“I ACT WITH THE CUP, THE CUP DOESN’T ACT WITH ME!”
Triple piece: “I ACT WITH THE CUP, THE CUP DOESN’T ACT WITH ME!”
Section 1 Sound Piece Monologue: voice Iuliana Varodi
Section 2 Video Piece: a.pass participants
Section 3 Interactive Performance: Kelly, Ana, Adva, Dominik, Birgit, Marcello and perhaps you?
The piece “I ACT WITH THE CUP, THE CUP DOESN’T ACT WITH ME!” is composed out of fragments taken from the 12 month research environment a.pass itself and was represented, replayed on in the context of Re-ject, E-ject in deSingel in Antwerp.
The piece examples how I deal with “material” and how I replay that material on an artistic platform.
The material I choose to work with comes out of social environments, habitats, closed systems. I observe setting, words, tone, timing, gesture and arrangement.
My focus lay on basic questions like: What is rhetorical? What is attention? What is performative? How are narrations generated? These questions are aimed at all the elements that make up a setting as it is.
By observing words, tone, timing, gesture and arrangement I often finds beauty in the hypnotic economics that reveal themselves over time. In this triple experimental piece I reframe and rearrange some of the observed elements mentioned above to sense once more the effect of them.
Does the words once spoken, the gestures once made in a certain setting save and pass information of that original setting when you replay them in a different place and time, in a different set up? Is the information once inscribed part of the air they breath? Or do they transform that information? How in which way? Is there something that remains unchangeable?
I observe how different actors and different platforms organize their environments and how the environment organizes the actors. My perspective is based on the assumption that a certain setting is made up by the mutual inscription of all the elements involved in that setting.
Therefore the seemingly meaningless quote “I ACT WITH THE CUP, THE CUP DOESN’T ACT WITH ME!” is a quote I fundamentally disagree with.
What exactly is this mutual inscription made of? Does the inscription remain when we dislocate parts of a certain setting? Is the information once inscribed forever?
Section 1 Sound Piece Monologue
We enter a private space where we listen individually to a documented dialogue that is here replayed for you as a monologue.
The experiment focuses on questions like: Can we still distinct 2 voices when we listen to a single person? Do we sense the possible opposites? Is the monologued voice neutralised from its original dialogue context?
Section 2
A video recording of 33 minutes is here projected in three separate parts and slightly slowed down. Sound is removed. The camera is travelling in a circle staging 9 persons individually in a constant flow of one after the other. The staged persons are pointing at each other and they are being pointed at. Gestures, face and body expression, directing, looking and being looked at are in section 2 replayed in a new constellation.
Section 3 Interactive Performance
In this piece the audience will be lectured about the exact meaning of Rhetoric and Attention. This takes place around the table in the kitchen. Secondly the audience is confronted with a “discussion” at the same table in the kitchen. The participants of the discussion are random persons. They wear headphones. Their task is to mainly focus on reproducing sentences they hear through the headphones. They copy tone, timing and color. The sentences are one side of a documented interview namely the part of the interviewer. The random persons are sitting around the table facing each other. None of them were present at the original set up. Which information do they transit by hearing and reproducing?
Piece by Fanny Zaman in the context of a.pass Re-ject, E-ject 6th an 7th of May 2010, deSingel Antwerp
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