1. Lima, July 2002
2. “Spinning Notes” – fragments of “Giro Piece’s” notebook
3. an endless electronic
text by Eleonora Fabião
4. the performer acts
her body
5. the body-to-be-read
will be read, while the body-being-perceiving will be received. I investigate
the second possibility
6. to work so that the
roles – performer and spectator – be distorted, confused, and, in
certain pieces or moments of pieces, even inverted. It's not a matter of diluting
the roles, but rather dinamizing them. Through a game of reciprocity, I'm
searching for a more receptive action and, correspondently, a more creative
reception
8. the search for dramaturgical
situations that generate potential spaces; in these potential situations,
the performer acts as the starter of a movement that will be done by all.
It would be more precise to say that my main interest is to create choreographic
spaces, not choreographies
7. so, the choreographer
is not exclusively, not even mainly, interested in the performer’s movement;
this choreographic work has also to do with what is being moved in the spectators’
bodies, on how to integrate the spectator’s movement and on how to move
the spectator
-7. 'movement'…
that’s a tricky word. I am not necessarily referring to dislocation in
space but about a certain tension produced by the consciousness of one’s
own body and presence; dislocation in time, invisible dances, cellular dances,
pulsing stillness, vibration, all subtle kinds of corporeal exchanges
6. I am interested in
connectivity. I want to valorize all senses, not to privilege vision. I want
to be touched as well as I want to touch, hear and feel the audience
9. I am not interested
in the drama that takes place on the stage but on the event that happens in
the whole room, the drama of the room
10. perform to expand
the stage, to make it echoes, to transform the world into a stage: a space
of high consciousness, perceptivity, potency and intense interaction
11. Globalização:
fluxo, claustrofobia e tonteria
de acordo com Mary Louise Pratt a noção de fluxo inerente à
economia e à mentalidade neo-liberais, é enganosa: o fluxo neo-liberal
não é exercício de liberdade ou força de liberação,
mas mobilidade ingênua. A metáfora do fluxo impede a noção
de direcionalidade sendo portanto conservadora e a-crítica. O fluxo
livre de informação, mercadorias, corpos e idéias é
a linguagem oficial da globalização, seu modus movendi, sua
estética e sua “graça.” A globalização
gira um elogio ao fluxo (aparentemente) livre. A autora chega a comentar que
esse dinamismo fluido e fluidificante parece mesmo desafiar a força
da gravidade, força inerente a tudo que tem peso, força própria
daquilo que tem um corpo, força própria do humano. A falta de
gravidade parece indicar a falta de ética do fluir neo-liberal
1000. apesar da fluidez,
a dinâmica política e social engendrada pelo neo- liberalismo
tem um componente claustrofóbico aterrador. Guetificação.
Pratt: as redes globais não são inclusivas, os nós da
rede (digo: grade) abrem espaços de exclusão e pressão
separatista
a. um dos movimentos
mais fluidos e ao mesmo tempo mais claustrofóbicos que
a2. já experimentei é o girar longo, contínuo, num único
ponto do espaço.
a3. identifico nesse movimento, a um só tempo, expansão e contração
3,3333333333… I
spin therefore I am a global citizen
(71)8. não é
o girar do bailarino clássico que, para apoiar-se, marca com os olhos
um ponto no espaço, nem o girar sugerido em algumas práticas
de meditação em que o olhar deve fixar-se em uma das mãos
para garantir o equilíbrio. Estou procurando girar olhando para frente,
para o mundo; de frente para o mundo cuja frente está em todos os lados
do meu corpo
87(1*). manter o corpo
e a mente relaxados, o mais relaxados possível, nessa movimentação;
estar ao mesmo tempo perceptivo, altamente aberto para tudo o que se passa
ao seu redor, mas parcialmente cego e surdo. Estar presente e ausente; ser
capaz de me relacionar com o outro de uma maneira nova e inusitada e, ao mesmo
tempo, ser incapaz de me relacionar sem rodeios
0. tontos, tontas, tantos,
tontim, tom-tom, tintas, tontu
-1. me caminhar em círculos
-2. friccionar até romper as fronteiras entre interno e externo
-3. sentir os músculos, os ossos, os órgãos repuxando
-4. cair: nesse giro, longo giro, mesmo que não se caia, cai-se; a
quasi-queda move o girar
(718) 535-1552. I don’t
have a body, I am a body. I am a body therefore I exist
(718) 533-7673. the elliptical
body. This is the body of the tonto, what in Portuguese means not only dizzy
but also crazy, mad, foolish, idiot. The dizzied/tonto body distorts normativity;
the dizzied/tonto body is a subversive force against straight norms; the dizzied/tonto
body destabilizes the obstinate effort for coherence, productivity and meaning;
the dizzied/tonto body melts identity coherence
2000.
2001. present tense(s):
The “unique present” explored by performance art is not a flat temporal
fact; it is multilayered, polidimensional, translucid and pulsative. As a
shock, the performative gesture makes the instant vibrate higher and deeper.
Performance art pieces are intensively and extensively fugacious: the poetic
ephemeral instant is a dilatation of time
2002. there are many
forms of present in the poetic present
2003. 23,23,23. in “Giro
Piece” a present tense’s dance is proposed through a televisual
combination. Each televised image is suggesting a different temporal dimension,
a different temporal component of the present. The performer’s spinning
body and the spectators’ mobile presence are determinant conditions for
this temporal dance
2017. “Mapping:”
a video art piece: the performer + all kinds of maps – sky map, solar
system map, subway map, world map, city map, human body map… Two main
actions: 1) to cover the body with maps in a bathtub with water; 2) to encapsulate
mixed pieces of different maps and drink the pills. As I see it, this piece
is both the documentary of a performance and a fiction of a woman performing
with maps. In the context of “Giro Piece,” “Mapping” opens
the present of the past dimension or an actualized past perspective
2018. “TV News,
a ready-made.” One of the tvs is screening the daily tv news. Symbolically,
the televised news represents the most meaningful facts happening in the world
now. I call this “alive-time” broadcasted present
2019. “Blue Still
Life:” a blue screen tv, a sculpture. Aesthetic beings, as I see them,
establish a dimension of eternal present. The spectator’s gaze makes
it endlessly new. The 'aura' here is electric
2099. “Upsidown
Generator:” a camera outdoors records the generator of electricity in
the entrance of the gallery. This is the only footage in “real time.”
Because the television is turned upside down, the generator is hanging in
the “top” of the screen. Let's call it upside down present
07670446/9. the spinning
as an experience with six geometric figures: the circle, the spiral, the sphere,
the cylinder, the ellipse and the cone (in many directions, rhythms, colors,
matters, textures and sizes). During the rehearsals, these figures are being
mixed – a circle with many vertices turned into a tube of vibrating spirals,
a red undulating skirt or a thick sphere of bees. The images and sensations
are successively transformed in n=n+1 configurations; I am experiencing an
exhaustive explosion of “creativity.” I am using the quotes because
this exhaustive and tedious “creativeness” is an excuse to stay
away from the main objective. In fact, due to many difficulties, I resist
to simply spin
93002263610. light spee:
c=299'792'458 m/s
AZE 5767. today, after
spinning 20 minutes to the right side, my right hand is bruised
RTC 2245. today, after
spinning 20 minutes to the right side, I have a problem in my right eye, a
vessel is damaged
KWF 3302. to spin to
the left side is very different, much more emotionally demanding. Today, when
I finished the movement, I set on the floor and cried as if my emotional architecture
was falling apart. I was triturated, pulverized. Then Liz hugged me carefully
and my body was rearranged by her hug
CFE 9678. since I understood
with my whole body that the ellipsis, and not any other geometrical form,
is the key dramaturgical element for “Giro Piece” I found my axel,
my motivation and my rhythm. Now, after spinning, I feel myself stronger and
healthier; no physical damages anymore. The spinning is about magic
99,90. from centrifugation
to trans-substantiation
21,03. one of the most
interesting discoveries during the research, was that, geometrically speaking,
the ellipsis is a certain kind of circle, a circle with two centers. Before
realizing this, I had never considered the possibility of a circle with two
centers; I accepted the hypotheses of many circles and many centers connected,
superposed, associated but I had never imagined the possibility of a double-centered
“circle.” If the unitary centered circle is a symbolic representation
of the individual and closed body, the ellipsis is the symbolic representation
of a circuit of communication and interdependency between co-existent centers
within the same system/shape. The ellipsis suggests a common body based in
the relation between two bodies – exactly like Liz and I relating in
the rehearsal room. Because the centers are not fused but permanently negotiating
expansion and contraction, proximity and distance, the dance has neither one
fixed center nor an individual character. As a performer – a spinning
performer that is side by side with spectators and four tv monitors, an element
among elements, part of an installation that is not privileging any specific
point of view – my invitation is for the occupation of a potential space
where many ellipsis can be generated, as many as interactive relations occur
210,30. the spinning
suggests that the elements immersed in this potential space are orbiting one
another
1989. the way the elements
are positioned – objects inside and outside the gallery, actions happening
inside and outside the gallery – also points to an elliptical circuit
between in and out. In other words, the way the piece is conceived, turns
explicit a certain elliptical circuit between the gallery space, the official
space for aesthetic fruition, and the everyday life space, the urban area.
If the former is clean, silent, glamorous, the latter is noisy, dirty, quotidian.
All these clichés! But a body is spinning at the door, spinning the
door. A woman dressed in her everyday life clothes is spinning in between
two spaces, is spinning the in betweeness. The elliptical “dance”
is connective
1789. two centers but
one circle. Three worlds but one world. Five senses but one body. Many points
of view and elliptical circuits but one event
1968. the ellipsis partially
ends a sentence which is “incomplete,” which is open, unfinished:
… I see three rocks rolling down a mountain or three tomatos floating.
After 25 minutes spinning I will “stop…” Then I will put my
shoes on, put the chronometer in my pocket and “walk…” out
of the gallery. Then I will turn off the generator. The space will be suddenly
quiet; we will listen to the sound of the street as if it were silence. Then,
I will go for a walk in the town. As I dream it, the body-in-state-of-ellipsis
will expand “the art space” towards “the everyday life space.”
The spinning starts a movement; but there is no end. There is no end. All
I can perform is the beginning
911. the dizzy body cannot
touch the floor firmly. The dizzy body is an ellipsis connecting sky and earth.
This is my final objective in everything I do: to connect sky and earth. This
is what I dance, that is why I dance
0115521. porque me interessam
as ações sutis? Seguramente não porque sejam ações
pequenas (é comum gente confundir sutileza e impalpabilidade) mas porque
são formas agudas de ação cuja penetração
acontece quase-imperceptivelmente. A estratégia do sutil é extremamente
enfática no contexto dos excessos contemporâneos. A sutileza
é cruel. Uma contra-mão, contra-ação, uma recusa
dos meios e princípios das grotesquerias capitalistas
4:20am. o gesto sutil
recusa a obviedade em favor da aventura perceptiva; o gesto sutil desconstrói
a narrativa, corrói o hábito, des-automatiza ações
e relações. Trata-se de uma poetização do olhar,
de uma ativação crítica, de certa vitalização
do corpo através da estranheza poética
7:00am. “Giro Piece”
estabelece uma espécie de presença ausente do performer. Girando,
me relaciono com os espectadores de forma muito ambivalente. Por que me interessa
essa ação “fantasmagórica”?
8:45am. a presença
ausente abre um des-foco de atenção
1:45pm. abrir espaço
para outras possíveis formas de relação entre performer
e espectadores
10:59pm. a não-impositividade
da presença central pode vir a conectar os outros elementos de forma
mais flexível, dinâmica e aberta
6:37pm. a interpretação
dos fatos, e as sensações, e as reações e respostas
dos espectadores formam uma rede conectiva entre os elementos. Nessa peça
os elementos são díspares, independentes, autônomos mas
a dramaturgia do evento é altamente conectiva, interativa, aglutinadora
12:53am. today was the
first time I spinned with no fear, without hurting myself and with no anxiety.
The spinning body seems to project lines of force, electromagnetic waves and
roots around the place, in all directions. These invisible forces are connecting
things, intertwining all bodies and sounds and lights through a transparent
web. Like a bloomed flower, the performer’s body is expanded, projected,
exhaling. It attracts gazes as much as gazes attract it. It follows instincts
as much as ideas. That vibratory body is permanently pulsing, unfolding and
agglutinating, towards outside and inside, towards here and there, now and
then. If the integrity permits the body’s expansion in the world, this
integrity is only possible due to the deep connection between the body and
the world. In such a context, concentration means openness and receptivity
instead of separation and autonomy. That quality of concentration integrates
everything that is happening in the room
000. … )…(
…