matrix

This is a compositional method.

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Concept: Set of conditions for the performance where bodies come together to make something happen, to grow, shift, affect, develop and modify the bodies in relation. It sets the ecology of the performance which is attending to the flows of co-habituating and intra-acting matter.

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Theory: “smooth and striated space” (Deleuze, 2004)

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Aim:

• To create a performance ecology marked by tensions, connections, interferences, speeds and slownesses, movements and rests. Flows of synergies, agencies and energies.

• Decentre the human, de-subjectification of the ‘human’ performer

 

 

Method:

1. Set of conditions:

• Repetition:

      -explore an everyday action with an everyday object. [eg. grating a beetroot]

      -Use a single action or a set of actions repetitively and ritualistically to make visible the               processes of exchange and modification of one another. [Eg. Live action in Roo(u)ting :             grate-squeeze-drink loop]

 

• Duration: engage in the live action for a minimum of 3-4 hours

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• Intimacy:

      -proximate bodies: develop an action where bodies are physically close to each other, as        one transforms the other

      -multisensorial: explore the textures, smells, tastes, shapes of objects and ways for sensuous         embodiment through the live action.

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• Multimodal:

     -working with different mediums (video, audio, visual art etc) to embody or document                agencies of objects.

     -create an affective assemblage by combining virtual or intangible objects (eg video, audio)        with tangible objects (eg. bodies of human and object performers, installations etc) in a            way where they are interconnected yet independent (in terms of their capacity to do or            affect)

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      2) Participation

• Create interventions with the different forms of objects, or their applications to engage the audience in an embodied materiality

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• Create interventions based on tensions and connections, interferences and synergies. It’s in the push and pull of these forces that flows and temporalities of bodies in space emerge.

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• Create scores to guide the audience into participation. Make the scores simple and clear but not too rigid.