Practising THE COUNTERPOINT OF A MOVEMENT IN EXCESS

 

 

This text is an attempt to translate and motivate how a sequence of varied and interchangeable human movements, actions and expressions - from what my gaze once claimed to have seen, to have experienced - are a level of everyday life as much as they become a choreography. The text will lead you - as a reader as much as a spectator - through the process of The counterpoint of a movement in excess in which I tend to unveil a complex relation between the everyday, constant action, the inner body and its outer structures. The text is based on an accumulation of observations in which an ongoing process installs itself into a more deep research. Besides that the text will also become part of the process in which its end will only be reached by questioning.

 

 

 

My gaze claimed to have seen: 

 

Exposed on a corner of a street: moving the upper body a bit forward, moving lips, looking - to the left, tilting head, moving right hand and lips simultaneously, lips stop moving and also right hand stops moving, tilting head again, simultaneously moving heads, moving head to the left, and then again to moving head to the right, moving head, again almost simultaneously, to the left, standing very still, moving upper body slightly forward, moving head and upper body back again, tilting head, moving lips, moving right foot closer to the left foot, moving the palm of the right hand on the belly and then back again next to the body, moving head, looking, moving lips, moving head, rapidly, a few times from left to right, nodding head, pointing index finger of the right hand to the ground, moving body downwards and hanging over the knees, tilting head downwards, etc. 

 

External space: I experienced a series of micro-movements exercising a level of everyday acts and forms of human behavior, chased by individual characteristics who - unconsciously - expose forms of indifference, unawareness, impatience and bodily (dis)control. Increasingly, they refer to an act of waiting. 

 

While watching ‘sensitiveness’ overwhelms and it installs - suddenly - my own act of waiting.

 

 

I found similarity in waiting as a level of everyday life as much it becomes a choreography in which human behavior inscribed a moving pattern with its own scripture, form and context, each based on situational conventions. 

 

By using accumulated observations, based on writings, I tried to unveil the physical constitution of waiting as an act in which repetition and rhythm became facts. Additionally, my writings tended to demand forms such as script or a choreography and the - waiting - body increasingly assumed to be a performative body.

 

During performing the act of waiting, its first effects start to appear; 

 

Except for her forehead and the bridge of her nose, also other bodily surfaces are starting to perspire (pause); especially the area under her armpits (pause) and actually also her public area (pause) which increasingly underlines how the act of waiting start to effect (pause) her

body.

 

She clacks again with her tongue against her palate, which is probably another attempt to moisten her mouth and throat.

 

While bodily disorientation, symptoms of fatigue increase and (pause) bodily sounds becomes hearable (but only) in your ears due to this fixed “waiting” position, the moist surfaces, as I just mentioned, become increasingly (emphases) visible now, meaning the area under her armpits are been defined by very dark circles, as well as her public area (here and here - indicating). Besides that, the blouse sticks to her skin of her back (pause) and draws a

dark line over “almost” her entire spine.

 

Mimicking according to the script decreases (pause) and her fingertips become seemingly red and slightly blue and in all likelihood (pause) a tingling sensation is overtaking control in which the perspiration transforms into an uncontrolled sweating -probably- all over her body.

(pause)

 

And then a penetrating odor overwhelms carefully the area where she is standing while she is still trying to stand stock still and “adapting” the rehearsed movements.

 

 

Increasingly also its counter-effects start to appear;

 

The gradually bodily disorientation, fatigue, perspiration and sweating as well as the

releasing odor take over control and the camera shows off an extremely exhausted body,

which is not able anymore to execute the script as planned in which her own interpretations gradually transform the script implicating actually the impossibility of performing the act of waiting.

(pause)

 

In this way, choreography becomes not only a metaphorical portrayal of everyday life but the - performing - body becomes a site subjected to social and political struggle, corresponding to different qualities of the act of waiting, how do external structures affect internal structures, how does the - affected - body represent itself in the socio-political space? And how can choreography represent mechanisms of power and draw back the act of waiting as one big (live) rehearsal?




 

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