Some thoughts after today’s BIARI session…
The issue is articulation – what voices are going unheard, are miscast, heard and deliberately misinterpreted, heard and then robbed of sense; who is controlling the nouns – what are we taking for granted as gender, genocide, violence; how are we made to shy from the tactical and political efficacy of peace? Is this a developmental expansion? Is speech no longer a medium but an adjective – a type of encounter, in the way that theater is more and more an ethical approach, a way of occasioning collectivity, rather than an artifactual discipline?
Premise: Blanchot – In looking at God or genocide, we must allow ourselves to be written by them. Esthetics is not soley a matter of seeing, but allowing oneself to be seen, and to be seen not in oneself, but as human.
A friend teaches piano, she staged a recital recently with all her students. Star Wars to Bach. It was at a place called the Music Mansion, a house converted to a performance space. The teacher also performed. While I like good music well played, sometimes there is great pleasure in hearing good music badly played or bad music well played for the sake of improved technique – there must be learning in the process; new practitioners and audiences have to come from somewhere – but also for the realization of arts elemental function – complete presence – the moment emptied of everything but what is happening – the eyes avid for the page and the fingers simultaneous with the eyes.
– Art discovers progress more in attention than invention.
– Increasingly, we will find the live moment in the fusing of the public/private space along an amateur/professional axis – music in the kitchen, or the personally appropriated mall. This is not to say there won’t still be the “expert” – but we will be doing away with the moat that divides them – for example the break between the stage and the audience.
In looking for an art that is open – that reveals more than it invents, that gives authorship to the spectator, that welcomes the stranger, that provides cultural context in a considered, merciful material environment, art is fastening on the memorial.
The vanguard form of performance is currently memorial.
A memorial is extensive in space (an installation versus exhibit), in some ways composed by the spectator (sequenced by spectators, given logic by spectators), and elemental (the fire rather than “the fire of…”).
In performance, particularly, the medium is mortality, in fellowship with the commemorated.
from Claudia Bernardi’s Presentation
“Record” (v) means literaly “to go back to the heart (cordis)”
“We, like rivers are meeting now. Power is this truth.”