Hans-Georg Gadamer
- Exaggeration of metaphor
- The work of art has something to say… And we should let it say it.
- p 186: Art is an object or event (on-going event), not an expression of an artist.
- Looking at a work of art or a performance is a moment of lookingitself. Looking is entirely tied up in the context of looking.
- Possibility: art has a way of being available to new readings. Openness
- hermeneutics: acknowledge the gap between self and other… the work of art seems to be the most foreign thing for hermeneutics to deal with… what happens to works of art that are ground in specific cultural contexts… how is it that a work of art claims to a certain universalism… The really complicated thing from the start, the work of art doesn’t require mediate, it constitutes a kind of intimacy… complicates the notion of historical materialism…
- the work is already present
- the question of the arrow of time as being ontological… especially in dance… the work of art presents itself in the present and has very little ballast with the past
- vestiges, loose fragments, contemporaneousness, work with the vibrations of the piece…
- 184:
1. vestige (ruin)—
2. and source (textual)—passed down
- The archive becomes a place of care for a work of art, but being repeated it interpolates a series of questions over and over again. Because the art is trying to tell us something, we have to allow it to say something. Interesting difference between listening to a object (letting it speak)… you have to change your life by saying
- Approaching a work of art there is an openness (letting your mind so as far as it wants to go).
- Openness is a big part of the communication of it. What is the limit of the openness that you’re trying to let it say something (it is saying something, its not saying limitless) How is it that we do it. Pay attention to the surface. Believe that the surface is the only event that takes place.
- The project of hermeneutics passes on a responsibility, you will pass it down, slow ontology… This is not about shortcuts, its about being really slow… to not be hurried. To allow the passing of time…
- There’s a slowing down, an enlargement of the piece. Pina Bausch’s undecidablity of what constitutes dance… she thinks you shouldn’t think about it, shouldn’t write about, you should just do it. We must be free to follow the escapade of imagination… For me, it has been useful because he’s so careful to pay attention to the surface. Pina Bausch says that before we get there, let’s pay attention to the surface. Exaggeration of metaphor… how is it that I can incorporate or even read on the bottom of 221.
- Tools for analysis should be sharpened in each use.
- It is dangerous to be all roots.
- What constitutes meaning is this half closed and half open door.
- This chick is not very smart. Stop repeating the same thing over and over again.
- How is it that we can do this: 225, 226, 227: Hyperimagination, overcharge an image, constitute yourself as a door, bang yourself against the surface of the other, inherit the geometrical space.
- What are the elements at work here. Bluebeard: while listening to a tape recording of B
- record player: no music, fetal position on top of her, pushing her legs and they go sliding across the floor, then he turns the music on and he gets to a certain note, they get up and he turns the record back, they keep repeating until the record is different. It goes past that note… Looks like leaves on the floor.
- what was on the stage: table, chair, record player, leaves, man in suit, woman in a red dress,
- Movements
- Speed: Her sequence in falling, kept speeding up but it was still relaxes, juxtaposition of speed/style, doing some really minute movement and then large sweeping movement,
- The woman appears very active, the man is passive. Movement is very minimalist.
- He sets up the parameters of the performance, he’s dictating what’s going to occur. When he gets up she stops moving. His control over the music is also a control over the movement. (Jewelry box).
- Repeating the same circumstance until it resolves differently.
- Logic of montage and the notion that the dance-ish movements are as much a quotation as any other actions performed within the piece.
- There’s two ways to think about inter-texuality. Obligatory inter-text: reading in terms of historical trajectory, I should do this and I don’t know why, Think about certain Beckett Plays in order to think about Pina Bausch, playing around with inter-textuality, thinking about two other layers (camera following the woman), The violence generated there is the violence of the structure, architecture is very present.
- poetic translation of the movements.