Choreography: In the middle somewhat elevated by William Forsythe through Martin Dauchez.
Host, guests and artists to be revealed.
Where is the pleasure in the mechanised act?”
“The passified body needs the other to be initiated – to be used”.
“The egosentric will never be a good lover”.
“Je est un autre.”– RimbaudThe other – the clean spectacle – Forsythe.
I am to be put in a situation, and be observed how I cope in it. How do I cope with the acts of representing, re-enacting and being strategic when creating a prescribed image?
The other is the already existing; the known. How do I cope with witnessing, relating, adjusting, mimicing; giving up before filling the other – the role – with the self. Performance is always citation and in performance/citation, the self is plural. It is a divided self defined through/by author and audience (The spectator as author. – Barthes). I am approaching the known, a citation of other; but I do not know it. It is about finding the immediacy in the known; the here and nowness in an exterior visible presence of performing subject. The act of witnessing comes with a degree of consciousness and agency. It is linked to memory (a desired reconstruction) and the act of remembering
It denies the authentic or unmediated performer (Derrida) as it is already existing. The self and the personal is forged with something else; a personae. In her text The Self/portrait Effects and Dance Performance, Tamara Tomić-Vajagić sees how a
faded narrative drive in Forsythe’s plotless ballet brings
the performer as a carrier of action into the
focus. These actions produce a form of “rendering of the self” and the dancer infuses the work with instances of self-presentations. She writes: “In some performances, the performer through
own agency amplifies the sense of a first
account, and this is when interesting
self/portrait effects may emerge”.
A personal act is an explicitly public act because it is not done in character. It is intimate, yet public and exposed.