FLYER

In THE H ALF by multiplying strategies of separation between the traditionally fused mediums of a dance performance: music / movement / stage / light, we are seeking to reach and demonstrate emergent forms of interaction in constellation themselves beyond anybodies singular intention.

Starting point of THE HALF is the shared conviction that the politically incorrect gesture of HALVING – breaking away from the socially privileged rhetoric of being whole (as individual) and together (as a group) – is the only way to care about the identities and communities that are to come.

In the making of four different dance solos we attempt to test this philosophical conviction inside our artistic practice.

23, 24 and 25 September 20hs “Perfect Wedding” Tanzfabrik Herbsfestival in den Uferstudios. http://www.tanzfabrik-berlin.de

28 September 19:30hs Tanzplan Potsdam Artists-in-Residence , Fabrik Potsdam http://www.fabrikpotsdam.de

18 and 19 November in Hetveem theater http://www.hetveemtheater.nl

Diego Gil (AR/NL) – Choreography / Dramaturgy.

Igor Dobricic (SR/NL) – Dramaturgy / Choreography.

Paz Rojo (SP) – Performance / Choreography.

Pablo Fontdevila (AR/NL)- Performance / Light  / Choreography.

Felix Marchand (DE) – Performance / Choreography.

Tian Rotteveel (NL) – Performance / Sound / Choreography.

Theresia Knevel (SE) – Set / Costumes / Designs.

THE H ALF has received support by Hauptsadtkulturfonds Berlin and has been co produced with Tanzfabrik Berlin,  Fabrik Potsdam, Hetveem theater Amsterdam and Stichting Table Talks Amsterdam.

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Benjamin on Kafka

I think that after all the efforts to make a performance communicable, it still carries with it chaotic irrational forces that are of the unknown and thus, enigmatic and misterious.

Here a small beautiful quote praising that enigmatic angle of each art work:

“At times he seems to come close to saying with Dostoyevsky’s Grand Inquisitor: So we have before us a mystery which we cannot comprehend. And precisely because it is a mystery we have had the right to preach it, to teach the people that what matters is neither freedom nor love, but the riddle, the secret, the mystery to which they have to vow – without reflection and even against their conscience”.

Biopolitics as event.

Lately I had been reading the book “Common Wealth” by Antonio Negri and Michael Hardt . I am interested in how they explain the concept of “biopolitcs as event” and  specially, how they distinguish it from the concept of “event” in Alan Badiou.

The explanation of “biopolitics as event” connects to the work with “The Half”. It touches the idea that the performer is using his “body” movement to find a way to produce an” eventfull” presence in front of the audience. Eventful presence means that is an activity that needs to emerge it time anew and that therefore is linked to the forces of chance and indeterminacy.

Michael Hardt and Antonio Negri find the term “biopolitic” in the writings of Michel Foucault. They  distinguish the term “biopower” from the term “biopolitic”. This is the way they express biopolitic:

None of these interpretations captures what for us is most important in Foucault’s notion of biopolitics. Our reading not only identifies biopolitics with the localized productive powers of life – that is, the production of affects and languages through social cooperation and the interaction of bodies and desires, the invention of new forms of the relation to the self and others, and so forth- but also affirms biopolitics as the creation of new subjectivities that are presented at once as resistance and de-subjectification.

The biopolitical event comes from the outside insofar as it ruptures the continuity of history and the existing order, but it should be understood not only negatively, as rupture, but also as innovation, which emerges , so to speak, from the inside.

Later on Hardt and Negri compares the notion of “event” in Badiou and Foucault.

In Badiou an event …acquires value and meaning primarily after it takes place. He thus concentrates on the intervention that retrospectively gives meaning to the event and the fidelity and generic procedures that continually refer to it. Foucault, in contrast, emphasizes the production and productivity of the event, which requires a forward – rather than backward – looking gaze. The event is to speak inside existence and the strategies that transverse it.

What I rescue from those excerpts is the idea that the event is  internal  to the subject/performer . The subject/performer will activate an event and not just recognize himself inside of a predetermined one. The performer is actively producing his manner of appearing.

How? Opening, throwing out, persistently the movement vocabulary (gestures, postures, and , energies)  stored in his body. By the same activity  he will be re inventing his unfolding movement habits.

For the activity of “unfolding movement habits”, the performer navigates between a  “visceral” and mind “attentiveness”. This awareness  feels the body changes, understands the way the body is being represented in front of the audience and re starts the awareness operation one more time, again and again.

I hope to find a way for audience to navigate the same type of “visceral and mind” attention. If that happens, the perception of audience will add to an overall movement of actualization of the event. Then audience may feel the power to actively re schuffle the performance perception and thus, feel that they can re invent it together with performers on stage.

 

 

 

researching and presenting

The major difference between “The Half” and “About falling” project, is that the first research process deals with “transformation” and “presentation” of its elements (dancer body, light, music, choreographic and dramaturgic mind) in simultaneous time.

We found ourselves within the pressure to “research” and to “present” a result to the audience,  in the short amount of time of ten days. Thus the questions of “how to research” and “how to present” the found material would be present in the room from day one.

Since we have the idea that each performer will dance alone on stage, researching and presenting the outcomes simultaneously, the technique of “actualization” becomes relevant.

To actualize, talking in kinetic terms, is to feel an internal/external metronome that divides each physical movement impulse infinitively.  The performer thinks and feels “diversifications” of  his/her embodies movement; reaching a state of existence that is continuously gapping. Gapping  the body habits of organization and the recognition of the image/narration that it is producing.

The technique of gapping, presents the performer not in a single point of view, but in a multiple manner because of the  unstoppable proliferation of gestures, signs, energies and postures. The performer breaks open unfolding a multiplicity of ways of being perceived.

In order to respect the multiple proliferation of sensations and signs, the performer cannot repeat. The multiplicity of perception cannot be defined or capture. The multiplicity needs to be generated but not controlled. It is an emergence.

We need to create “techniques” that generates multiplicity of signs and sensations, in order to assure the perceptive quality that things are happening spontaneously and yet, have the necessary parameters to make such experience liveable and repeatable.

The one task to work in Amsterdam and Berlin would be to find techniques/principles to produce an emergence of multiplicity (of signs and sensations) that does not capture its outcome.

In resume: to create techniques.

dance and the name.

I was  thinking that if “The Half” will be constructed as a “dance” piece, the problematic of production and communication is going to turn around the  natural “impersonal” aura that movement grants to the performer.

The problematic comes when we consider the movement of the body as the previous step for a sign to be interpreted, or as the previous step before to give a “name” to something and “think” about it as a “representation”.

This “impersonal” previous step of  a “sign”, “name” and “representation”  is going to produce friction with the movement material that I called  personal (intimate) and fictional (entertaining).

Thus, we will have a clash between “abstract” dance and the ambition to do as well a “personal” and “fictional” dance. We will have a contradiction between the abstract nature of dance and its possibility to be re-presented as a theatrical event.

I will quote a text of  Alan Badiou from his “Handbook of Inaesthetics” to clarify from where my thoughts comes from:

Dance would provide the metaphor for the fact that every genuine thought depends upon an event. An event is precisely what remains undecided between the taking place and the non-place in the guise of an emergence that is indiscernible from its own disappearence.

The name is what decides upon the having taking place. Dance would then point toward thought as event, but before this thought has received a name – at the extreme edge of its veritable disappearence.

This is to say that if we don’t do “theatre” we would not be representing any idea that will encounter the audience.  If we do “dance” we will be articulating “time” or the pre-artciulation of time before an idea could be captured and represented as a figure of thought.

When the organization of the body movements of  the performer will be “recognized” as a clear sign, idea or thought, the question is: which kind of idea is that body giving away? Which type of recognizable movement we will be talking about?

In other words, when the previous moment of thought (event) , finally is made possible to be thought with ideas of common opinion, how to direct that process of thought for all ?

How to deal with representation?

what “The half” could be…?

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The Half is an investigation about the multiple capacity of  a performer/body to present him-herself  on stage.

The generator of the material will be the performer himself, in relation with his way of enacting private, public and artificial-fictional situations, through the means of continuous movement.

What interest me is to see the cross pathways in which contemporary man find himself having to enact many roles, at least three (private, public and fictional), all at the same time and in any kind of successive order.

Music and dance are the two elements to navigate the three performances stages.

The songs that the performers bring to the music composer will be the starting point to work on their “private” state of being.

The remix of that musical track will accompany the “fictional” state, sometimes escalating to an almost entertaining spectacle.

In between those two registers (private and fictional) we will find the “public” state of being.

Half means the methodology to work with “separations”.

The common sense ideology  of a group working together is that they are integrated into an harmonious integrated whole. Not accepting that ideology, we will separate each one from the other one’s; augmenting the distances between persons. The methodology is of non-relation. The same methodology is applied in the use of time. The continuous flow of time will be interrupted like in a Brecht play. Each person will be asked to separate himself from his own actions, jumping from intimacy to the public arena at any moment. The separation operates in the middle of any performative action. The act never completes itself guarding the unfolding of potency. Actions are always in-complete and therefore remain possible.

There is a lot of aggression and violence involved in this methodology. I see the play as an antagonistic arena. The final result could be imagined as a musical concert or a varieté where each act, each person, each element, in its defined unity, connects (via non-relation) with the total performance through energetic counterpoints. The energetic collisions are the very connection between the different elements.

It is a passionate fight to survive all together under the gaze of the audience, and that very fight of separation is what bounces back bringing us together. The relation of non relation.