This became my text

This becomes my text is not the movement of the body text nor a text about the movement of the body. It is the body as a text. Is the experience of a text in space and time. The text is the time and the space of body movements. This becomes my text is a possible scenario of thought.

There is a behaviour syntax that is very similar to the syntax that regulates the use of words. Language is undoubtedly a form of behaviour. Wittgenstein said something like: "a way of life."Then saying something is, in all circumstances, the same as doing something.The aim was to free the rhizomatic pathways from the clichés of the movement of bodies so that they could regain their original, liberating and paradoxical function of body language.

Performers are poised for new stimuli and improvisational challenges. Then they were surprised with a video. It was a mediated stimulus that was integrated into this creative process. How will they decode, translate and embody? 

All the work was guided through a process of mediation. in other words, a work in progress in which artists have struggled with a new form of dramaturgy creation.

So the theme was set through a narrative inspired by the film of Pierre Phillipe (1966) La Bonne Dame, with the actress muse of German expressionism, Valeska Gert.

 

She lives alone in a big house.

Rent rooms for students.

Without breaking her daily routine, she kills them with a fatal kiss on the neck. the victims are left with their white bodies lying on a table full of objects she has collected .

Every Sunday, after Mass, she buys a bouquet of white flowers that she will sow in the improvised graves of her victims.

This Sunday tour is also a love affair. she loves her victims unconditionally.

At night the corpses populate their dreams, but today the victim is not a student.

There will be a long procession of seduction so that she reaches the fatal kiss.

The victim realizes that she is like him. An artist.

We are before two assassins.

 

Between the theme and the story narrated, there were videos of the actress Valeska Gert, with the aim of constructing a scenario in the head of the dancers, pre-imposed or mediated by me.

 

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This piece contains an art installation and a dance performance, in which a procedure was introduced to sequence the connection between thought, writing and movement. The aim was to try to nullify their differences, to bring them closer together, to break the boundaries between them, by equalising time and procedures for each process. It was sought to force the body to be as fast as thought, and thought as spontaneous as the most thoughtless movements.The procedure defines an endless sequence of periods of 10 seconds to think, 10s. to write and 10s. to move. This algorithm has produced fluidity between the different processes of thought, writing and movement, creating a disinhibiting or liberating automatism that intensifies the connection of the inner and outer processes of the performer in an endless feedback.

Performers become faster. Processes become closer and more interconnected. The act of writing becomes an extension of body movement - ”merging the body with writing” using Jean-Luc Nancy´s expression - just as thought becomes an extension of movement and writing.

Improvisation becomes easy and spontaneous; the panic of the blank sheet disappears.

In addition to encoding, in a code invented by themselves - their thoughts-movements - the performers must also decode the signs and codes of other performers, interpret them and translate them into movement-thoughts. Throughout this procedure the performers become machines of codification and decoding of signs, corresponding to thoughts-movements and evoking the machine concept developed by Deleuze and Guattari.

A new language is created. It is therefore an open, ever-living language that is constantly transformed in every new decoding, translation, interpretation and recoding. The performer uses that language to rewrite and reinvent him/herself, keeping in renewed movement, in connection with other performers and feeding on their contributions. Thus constructs a new world through a rhizomatic procedure, exceeding inherent structures of thought and movement, as if trying to produce the unconscious.