOSING. LIFE IS STRANGE THROUGH A SCREEN.
I'M WRITING. MY GAZE WANDERS ACROSS THE DETAILS
IS IT GOING TO END SOON?
SHOULD I BE WRITING SOMETHING NOW? IT IS PRETTY DARK IN HERE
THIS IS THIS. IS THIS THIS? THIS IS NOT THIS.
THIS IS VIOLENT IS THIS VIOLENT? THIS IS NOT VIOLENT.
FRAME. MOVEMENT INSIDE A FRAME. MOVEMENT OUT OF A FRAME.
REPETITION. RHYTHM. AS BONES AS STONES. AS MAGNESIUM. AS STONES.
Archeology. Of stones, of bones, of scars. Dissection.
words moving gaze moving words moving gaze moving words moving... -relationhship between 'gaze' and 'word'
non-sense waiting to make sense (feeling of being lost, the try to find something, ) randomness (non-tracability of some sort of origin of action/movement, the contingency of the score looks like "randomness", the difference between the score and what is performed,) scores (...) and specificity
nature [or materials sticking to the human] (the idea of outdoor that is engaged, animal, scar, stone, aura, etc.) Benjamin : the trace makes something that is far look very close while the aura makes something that is very far look very close. the wound as aura the scar as trace (bringing something from the past) Take the time it takes, calm, space in time and time in space
Human non-human interactions: object, interspecies and geological something toward a re-embodiment- not disembodiment but something else. flavio body for observation, deb flesh-time stone-time etc, anna paula: body navigating cardboard, understanding a relation, a responsiveness? adriano: re-embodiment as outsourcing inner life? or projection becoming intention. sina: the uncanny interspecies relation, which undo a certain order of human animal relation. re-embodiment encountering something without losing yourself
"dancing a portrait of someone as a bird, based on thier haircut"
Beauty (in a good way) spatious and calm (sense of a composition that is ...)
Presence in time. multidimensional materials. bestiario. different beasts. hommes et betes.
being in time (layerings happened on the spot and in time without knowing how that combination would be,) multi-dimensoinal perception (and material) crossing (of narratives, of music and text, of aura and bodies, the video and saying, etc.) crafting connections - and the affects these connections are capable of producing
rich presense (not simply being there)
Adriano asks Lucia and Piero Deborah answers on behalf Lucia and Piero
Dear presentation of Lucia & Piero, A promise of observation. Observation from you - of what concerns most of us. You were sitting next to eachother. Soft, patient, listening. An analogue complicity situated between one big and two smaller screens. Descriptions turn "poetic" "I'M FLOATING, THE HEAD IN THE AIR." "I REMEMBER STANDING FOR SOMETHING. CAN I STAND FOR SOMETHING NOW? NOW SITTING?" "HOW MANY METERS OF AIR OVER MY HEAD?". Not much is written, is this writing an excuse for sharing time/presence? For sitting next to eachother and in front of us, while the laptops offer a small protection from full exposure and/or transparency. If that is so, what is the minimum of text and screen needed to give a cover for presence?
Lucia and Piero ask Rui Anapaula answers on behalf of Rui
During the screening of your presentation, we recognized how giving specific - and often loosely related - tasks to the actors, instead of lines or roles related to a predetermined narration, would produced new and unexpected narrations and moreover would question the possibility to apply the concept of "carachters" to figures involved . It seems that until now what in the research has been mostly explixcited is the work with the actors - both as tools to direct the actors and as acting technique for the actors themselves. We were wondering if similar tools could be adopted by the other figures involved in the making of the video, like the cameraman, the editor, the sound technicians...etc. and what would that do.
Lucia and Piero
Sina asks Chloe --- Rui answers
If I may propose a contrast between "performing" and "embodying", that means: in performing, one uses a body to show; and in embodying, a body is disposed via its emotions. For example, in your last week score you were performing (a protocol, a grammar, a concept) which engaged with the viewer's cognition. And in contrast to that, during the opening of the RILE (when you and Sven were giving a sort of introductory speech about the horizon of your desire in opening a book shop) you were embodying, which created attunements. You have been very strict in your emphasis on disembodied protocol of dance when you make a show. And I am also aware that the contemporary dance in the last 50 yeas wants that kind of syntax. Your grandmother, Yvonne Rainer was, for one, the enemy of embodied choreography.
(If you would entertain the differentiation I made) I was wondering, what could be actually the value of embodiment (or embodying) for you and for your audience?
Flavio asks Ana Paula --- Chloe answers During the participatory action I felt challenged with the participants to interact with the material. I noticed that each one acted very differently from the other participants. During the exercise, even without knowing the indication that each one had received before starting it was super magnetic. The fact that I didn't know increased my interest in observing the exercise until the end, as if I had to discover the "secret" that each one kept.
As the material is exactly the same for each of the participants, what each one is becomes the target of my interest and curiosity. As if the key to understanding the exercise is what each one carries with them, their personal information and history. The body becomes the main object of the performative action.
I have two questions, one as the “audience” and one as “the fellow researcher”:
The first is: How important is the material (card box) to your project? If it were other material, would my feeling, as the audience, have shifted?
The second is: How do we conduct a participatory performance action measuring and leveraging the experience of the audience in order to transform this experience into data and documents that can move the research forward? How does the action jump from a trial status to the aesthetic status of a piece of art for those were just watching?
PS- sorry Chloe and Ana Paula about the late, I completely forgot to send the question in the middle of my crazy weekend!
chloe asks Adriano- Flavio Answers.
This is rather a question from the inside, as I danced alongside you I didn't have the experience of reading from the outside. It was clear from the discussion afterward that the dancing was implicating something other than our own immediate expression. That the dance moves through us rather than being soley produced by each of us. However I was curious how to move form implication to responsiblity, which would be to impart agency to the audience whom we are 'using' for our dance. I don't know exactly how to write it more clearly— but I think it is a move of the spectator from understanding the code, from reading our dance, to feeling somehow that them being there matters for the dance. Hmm still maybe unclear, its hard to be precise. There is something to think through in relation to the labor of the audience, if the audience is learning how to be an audience, where is the space for them to 'change' lets say?
Deborah asks Flavio, Adriano answers
thoughts of archeology and other conceptual tools, but actually what I keep coming back to is my understanding that you wanted people to remove the sheet, be exposed to your exposed body, and have to confront what you choose to confront us with: nakedness, scars, history written on flesh. Exposure as vulnerability and risk, relating sometimes in your history to shame and trauma.
That's my understanding of what you wanted. Instead, no-one removed the sheet, except for an arm, a foot. So your nakedness lay hidden, and your exposure unexposed. Then we are archeologists of a different sort, tentative, unwilling (or slow in willing), too slow in any case to uncover what is waiting to be uncovered.
It reminded me of Abramovic's Rhythm 0 (1974) where she placed 72 objects around, like a feather, knife, rose, etc. It took hours, and it started off slowly, but the temptation and lack of resistance brought out an intensity and and aggression that seems to me linked to a dynamic of vulnerability-violence-temptation-shame.
It seems difficult to bring the audience quickly to a dynamic that might only arrive unconsciously (a slow, imperceptible gradient of action), which mirrors social time (blind, un-individuated, sometimes thought of on the level of drives/impulses).
What are the methods that you can bring the audience into your vulnerability in a short space of time? Who is the agent? What happens when the lines are blurred?
Rui asks Sina and Lucia and Piero answers on behalf of Sina
Dear Sina, I was thinking of some questions about your presentation, but I noticed that most of the answers are in the concepts you quote. So I was wondering... Is there space for contradictory theories in your research or is there a definite line that guides the work?