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rehearsal
series

rehearsal series is a performative research tool inspired by an ongoing interest in alternative experiences of vision and somatic narrative.  Each experiment keeps the same audience format, but explores seeing in a slightly different performative approach.
Rehearsal 1
Rehearsal 1

Format: Lecture 

Tools: imaginative exercises, verbal explanation

Focus of performance: Immersive theatrical environment - sound , light, smoke  

 

Notes: 

Transitional space - existing on the grey zone, neither blind nor fully sighted.

Function to Fiction - spacial transformation, technicians as the makers of magic.

Sound origin as spacial orientation/desorientation - the voice amplified by boxes take away locality of voice (is not behind, on my left, or under, is above and surrounds). Sound circulation as an active special movement.

I can’t run in low lights.

Boundaries of imagining image.

 

Content: 

- Somatic exercises for vision, 

- Galileo Gallilei (telecospe) eye enhancement technology and change of existential understanding.

- Eye movement apparatus, 

- Light as a cultural symbol of intelligence, from Plato’s cave allegory to the Enlightenment,

 - Prometheus myth, 

- Visualisation exercise (until where our imagination sees?)

Duration: approx. 30 min.

Atelier N. 69 - PACT Zollverein - Essen DE

Rehearsal 2
Rehearsal 2

Format: Situational - character development.

Tools: Scriptwriting, theatrical situation, dance

Focus of performance: Situating a persona behind information. Motivated action, environmental serenity versus persona distress.

 

Notes:

Acknowledging the natural tendency to read facial expressions and mouth movement to compleat verbal understanding.

Audience — audio - as listener

The curiosity of the eye, when do I decide to follow a moving body or let it pass though the visual field?

Audience state as an extension of the host/performer state, the graphic discrepancy of experiences among audience members and between audience and performer.

The audience is an island

Cotton candy ice-cream is disgusting.

Content:

- Script development:

Information inside situation : temporality and visual delay, humanisation of the performer as an individual that is not attended. The opportunity of an invitation for show work versus the possibility to address and produce it (no space for developing work, no budget for artistic needs) Luck and chance, Prometheus myth, introducing Hermes, dream, boredom and somatic narrative.

- Ice-cream eating as a temporal marker and as a multi-meaning action because it goes beyond nourishment.

Duration: approx. 30 min.

U500 Festival - Artus Studios - Budapest HU

Click to download

the rehearsal scrip

Listen to the rehearsal music

Rehearsal 3
Rehearsal 3

Format: Frontal performance - text and description development.

Tools: Scriptwriting, set design as special marker, dance

Focus of the performance: Storytelling, non-linear story, consciousness, associative state, description, metatheater, lost and found, xenolinguistics.

With: Márcio Kerber Canabarro, Savio Debernardis and marc Lohr.

Duration: approx. 40 min.

PAC T RESIDENCY PROGHRAMM - WINTER 2024

Supported by the residency programme at PACT Zollverein (Essen), funded by  the Ministry for Culture and Science of the State of North Rhine-Westphalia.

Click to download

the rehearsal scrip

the two-story platform, with marc playing drums on top and marcio sitting cross-legged underneath the structure. marcio has a drum skin in front of his face, illuminated from behind. his head is not visible. the image is colored in the green light that fills the entire space.

Notes:

On a world of ruptures it is hard to cope with abstraction or non-sense as a sense by itself , or with inventiveness as a creative power of associations that can link seeming fragments of disparity into one non-linear narrative. We like to be certain, and this present world wants us to be lost . 

To find ourselves in loss. To be lost,  If not a physical lost-and-found structure, then in a mental one…

 

Found and lost between restlessness and apathy. Within this, the invention of a new form of storytelling that surpasses the Homeric tradition is a great dream to be pursued, comparable to interplanetary travel. In the West, we needed the trope of the blind: Homer, to initiate a layout for creating and documenting fiction, which makes me think about the descriptive quality of the world around us that is so present in audio description, screenwriting, and literature.

The desire to find literal meaning for text spoken by a dancer's body is a wishful fiction, an audience tends to take a dancer for reality, a personal reality, with a kind of documentary value. The abstraction of a dancer's personal identity into a character or a state of mind that isn't just an intimate reflection of a particular individual humanity is hardly understood or considered as an option of performative presence. 

As an audience, we wish to believe that all stories told by dancers should be real, and that reality appears to have a higher value than imagined accounts. If this is true, then as a performer my "gold mine" is framed by my path to blindness, and it is my association with this narrative that gives me opportunities and makes me potentially relevant. And if, as I ask myself, my thinking and moving is already heavily informed by this narrative, can it be enough to have it as a subtext rather than as the main dramatic arc of my creative speculations? 

A craft, or the simple practice of awareness, of allowing a consciousness to take over a body, like being possessed by a spectrum of history that tells its fictions in unpredictable and sometimes overwhelming ways. A demon of time that occupies an available body for the duration of a performance, leaving behind material for thought and seeds for change. Like Homer himself, who might have existed only on the tongues of those who told his supposedly invented stories, Homer as a character made of thin air, never seen, only spoken. 

The Homer that never happened, lost in the abstract body-mind of the moving thinker, is passed on as multigenerational gossip, as the result of the human desire for certainty, as what has been left behind by our inability to imagine unpredictable or rapid change. This Homer, the trope, shows us that we are trapped within the vast limits of human imagination itself and our love of finding sense, of searching  to the lost “moral of the story”.

There must be a hidden reason… a secret plan… a mysterious significance…

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