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Exercise 11: 12 Considerations on the artistic creation specified by the pusillanumous one in 5 days

22 February 2010

Director: Txomin Badiola


Venue: Proforma Studio

Quotations have a dual structure; on the one hand, they involve an exercise of authority: that which is provided by the source, by its author’s degree of celebrity. On the other hand, they are acts of decontextualisation: the quote is detached from its discursive context and inserted into another. The original speaker undergoes a process of transmutation, an evident dissolution caused by the person who selects the quote. When it is extricated from the discourse that gave it meaning and inserted into another one, the quote is forced to adopt the meaning the second speaker wants it to have. It becomes a sort of ready-made in which the physical object is preserved but its recontextualisation turns it into a reference to something else.

This exercise is based on a text, entirely composed of quotes in which a character —the speaker— draws up a series of considerations about art that are contested by the weakling and expanded on by the amateur. The compendium of quotes that make up this text come from authors that could melt into one single voice —who’s voice?— Who speaks in that molten flux of seamless interrogation that is the text? Obviously it is me, the ‘author’ of this new form. But who is that me who is, nevertheless, unable to say anything on his own? In this context of deliberations, I think of going from the text to a more palpable reality, allowing the flow to continue. The transition from text to voice is like sound taking form but with its subjective baggage in tow.

Grouped into five teams of three people —the amateurs— each member shall rehearse different body poses, movements and activities. They shall be aided by the rest, being prodded to improve modulation, rhythm, tonal quality, etc. At a certain moment, three people shall be successively introduced into each group: the speaker, the weakling and a third person to record the sound. Through the body —the way it carries the performance, its inflections and modulations— then how the text passes from one body to another, the aim will be, at the end of the process, to bring about a shift in importance from the question “who is speaking?” to the very fact that somebody is ultimately speaking.



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