INVISIBLE
the idea of using calvino for a performance is the ground, the first important element. The book should be the first level of the building, the first and essencial piece torwards the development of a performance. The reason for Calvino is the play with words, his writing, that always takes us somewhere else but always reminds us of the vehicle: letters, words, symbols, reading. Another reason is the invisible, the way he manages to grab what cannot be seen, his exploration of the senses and usage of metaphors to convey images of places, atmospheres and relationships. He works on simple or sometimes complex descriptions, which always evoke and reveal a variety of extremely deep and significant relationships. His writing is a web of beautiful words illuminating beatiful and often sad images.
Since the idea is not to use Calvino's text directly on the performance, maybe fragments of it, but to explore the ideas in it without tying our study to the text I have been trying to grasp the invisible of places. To write about those things we sense but cannot be seen, things which can only be seen through our minds eyes. This practice also gives me the possibility to play with language. For example, is it possible to make a mental picture of a foreign place through a list of things that inhabit it, but listed in its own language, so that sounds particualr to the place should fill the space and invade the audience's senses?
LANGUAGE
Now my study has shifted in a very positive way. I am looking at verbal language in performance. Language interacting with images, words creating image, the interaction of languages, words invading the senses and fooling reason. I am seeking for different ways of exploring verbal language in performance. How does it start? How to use a text, build something from a text and deconstruct, copy and paste words and images. Like in the waves, breaking it all apart, images, texts, scales, all into fragments... what else can be done with these elements? How far can we go?
"araras vermelhas e jandaias... era o papagaio trobeta era o papagaio curraleiro era o periquito cutapado era o xarã o peito roxo o ajuru curau o ajuru curica arari ararica araraúna araraí araguaí arara-taua maracanã maitaca arara-piranga catorra teriba camiranga anaca anapura canindés tuins periquitos...."
- Macunaíma, Mario de Andrade
the idea of using calvino for a performance is the ground, the first important element. The book should be the first level of the building, the first and essencial piece torwards the development of a performance. The reason for Calvino is the play with words, his writing, that always takes us somewhere else but always reminds us of the vehicle: letters, words, symbols, reading. Another reason is the invisible, the way he manages to grab what cannot be seen, his exploration of the senses and usage of metaphors to convey images of places, atmospheres and relationships. He works on simple or sometimes complex descriptions, which always evoke and reveal a variety of extremely deep and significant relationships. His writing is a web of beautiful words illuminating beatiful and often sad images.
Since the idea is not to use Calvino's text directly on the performance, maybe fragments of it, but to explore the ideas in it without tying our study to the text I have been trying to grasp the invisible of places. To write about those things we sense but cannot be seen, things which can only be seen through our minds eyes. This practice also gives me the possibility to play with language. For example, is it possible to make a mental picture of a foreign place through a list of things that inhabit it, but listed in its own language, so that sounds particualr to the place should fill the space and invade the audience's senses?
LANGUAGE
Now my study has shifted in a very positive way. I am looking at verbal language in performance. Language interacting with images, words creating image, the interaction of languages, words invading the senses and fooling reason. I am seeking for different ways of exploring verbal language in performance. How does it start? How to use a text, build something from a text and deconstruct, copy and paste words and images. Like in the waves, breaking it all apart, images, texts, scales, all into fragments... what else can be done with these elements? How far can we go?
"araras vermelhas e jandaias... era o papagaio trobeta era o papagaio curraleiro era o periquito cutapado era o xarã o peito roxo o ajuru curau o ajuru curica arari ararica araraúna araraí araguaí arara-taua maracanã maitaca arara-piranga catorra teriba camiranga anaca anapura canindés tuins periquitos...."
- Macunaíma, Mario de Andrade
posted by b e t w e e n t h o u g h t s at 9:56 AM
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