Notes april/may

the process in question is seeing. A seeing of oneself. Specifically, a seeing of oneself as others see one. The problem with acting is not that it carries the actor out of himself, into another, out of his real self into a false double; it is that it doesn’ t take the actor far enough outside of himself.

the relevant distinction is not between reality and appearance, true and false, acting and not acting, seeing and not seeing oneself as others see one. The pertinent criterion of evaluation is ontological and cuts across those registers. It bears on the completeness of an appearance, which it locates on a scale of intensity, as a higher- or lower- degree reality.

to leave the inter-subjective world of the other-in-the-self, self and other identity-bound in mutual missed recognition, for a space of dislocation, the space of movement-as-such, sheer transformation. There movement is continuously fractured, unhinged from subject and object, and they from each as other. (referring to "where body meets image")

the body without an image is an accumulation of relative perspectives and the passages between them, an additive space of utter receptivity retaining and combining past movements, in intensity, extracted from their actual terms. It is less a space in the empirical sense than a gap in space that is also a suspension of the normal unfolding of time. Still it can be understood as having a spatio-temporal order of its own. In its spatial aspect, the body without an image is the involution of subject-object relations into the body of the observer and of that body into itself. (Fleshing out: Definitions)

each artistic articulation is representation of realities. The expressions "reality" and "representation" are examined, in connection with the questioning of the reality, the transformation possibility of the identity of the reality.

by choosing different angles and different fronts (the wall, the floor, side to the wall, side to the floor, back to the wall, back to the floor etc) the perception of the body towards its same positions is changing. There is a space/difference between perceiving body and perceived body. A space between looking/ seeing and body movement. Through this consciousness my own body is becoming object and subject of the work.
the 8 spectators are given headphones and microphones and are invited to respond to the performer, and to communicate between each other, becoming an interactive element in the performance. This spectator has as well the possibility to change the "soundtrack" (by switching between 4 different sources through pressing a button). Like this for all the 8 spectators the "soundtrack" switches randomly, changing as well the perception of what is seen.

(Put Your Head Off in Les Bains/ Brussels in the frame of 100 rencontres/ Benoît Lachambre)

the construction of the space is an important element, influencing the perception process as well. The small and high up located corridor is limiting the possibilities of what can be done there. The distance of 13m between the cabins (changing rooms) and this corridor is reinforced by the big hole down to the swimming pool, leaving a big nothing in between performer and spectators. The spectators are having no contact with the other/cannot see the other (whereas I can see everybody), as everyone has its own little room/cabin, his/her own privacy to do what he/she wants.

(Put Your Head Off in Les Bains/ Brussels in the frame of 100 rencontres/ Benoît Lachambre)

Published 10 July 2006