The field that Pina Bausch defines / how is it that you can act today… the shift from acting to performance… that is parallel to the one that Pina Bausch rehearses… It was important that it didn’t shift towards theater but instead towards performance…
Herbert Blau devises the presentation of the body on stage… In order for the body to appear you must move beyond the simple presentation of the body… What is the surplus, what needs to be added to the presentation of the body in order for the body to appear (force, labor, effort, passion)… What are the conditions for those added supplements to operate?
How is the present articulated… a microscopic ‘now’… Peggy Phelan’s aligning with Derrida’s notion of absence and presence… Peggy talks about ‘microscopic now’ that refuses to expand in order to propose that performance thrives in this ‘now’ in order to escape regulation… He talks about the recruiting of the subjectivity… escapes regulation by plunging into memory… this is a subjective argument… The unconscious is still the place that escapes regulation of logocentricism (Derrida)…
Issue of repetition in Bausch (seems to be a choreographic question). Think about Derrida’s notion of interrogation (as a sort of machine)… So then if it is a machine and challenges notion of presence and origin then we can talk about how we position ourselves in the moment of elocution. On page 316, Derrida talks about metanarratives (Plato was completely against this mode of writing)… Writing is an essential drifting, cut off from responsibility… If writing is an orphan, how is it that this floating drifting project can be accountable?
All of this has to do with thinking about how its possible to think about repetition… repetition in Bausch is grounded and also challenges the readings… What does it mean to consider writing as experience? All of this can be expanded in phenomenology… The death of the author and the death of the addressee… writings predicated on the fact that it can thrive through the death of both sides of the communication model.
The repetition and making something recognizable… translated a historical event into a choreography that…
The dance appears again and the women hold a black curtain and people dance behind the curtain… It’s too late in the game to say as-an-audience and as-a-theoretician and make that distinction… When you see something over and over…
If you put ‘experience’ (replaces mark for sign)… communication is a problematic term… Why is it that communication is an impossible project because we can’t pin down the sender, code, and receiver? Writing expands the field of presence… Writing is a supplement… he wants to undermine that notion… but the factuality that writing detaches itself… writing undermines its conditions of sender and receiver… imagine two people that have a secret code and they die… the code has been marked somewhere… a code will always be decipherable somehow… we can sustain the argument that writing is all types of things.
Writing can also be the moment of making a gesture… How can we detach ourselves from the origin of the text… can we set them aside? p 311… writing and telecommunication. The accident, that is mis-hearings, is a mode of communication… Agrammaticality. Shit man… This is just too much… I feel guilty and stupid for not reading my stuff…
///////////I’m worried that I’m wasting so much time writing and not enough time trying to live comfortably… I think that working harder in school will make my writing better… I think its best to only work on writing for 2 hours a day… That way, I won’t wander into uselessness. I have to keep my eyes on the ball. The ball is my degree right now… The ball is a way to keep living in New York…//////////////
Derrida p. 315: The writing of gestures… we can think about he piece that is independent from the author and independent from the spectator… the context is the protical of the code … the prodical is to not missing a beat… the ontology of dance is themanifest a movement in the presence of an audience… dance writing is making sure we see envertyhing without missing a bit or a beat… the code prescribes modes of witnessing the choreography and then we can push Derrida against phenomenology… the actual experience of sitting in from the the dance… blinking (accidents) are not eruptions but essential to understand the texuality of the event… Through your accidents would actually inform your
Environmental theater: it’s a place you can leave your shit… Artist’s a very disabled by the lack of owning space… There’s something problematic about CLAIMING space for yourself. You need a safe place that you can take risks in.
page 312: Theater which is not yet theater. Its space is a finely striated force-field. This performative space is acoustic, it vibrates. the spear vibrates the air. This is a world were actors and action converge. The representation is not intended.
How is it that we stand before work.
