Thursday, September 4, 2008

... 4 September

"The SEEING want's to be more fluid. Rather than "looking at,"
invite "being seen seeing."

Now this is the big deal really (for me today that is). Seeing is the
conversation. As I may have quoted earlier, "What if how I see while
I am dancing is a means by which movement arises without looking for

Right. So not only is, not what you see, but how you see, the source
of inspiration to keep moving AT ALL on the stage, but to "invite
being seen seeing" also creates presence and visibility - on both
sides - and a kind of creative equality between the spectator
(audience) and the spectatee (performer). Does this follow? I hope
so. Again, sitting in the middle of it as this new life is flying
around me and assimilating language and feelings (and sore muscles and
brain cells) makes it difficult to be, sound, feel articulate. But
some of these ideas are truly related to work and discussions -
certainly that we've had in SITI company. Like the idea that the
audience doesn't see what you see, but sees you SEEING what you see.
All toward the issue of visibility as a performer.

And again, "Don't give the audience anything they can go on in you."
Now this is not for the sake of obscurity, but for mystery. "What if
the depth of the question is on its surface" which is something Robert
Wilson certainly says and repeats. I get it better now though (even
though I quoted that line for 10 years doing BOB.) But as theater
performers (and DH asked me about this today in the group practice
whether it is the same in the theater - which I affirmed) we know that
the audience is incredibly smart and has all the advantage -
especially if the story is HAMLET or some well know text. And so the
moment the audience can pin down what you are doing, you are dead in
the water, and will have a devil of a time getting back. Not
impossible. But really hard. The goal is not to hold back, but to
make ALL of it possible ALL at once. It's actually more generous in
the end isn't it.

or ... "make choices that can't be read in any one way -- IN THIS
MATERIAL" she is clear to say. In this material. This is about
being smart. As smart as the audience. To stay ahead if not with
them so that both sides can live in the mystery of what is going on.
On the surface. As Robert Wilson says, "underneath it can be
complicated, about a million things. The surface has to be about one
thing only."

Know that I am quoting DH and also interpreting, going on about, filling you in on MY take on it so far, etc. so don't hold me to anything for the moment. I'm not giving you "anything to go on."

Okay, super hungry.

I hope this is feeding you in some way.



No comments:

Poem of the day (or whenever I change it)

Always the setting forth was the same,
Same sea, same dangers waiting for him
As though he had got nowhere but older.
Behind him on the receding shore
The identical reproaches, and somewhere
Out before him, the unravelling patience
He was wedded to. There were the islands
Each with its woman and twining welcome
To be navigated, and one to call ``home.''
The knowledge of all that he betrayed
Grew till it was the same whether he stayed
Or went. Therefore he went. And what wonder
If sometimes he could not remember
Which was the one who wished on his departure
Perils that he could never sail through,
And which, improbable, remote, and true,
Was the one he kept sailing home to?

By: W.S.Merwin