Ja. Etwas Next. Ähm, Godiven in Gräsinger Sattelmann
. Die Republik, die die Performance is waiting for most
of you atten. So let me,
there's for be straight forwards and the helps alls and it people light,
my skipping this souls offizielle in to situations.
It which electure
usually opens
Inview, Occaptation of the Horiences. Thank you. What you like
do here, we will coming tree cortos. Of an hour,
I will present you were after some of the addies,
that I'm currently working on within the context or a book on conventory dance.
And particularly the first board of the blank publication,
beers this immune to my personal 20 sectors,
we didn't work of contemperate that, since the beginning of the 1980s.
I libraly look back, to my own pretty do it,
also we didn't contemporary dance.
And gloss over some of the performances,
that market my thinking and writing on thems and choeography
In this lecture, I will more particularly focus,
on some on the possible modes of fourgramming within a dancework,
the constitutive co-presence of this pecture,
and I will do this to highly selector for reading of anderes are the keys market far,
and rail to do for conogratists, and make studes,
no longer ready made.
Lack of time prevents meet from showing video extraction,
these performances that you coming to so,
and extract from Andreas at the Kivs markets, phase.
And I guess it most of you, I'm not that much a quinted with these performances.
So we doubt in those in abstract tearizing,
there for emphasize the works, more general psychificance,
would we got to be single, what for regie effect,
that every public performance, of core your graph thens,
is precise and again wing instance of diätor thans,
because the presented movements and on movements, positive,
or observed actions and on actions.
Evening the dance visibly avoiced to respektakino,
the performance remains in the literal sense of door at aspective.
A series of actions, that is the liberal stage in all it to VC.
Now how do contact on color to deal with effects of being watched,
und eine votably conditions steater dance and maper helps even be
regarded as fundamental forward begy feel once named the anthology of performance,
you know, famous with also much good disassed asset or the same name.
Let's started mit der Phase, everything in much and in
much and in much and in much to love come time per in dance.
Phase, went into Premiere on the 80th of much 1982
in the voscar but it asking existing Venue in centure of mersons.
The performance who's until this at the case market,
Markus, first ful even eurography,
and it's comingly regarded at the same mork starting point,
content very dancewave, that rardle and expectively imersed
inflaunders unionite 1980s. Phase of Oliginality Dance,
but the case market to self and Michael undermaine,
and is best on 4 minimalisten works by the American compose of Steve Reich.
And they date for me tween 9066,
and dann gibt's dann die 2 for works,
Bjarnoface, gom out violence face and platform music.
The most writing feature of phase,
is we doubt that the sustain combination in eats section of iteration petition and variation, samers and difference.
The dance movements our continuing in evided in the short sequences
Sie haben ihre vote Insekten gebetet und Gradamy chased,
um ihre oft smarten Shifts.
Super faces are in the course on that metimation,
repetition, very right, and we combined.
And there by forced, forced into longer units.
Are then to quickly and all the expectively position phase as
a gilling instance on the kind of minimal
or minimalist of dance that imersed, as the stinctive genre,
by the end of the 19970s,
particularly to new work of the American cojoraphor in Lucina,
ciaos.
Minimal vans was obviously inspired my basic pilciples of minimal music
Ich glaube, wir können sagen, dass die Newdown-Dance-Genre,
die in Politik reanectet sind, und in den Medien off-time
die Stalker momentan von Architekturen oder Spezialmodellen haben.
Die Detektiv-Stange von minimalen Damen, die wir in den
empoweiten Momenten für Capital haben, benutzen all die Flussfamilien-Sentren
on the decograting olements as a architectual crime.
Und more overbrings to mind the famous logan, common in
attribute to mes founder order, that less is more.
However, the most internet link, between lanced minimum ism,
and architectual mobilism, which similar tailors like relanged the first
thance to see that on stands of minimum is a modeline fine parts.
Is the soccer of structural muchic of the greets?
The come your graphics core of a minimum dancework, so just faser,
is the equivalent of a modernist hurban greet, that it ones,
rebeats and the rise, reduced comparents all units, things off.
A conomisiere, im spokerfullys of happitation. According to seriologic
that fuses same is and if once into a purey structural,
totality, or spocerfully structural home. And I such a totality,
position, is a constituative elements to as endly singly fires,
that to seef a former electicality,
yet not a problem meaning or observe becomtents,
two this like lead contesting Valuations of these very same elements,
or two deminimal differences, with we similar in the components.
So I think that minimal bands,
it's in a word seeing from the engly of architectural model,
in diesem just a great thing that.
But we didn't around of thams itself, minimal is imphesises,
that every co-jograph thanself, it's a pecudal kind of temper of objects.
The dance is performed in a now time,
that the defining movements and stand stills,
active a construct and structure
And if you shape, two that self-referential into time, and too coreographic school.
Every movement appears and dissippears and such assort lieb of time, that the everage
spectator as offen difficulties in the member in it.
This when in the Whisk, of only partshally grasping,
the overall occollographic batterns, that motivate the mention.
In ward, the affamily, and fleeting character of dances elements,
movements, no movements, poses, works,
against them more and compassing, time logic of commography.
Os if one range stated, in the self-commentary,
to your a, first one in 966 Squad.
Dance is hard to see. It must I do we made less fancy,
or effect or that intrigent difficultly, must be emphasized to the point,
let it becomes almost empossible to see the that.
And of quote. A dance make it made us,
I don't firt of publicate, the proceptability of movement faces,
or restically simplified a elements and structure of a commonwealthy,
inview of their enhoused elegibility. Her me, well,
right not haveself sort, successibly trieds out the first ossibility,
are mean why cannomical to ooA, conscists of a single,
outfaces of about 4 minutes and half,
that is not articulated my differences in energy disribution
or movement intensity. And as well compens, lot of similar movements.
In minimum thanks, decidedly goes for the alternative possibility,
what and opst for the 4 rounding,
even the making ultravisible of the defining movements and that projeographic
patterning by mess on the logic off the right or predition.
These type of dance,
vesists in the disziplines of momentarily made movements,
via the eventually some what out of reappearence
or their containeral reinscription or the in the pelographic
Fleeting movements are in this ways solo the fight and even indunability that the userly
lack within a dancework. In word, minimal dance,
make to movements, repeatedly visible. And this,
I think, implice and ethics of spectatorship,
that four grounds, repossibility to look at you.
And this ethics of the thicship, is of course.
Detectable in other forms of organ of dance, or performance,
that prime matterly eat like on the logic of repedition.
The works of this faser, therefore example, respectator,
of free calling the just see movements
To, it's readerative structure, the performance maybe of speaking
remembers for that spectator, we members for here or him.
Every meaning more or more general, repetitive dancework,
is indeed a pecular goine of temperor object or time moment.
One that creates and autonomism, in autonomis temperality,
dominated my the law of reocculance or happening and new that crossfits out momentarely forgetting.
That speaking of time, that is make a jump in time.
Etwas proud to the tenscom generating 2001,
that premiered date of the case markets,
rail, premiered at lahmonetten in Münsgard,
but inversions
Der Koliografie-Formel, was made in Collaboration minutenten Dancers und Female
and Trennern ist. Und es ist eine Phase,
ob das before Draming-Set on the minimal music of Steve Arich,
which she kiss market with Honor in Obstlief reich, even created in
2007. Bis dann, rise music for 18 Magicians, 1976,
Acts as as the musical spring partner for the Dance-Text in der Koliografie.
Die Kologophie in Rains and times the calls with the music,
but predominantly develops
contrapento betterns and accommilations
Yet, there exist one over homology or analogy,
between the dänstics and rise music score. The performance minors,
the slow searching wavey of the female voices and wind instruments in the music to the continual change,
between moments of articularly dancing,
and commert moments in which some of the performance or the whole group,
we frame from making movements connoting dancing us.
Chankility, doesn't percellent minors. All do that are quite
some moments in rain, it which one on more dänce,
of casual stand still,
and what is not a performance dancing
The faces of quiteness often consistent often informer stepping or walking that is regularly
don't but all dances from a surfer or straight line. The circle walking,
circle walk, walking, is reflected,
what is probably that most dominating it movement team in rain,
but do it more perspect expond of you,
nämlich all then dance thancers whenning round circle wise,
just one after another all to sworling overtakes,
this bide on this postposition switches.
The performance of the starts,
we the ten dances first, wikely walking on stage,
one after the yoder than raining around the high
silent to doing strings,
the dillan years that then space on stage
The subsequently, slow down, there action and finally united
center station. The learning is before the resumed,
kommst du hard again for month and pointing us a new.
At the next stop, one of the dances, from your ited, starts
dance in center stage, the elevarated basic frace,
while the other performance go on with walking and running gebiet
, so rather pedestine activity, you good say.
The collegophy than in way and and can say,
we rights, the basic frace, the präsidents,
but Icada, and the basic frace is reversed doubled multiplied definited,
with mitglied,
with mically of thing inflacted and special
Devoriations and permatations, also nimmers, and more than once also that drastic,
that the starting frace, the basic frace becomes Unreganasible and actory observed movements, offensurprised, perspectantial.
In a word, the play of same this and difference,
no from the things markers, the national choreographics, phase,
thance in rain to become a main main differential poliographic,
follows main differential, logic, elogic of difference,
or the one basic frace,
was actually to basic component or the hohe chaography.
Now, every dancework and this also rain,
inects with more or less possibility,
definition of the danceable, what can be dance,
which sports of the human body at we taken that we didn't danceble,
and so also would in collegioraphie.
Would movements and poses, maybe legitimately shown before a public,
would in the frame of a dancework apoliography.
Now together with the regular banding of the needs with closed or open blacks.
The same is bestic uperving on the complete body,
and other the starting movements, rain concidently reframes,
the image of the legitimate dancing body, two.
A morgen other things, the ältere ish,
älternation between raining and walking
Right forward and a many sideed commeography of the arms and a hands.
So that's it for a lot on the floor,
the not gone of position,
dutings on the four movements, in organs of position,
as a lot of arms and handswork.
So we are not in, let's say, classical belle tradition.
Like most of the kills markus, commographics,
the blancing deep operates with water inclusive notion of the danceful.
And so was of collotion. At the same time,
the lancing body, as represented in rail and other works of the kills market
or rosas, but includes and clearly excites,
the human body,
that is just moving in
a pedesting way
Walking sheeting, running. Rain exposes actually and four glowns precisely differents,
rudige pospecials compress, between the repeat of informer random walking austanning still of the dances.
And the various movements our poses, the otherwise perform.
The opening scene of rain, therefore possizes and amilematic value.
While are core performers, predomity engaged in pedestine movements,
for me our equate a dances, the elebrited,
basic face three times. In the cimilarity,
between here core control trade fracing of a distinctly constructed series on diversant yesterps or poses,
and on the other hand to back, eformer behavior of the good, corresponse
or the difference between marketing danced movements and basic every date activity. Where does equitous actions,
peace up ours, the space of the poeographic,
and how you train body, the groups activity establishes are link,
when the monday in body on the everage spectage,
it get a city rates, to the corporate,
corporate actions, the performance,
we need a particular aktivistic tradition and genre, that's say,
hey, to your craft, elegarated dance,
and on the country,
the eformer walking running or standing still of the other performance
grounds of the performance,
within daily life
Der Andreaser liquid market, markus dancework,
repeatert die Exposes der Debugestation von der Once a firming,
der Autonomie von Koreograph Dance,
und relating it to insniiation or outside, on system,
many, we could say, of the dynamic shared,
human potential to move and the market move.
Diese Gäste involved again wind paradox,
sind in diesem boot exclusive and inklusive.
Similtanish the linials, a particular space of the dancible,
and do defined that very same space
A structural difference is constructed, between thans of the destrial movement.
And it the same time deek constructed. As if one hand,
once to our do, the destation drum by the other hands.
The guilts markets work, to work this positions itself in a marktweight,
within the field of spontanemporary dance. Which is, I think,
vastly structured by the binary distinction between dance and mondass,
the inclusion or exclusion of a potential can idate for thans.
I think the presidents is a very ethugienisch jahre.
And it was a whole time discussion.
If something is dance, this thanking is month dance.
So I think this is indeed das Ding schon that operates,
also kind of scope and directly difference that costructures in the functional from temperary dance,
as a discursely field or messy also as social system.
I'm the keys markus prologue, reflexibly interiorized,
the binary composition that between dance and no thance,
we did in the context of performances that clearly inect the makers commitment to the value of written dance.
That the similar things show this other side off co-joker of nancer,
what a lot of people system, would concile to be in it non-nance,
just moveing or of just walking or just random.
In the kinds markets, prologue, prologue, quo,
these differents between dance and that say, prädestine move,
standing for a long dance, doesn't change into an evisualtable conflict,
because in the final instance, I think,
the round the domin of corporate daily activity,
corporate they life action, non-dance, is we presented,
as the condition of proposibility of more a level thence of with him dance,
corryograph thance.
Lore position between dance,
and what many people still consider as non dance,
is in this way, not supplated posts,
we conciled on higher livel, quite the continue,
Yeah, rather emerges, extrained better looks.
Stating, his better looks, that the keys markers dance over,
examplifies, the idea that work of dance,
can be the munity of the difference, between dance and non-bance.
But he's a lead of first strange better looks. The same time,
very sleep look, to show things in a dancework.
This big identity of force and of frame,
and other core ographics of to case market,
space over to the dancing what this performance work.
They embodied the difference between dance and its other,
see the enact boot complex and bedistren actions
Dancing body is this reframed as being at once highly skills
and ordinary at the same time. True the control performance
of elevarated movements and poses, the dancing body distinguists,
it's self from the everys, every spectators body.
Yet in many more orderable moments of simple walking,
or renning, dancing body also communalizes with the spectators body.
How ever, this body, this dancing body,
is not just a sheer corporate reality of weltrained flash embons?
Dancing our rosas, like most professional dancing,
request and morgen out of this, titel kind of concentration,
of consciously control distribution of physical emmental energy.
The dancing body is indeed a dancing subjects. And dancing some
subjects that we represents as a divided or split subjects.
The rosa's dancer, and every medial shapes, I that's.
And the I referring to it can really individualized capacity.
Since, there are also the many movements or poses,
that activated body as the locus of a common generic passites
to move and do not move,
that is marketly
impersonal and chef with the every spectator
In roses performance, there for implies one dances,
or better, one just moves, moves dance stills.
And the dancing subject in roses poeography, is precisely,
these next us of individuality and anonymity. She or he performs,
the unity of the difference between particularity, in individual,
and common narrative, be a skill dancer and classic,
be human.
These mitglied existence is of course, everything that acception.
Be going to get it of individuality
and anonymited characterizers for insus also the activity
of speaking
Speaking ceptic, single, single, orises, with every new sentence,
shared linguistic capacity. Wonder this common and activated,
but everyone in speaks a certain and particular language.
So also here, we have ice speak and one speaks.
The speaks a bictivity of the dancing shop drag presented in rain,
exposes, really in the round of movement, this general efficion
or difficion of subjectivity. Or effect that,
now I quote, the subject concess or the eminent into
even of pre-individual and individual capitalistics.
The sonic is, this need to even.
The subject is bomposed,
a composite
With also one and in personal sense of the world one.
And repeatable uniqueness, but also anonymous unifestality,
and these quote from product by the Italian philosoph of power Widnung.
Okay, a turk on last move in time.
We go to überback in seinem Actually to the told of our this 1993,
we are at the deater am höllischen Ufer in Berlin and
at that that very artikel moment.
There was the premier of no longer ready made mash toose
second evening long hoheography
Die Perhaps mussten markable sequence in der Longrad Redmaid,
weil es ein Solo ist, das next dude performt,
halfweh die Performance hat.
Die Seele ist täglich. Es ist täglich,
auf der Minute zu discribed zu sein,
weil ich weiß, ich bin zu important.
Und ich will elegant und fertig sein. Die Seele startet
mit Ben what lashabre, ticken forward Stewart body,
with his hands semily tight behind to this back.
Aber die Sequence ernst minute student hacking lashabre center stage.
Die ganze Slowly hands over is Jackett to Stewart,
which he was very all the time backworks
Und die Putzen hören, und die Results in den Rat von Comic-Image,
sind Jackett much too large, large for hour.
Sie tanzen too rematch the content of the Jacketts pockets.
There are stuffed with the guind of things,
that are hurrite travel, destracted lead highs away.
Diversals of points, the two mbs, airplane,
I'm trained tickets, a tealed out newspaper page,
and on un-opened letter, and so forth.
That's holding this jackets. Diversity and quantity of the dicht up artifacts,
so you just a normat life of continuous traveling,
action the guind of life,
that is not on common within the world
of contemporary dance
More general content ort. Stuart first attentifly inspects,
every object at the sifty is looking for something particular.
After well, see good raps with the forciling pace and
desperate face in more pockets. Every more things for on floor,
to the space round of feed, is povertweed objects.
Once in the Jacket Spockets, at been empted,
suited takes of the cargents and a model a former
reappears on stage. Go standing, we him stuart
and gives hour a pech or michihangs to checket.
Hesit tätigliche than starts to takes
of hundress
Within every more and veriest face, that deeps on looking at
the public. Not a performer positive over a second pech
for the gress and student dentics overboot beths on one,
one is a code on the other degress.
And then puts, it's one each one pech on each
over our armst stretch. On or one stretch out.
What standing in this other strange position,
with the face that expressively under the longs of are on
comfortable posts to a fun fact tune sets in a president to in sets me.
At a same moment, pink spotlight is directed at construce
body and a houselight is
very strong
Onstage, the order performance line up between here,
watching stude, with a new to face.
This being exposed to the gays of the audience, as well,
as that of a core performance in a rather little position,
is reflected in studes, facial movements.
Science of embarrassment, chase into the science of being ashamed.
Yet there are similar technically decortation, that performance and miesesituation as a shared one.
You're our pain for situation is indeed compilated,
but both in lanched and on lookers, despectators,
who refused to hellaper and perspektively deep on watching,
die Symbolik der Universität, aber die sehre Akte des Watcheds.
In Final Sequence stuarten die Poots offer dancing builds,
places each over two hands in one of the boots,
and then provis have face with post for ours,
to baggle and easiers of standing in a awkward position,
in front of an audience my high not face.
Habe ich vorher gewonnen, this casing this,
what you market to see it aktive.
I just want to say sent in more channel on,
what I would like to call the gasing other,
that the soul of make student,
my self-fulflexifly
pakes into accounts
It is what, oh, yes, that the audience,
core presence, defined the situation of performance and co-conditions,
the presence or the performance on stage, and the acts, they actually performed.
The physical being on stage and artikel at the being watched,
in highly different ways, that the right from observable coming,
over the restrengthself consistent diablicality,
to the mutual metal of effect style, of just doing movements,
nown from Frinstance, the dances of more scanning help.
All these modes of the attribuality, it blueding the one,
then this as a little bit present,
all these modes of deatricality, deckt ihn durch die existente,
auf ein anonymes Gas or collective addention,
das more than just the same of some office individual boards.
Individual addention of every single member of the audience,
evident contributes to the inmergence of a collective years and evenkly
also to the emergence of a collective year, and musical
text is used to doing the performance. Individual perceptions make up that collective years,
yet the mutible populings, generate, I think,
and autonomes circles effect, one that recembles of the productivity of interaction effects,
you complex systems, or just to give a simple example.
The semantic and returnical potonomie of a planeface, invelation to
the words, that are diponstituent elements of that fresh.
The relative autonomie of the audiences, collective gains, is confirmed,
but it's more than months stilling capacity, to plansform for instance,
some simple steps on step on a stage in dominion for movements,
or to change the relatively long last in silence,
doing to performance, performance,
into seemily performance statements.
The collective yes, conditioning a performance is relatively autonomes.
Social medium
Denn ich fundamental for evisort of life performance. Diese findigen
alignments are of course this spectators individual acts of watching,
but that deezer temperorelle fused nuining the time or performance.
There does emerges around of difficult to control and also rather
hard to depotate, indeependent, media, reality.
That performance often associate with the strange guine of blackfold one
isdension or acting for. So this is very simple,
if we speak of this spectator, just shouldn't
speak of the individual spectator, because when the finds
of performance,
also here this very more
Is the Unergence, again, energine of the collective gays,
as a optonomus medium, that makes performance possible. So,
it's doesn't make really sense to speak of blackhole,
because the whole isn't aspective opening, it which the performance continuely dissippears,
but an at once actively and an unergymisly gacing order we doubt the face,
giving to out of face.
One is looking. And this intersonal one,
the similar statusly and unpompshotable mostitude, and a pain optic,
visciplining master eye, that good this isly gives all refuses,
the equigated public at that the performance apple needs and order to existing can win managing.
The gasing order is an everything, but new to look,
sings it's functioning, the finest appetual visual power relationship,
one that is profoundly marked by the dominant hetero sexual genscript,
and vosky structures, by the standard that diced expectations,
regarding the watching of public events, that come tempering most media,
have institutions on the overall regime of given attention.
These bombition features are at work,
each time the collective years operates,
during a performance,
within all von an no
dist effectiveness
In dem Kontext der Dancehall Actions und Stancers orderst transformed.
Interessant in uns, und just to movements, to emovements is one of two.
Strange is idea in the situation of performance, that won't can have a deant.
But it is not people movements this movements mean watched.
But if not more wood is,
it being watched this means that being not,
just have movements, but that we also have communicative acts,
to perform is unervoldibly to be in communication,
definitive the dancer and willingly forgets on the liberal clinicals,
this most most most most
of existing
For communication is not generated,
to the intentional sending of a message,
but the need preated in the very act of observen,
whatever kind of event, as a promptingent accounts from training possible information,
that good as well we not produced.
Now, back to, with this question, now back to studes solo.
I'm pride and tested in Front of the Audios,
who know share in my discomfort, of seem we so exposed.
So imprepared for my obligit for my obligation,
to empertain all in movement
I feel their test. I ask for help.
They feel me. I stand, you get it.
Letting time powers, waiting and looking for the next place.
This makes too tribes in one of the short notes,
on a solo in no lot of ediment. That's solo
selfied flexibly engages with the physical powerlities, the between performer
and public. The powerspondent in Berlins is not debunt,
in a state forward matter, why the country?
And a start on the solo,
the audience light is switched on again,
which nully fires the eventuality of a voyeries pleasure that the
situation of looking to somebody,
somebody,
in the
dark may offen
Der Pinsburgh Motivier Condition of the visabled unequality, marketing,
relationship, between state and audience, is this made, if infective.
Why does normally only the performer is situating within the regime of the scorpion?
The public is now as well is scribed,
within the discriminierte of field of visuality.
The publics looking becomes of the servel.
And these not only for the performer, but for everys ectreator
two. Stuart also directly, directly addresses is watching.
Sie formt we looks back, not you tell you,
that we face that readly app expressions.
And every more being and there's by the created on this
The Visual is Köpansy, between performer and public seems in
this way obliterated, but the enonomically gacing other ises,
well, we defined of course.
For the collective Jesus Attention, these nonononological exclusively diagrected to a creppens on stage.
Now, in the sword of performative situation, broadford,
was do it solo, the gacing other starts gacing,
it's self.
Starts gasing tooken self. The collective act of looking self-reflexify,
loomis back to itself,
which producers rather uncannon effects
Stuarts embarrassment, not all the expressors before the eyes of the whichnessing audience,
that every audiences, that very audiences, sorry, visual harrisms.
The actually exposed with publics gays, is publicly exposed.
Yeah, the public is also greatly employed in a performed fair.
The awkward and overall painful seen, that's doing be sept, evolves
overtime into General Fiasco, in which both the performer and the
audience handler share, deep, I think that this,
I ask to help, they choology.
They new word, what is here,
a good say, performed, völlig fiesablied,
is the failing co-presence of performer
and audience
That feeling cooperisms is represented indiaction on the representing agent the performance,
which is what are wear, I think,
integral online performance that one than see this.
There discomes into existent, in existence a communication,
that similarizes this sheer epsons of communicate,
or of the communicative regulationship, between the dancer and those watching.
Suite solo does inacts actually tree failors. Beformer falls to the
public ghost one and subsequently to relation between the dancer and the audience,
bagger down, why the communication equally continues.
And therefore shifts to something like communication,
the outcommunication
A feel points to a temporary in gecapessity, oder momentarally
non-really realization of a capacity. Public to have friend of
assistance to the tright performance, or the dealence.
The ordience stack to the pacificity, that ghost together,
we do role of this spectanture. And stude,
good have inacted assine, that high lighted our personal time,
a talents, as performance, which be further,
performed, the possibility of not performance.
At list a porning to the previous and script of skill
for ness and trained for diversity.
Quote, I was client to not perform.
I wanted to perform my inability
Stuart state in what are you looking at one of the
red electures to ever give. But the audiences and the
dancers failors as well as the resulting feeling relationship,
between public and performer, indicated in the divirtual persibility didentitude.
A realizable potential was not actualized, we didn't doing to solo.
Yet this in capacity, is not external, with imminent,
do the capacity, become to help moderns, performed,
to eat late.
And precisely disponsibutify lächership to inability, ability, is inected in stuart
solo. I think, and that is the most movement
, I'm going to make now.
I think it is a
true Jessica
Night of failure, nore envaluements, are exectional topics in the performances of thematic goods.
The performance botthis are again again, would into difficult situations,
such as moving my seeming equipment, or restrength, can to capacity,
that similar tennis shows on in capacity in the movie.
Over the years,
make still this broad and the position of comforting hour performance,
care performers, you need to be hars of our crosses
and final performance with hard to perform and therefore as well symbolical pain from tasks.
Physioth paradoxes like für Instas, move we out movie,
Und das nicht so mächtig und gives hell performers.
Physical pädopsers that been supplement that we performative situations that also
appealed to performers psychological mädnnisses. The basic figure that gips
on informance tools work. It's does to deelectrical relationship between
capacity and incapasting. A possibility to do something,
and observerable emigration of this potential inject of feeling.
Cold, there is nothing I like more to see.
Sorry, that is nothing I like more than to see
someone on stage a camping and impossible powers,
not arriving, making a second Futing with Bravel
Attempt and then even premiering up the task.
This student says in a conversation with visual artists,
Kathrin Solarson, published in 2008, and she adds.
I only you lives to years ago, that my dancers,
at be performed a perversal form of slapstick or this years.
The this few it, umtorted, out of joint,
performing bodys and students performances. Offen look elimated from themselves
in the insights and exploration of corporate impossibilities,
that's a word, that kind of kinetic organization of the
organizm of the normormalized organism
Jetzt that apparently awkward, segmented, uncoming movements or poses,
we main within the round with the human. Old to performt actions,
may lucrawl the humanizing, the first and formers,
exposable possibility, of not realizing epossibility,
the capacity of incapacity, the transforms are general potential,
such at ability to move to speak out the communicate,
in again windly human one.
In potentiality and this also failing,
these indied constituity for every human potentiality,
I think it makes it human,
I think difference between, element,
humans maybe be maybe lies in effect it the we empfehle
consciously observably means that we can not realize oppotential that lead in other moments in lead realize white even.
Human motion problems of pretty finition includes egliteral miniation,
or the catability, the not move or sense to.
And as well comprises the possibility of on success for movements
got to poses, of failing actions,
the do not fully realize,
the intendent action and the activated movement profility
Ein Fehler prostet out of deprecity, Jury it's affirmation.
And this self-subvention action, not the perfect over to,
also act is human, or to human.
Action, those changes, into particular kind of movement,
this is a non-aktualisation of a potential.
We begin the very month, once aktualisation,
so this is the barble, the non-atualisation of a propential,
we begin the very moment, obvious aktualisation,
is the defined trade of every can we in chessure.
That me a liberate is by way of conklusion,
very people. Letzter Tag noch von movement that from Speaking
Every human thing is poified speaker that never the less again and again significe,
the impossibility of fully mastering this medium of speech of language,
two forings this a labs or semilien medias crisis,
oh, of course, the vell nome,
this is not of not realizing in the indicated.
Or no lectional, skill for old morator, certainly start to say.
And then low is on it with completing the sophisticated centers,
see just had been on to frass,
and which is steming momentan in punctouated
Ließ offen nearly notice, or prolicting this regarded advances,
shows or speaker in the situation,
which is not able to figure something outs on engage.
The singify and inability to speak for the side of someone
with in Princeball, able to speak, in a fluent
metal, manner, sorry, and position the speaking subject briefly as an nonsensugget.
As an individual that fails in language, because language is failing.
The failing subject is indeed all ways rocated,
and the interception or being able and not being able,
potentiality and inpotentiality.
That disposition,
doesn't deliniert
Exceptional state, but rather defineds human subjectivity essage.
We dean and outside line which this subverted automy of the
human subject, the this consensuity for being a cenguic,
results in fails, that actively just to an incap
assacre in the moment of fuelizing a capacity.
The comes coming acts on therefore justers in the meaning proposal
by Jojo Agaman, in his nots one justers.
And I could, the juster is assentially always a justure
of not being able to figure something out in lyinguage.
It's always a glash in a problem one of the turn, indicating,
first of all something that would be put your moute,
doing the speech that's a little meaning on gerk this of problem,
to put into my his mouth.
As well, as in the sense of the actors diplomatisation,
ment to compensite a lot of memory or inability to speak and the sports.
I'm with in Jestus, don't point to my tempony,
short coming, that may be overcome in the future,
but exposed the speaking subject, as a truly weeks senject,
that never acquires to complete control over its being in language.
The speaking subject things, that he mass of slanguage,
and can put it to use,
with the self-construct lead the terms will
To a micrological silence, or short single singles ones again.
That was speaking abasselt in Escape or for short one.
The resulting injesture is in the version partons,
the flight line, that is usually emütly andone.
The Brief fleeting line of flight shorts that language is
not only a means to an end.
Such as articulator thinking our communication, but a material medium,
that sure basis human control.
Again, yen, just to is the exhibition of a mediality.
These the percess of making a means visible as a such
It allows to emergence of the being in a medium of
human beings and does it opens the ethical dimension for them.
To be human is to be multime medium. That minst du
nicht in a not just with bit by metal to live in many mediums,
that edifying a virtual potential or you becanning cast.
Just just this play to the faile news of a medium
that very mediums existence as a mever completely pontrollable potential.
As one that makes human, life possible,
but his impossible to fully rationalize
according to the logic of medium and ends
Order we experience, a medium such as language or from as a disposable object,
the instrument, that can be manipulated at two.
It actually constitutes language a million in million which we live.
The same holds for the human body and it's capacity to
move and the not move. In the moving got that show
a lot and instrumental used, but constitutionally willing the subjects.
But the ability also regularly fails us. We then make
a body judgetor, more by the incapacity to we are
like the probably epacity to move and to not move.
And this film body that make student stages in the nologo
ready made and of a Order-Performances, is first and for most,
such a failing model, makeing just low movements. Hört man,
oh, this, we define the human body,
as the medium of dance, toods more freementation on pro, sorry,
we arrangement, putting to other can chinesic channedic chances,
then the possibilities in Form by the symbolitive figure on the integrative organism.
And is the motivation expose, to blocked or core gelate movement capacity,
or corporate as a failing ability to move.
There's a foreigning the body as a pure means,
a mile potential omnition
Mit Dancers und Tester, und es ist so,
weil es nicht mehr in Europa ist,
und die Exhibition der Media-Karte des GoPro-Movements ist.
Das ist eine große Insantance, die gut act ist,
also motormax stuarts work.
Das ist in Ordnung, das ist Dancers.
Es gibt eine GoE-Mädel, die Final Punks gibt.
Final Punks. Politics is the fear of pure mes,
that is of the absolute ein complete testorality of human being
Ortixis this few of pure means,
and this is of the absolutely completely of humany.
This are going on rights addient of notes, just true.
And this statement is other any medical I thinking,
that it's not a nusual to find for any medical statements in a governments writings.
There was cape made, and I freest made,
I'm for this made, it mean in this diff politics,
involved the use of power, it is this finding medium
or capacity. A politics, yet to com,
must have the ability to just year,
it's innobility
Du in Glut, instrukturell,
wir in der Praxis von der potentiellen, exerzellen Power,
die Posibility of Failing or not be able to meal life that the very professional.
Mac Stewart's work that other cojourses, cojourses,
ortierte makers, me of course, in the mentioned.
And stuart's work a loots,
two instructure and emphysis on failing movements,
and a failing communication between stage and audience,
produce politics
yet to com,
I think
So, du siehst, also das ist ja schon die Mornsüße.
Ähm... Ich weiß, wie die Satelliten in der Redaktion sind.
Ich weiß nicht, was das ist.
Ich weiß nicht, was das ist. Ich weiß nicht
, was das ist
. . . . . . . die Feindswirtschaft,
die Namen seines Vaters, deines Vaters. Denn,
Vater, weil der Gott ist in der Psalmin,
dieses Mal auf der Basic, das ist unsere Diskussion,
wo die Befieldung kommt, in der wir sind.
Also, I was impline as hurt and let's say,
I was peace for using.
Es hört in dominant idea that just walking or standing
still is
non thems
Knowing that this is just also dominant addite,
this by deutsche, explicitly deconstructed. But never this,
in diesem socialitically, I we say, in diesem dominant idea,
in diesem dominant idea, and so I we feel to this,
I don't in bly any anthological and essentialist, the stingsham,
we tooing thems and one, and that's cotting to do.
And so my reading is that this agile sort of,
the dominant idea of non-dance, is incorporated in the case markets thance.
It gifted that, that, on the least,
because there, that's why I stress this market,
to be much more easily to make a point,
with concept on thems and a paragrage to more,
when I stress the kids, market,
because the work is so marketing co-yourgriffed,
and still to me something else it.
And it zünding else is shown as the bottomline of the
dance and sorgetting, evising credit inhidence. And that matters it,
looks, product to a general framing,
in looks as on on thems, but that's because in the paradox.
Yes, so thank you for coming on,
I've been
good performance