lunes, 8 de septiembre de 2008
Synthesis
There are physical and not psychological beings those inhabiting “Signal”.
Bodies that do not wait for results. The action is incomplete; it fragments and cancel itself in the form, opening to many or no meaning at the same time.
Form that thinks a form that thinks.
Bodies that do not wait for results. The action is incomplete; it fragments and cancel itself in the form, opening to many or no meaning at the same time.
Form that thinks a form that thinks.
Señal
Signal; sign or physical variation that presents certain information… Signal exists beyond the content of communication
The system settled to assure the meaning transmission automates its behaviour leaving the message behind. The remaining are the form, patterns, circuits, combinations whose configurations make little reference to any other thing beside themselves
In signal - the piece - the treatment of time plays a main role in the organisation of the scenes, seeming to be that the way in which actions are executed and conjugated are more significant than what is exactly done or displayed.
How? When? Where?
Perhaps “what” is the least important question for a piece which displays communication systems more than a subjective perspective of communication processes … sign patterns don`t evolve organically, but are reconstructed, abandoned, replaced by the arrival of new codes or systems
Two bodies make restricted and repeated movements all over the space, small variations or degeneration of the original code take place, the external eye identify small relations and coincidences even though the bodies do not establish direct relations between them
Small actions, minimum actions… carried out by bodies that don`t seek consequences … is the accumulation of actions, their sharp execution, the perception of the inherent singularity of each body what captures the observer`s eye, be the camera, be the spectator, be the own space that processes the alterations and interventions on itself, the progressive and steep variations that determine the abandonment of the preceding pattern and the sprouting of the following one.
From the beginning it becomes clear that the interpreters do not appear as characters or of regular people but as bodies…
In Signal the body opens to the outside, to the connections, the infinite possible combinations that the environment propose…
The artistic is released from the will, from the logic, from realistic or illusionist intentions, from the organic structuring of an actor`s body and the utilitarianism of his actions… there are either metaphors nor symbols but signals, systems of iconic signs. the body speaking from its own material, signs whose meaning alludes to the material of which they are constituted
They are physical and non psychological beings those that we found in the scene of Signal. They are minimum actions deprived of intention or emotion but highly accurate and clean… the movements are not abundant and the selected material is reinforced by an intense concentration in the present actions, in the being present that those bodies show and practice. This sub-expressive pattern is not synonymous of neutrality or indifference but leads to a potentiality of the inner energy… but whereas energy is usually associated to external impetus, to the excess of muscular and nervous activity, here it is related to something intimate, which pulses in immobility and silence or the minimum movement, a retained force that flows in time… the energy results in the accuracy and sharpness of the actions.
Signal is not as much “what” but “how”, taking place along continuous transformation organized in fragmentary periods of time. The piece is made up of moments of different levels of complexity in which the relation between its components changes, presenting more or less recognizable codes which opens different possibilities of association … everything is possible in a proposal that incomplete its action fragmenting or cancelling it
Relations settle down without the explicit intention of the interpreters but just through the presence of the bodies in the space and time. The forms and actions with which these bodies write, do not constitute a language to be decoded, interpreted or revealed but a performative writing, one that if it is not reduced to interpretations works as a form that thinks a form that thinks .
Text and translation: Lucía Naser
The system settled to assure the meaning transmission automates its behaviour leaving the message behind. The remaining are the form, patterns, circuits, combinations whose configurations make little reference to any other thing beside themselves
In signal - the piece - the treatment of time plays a main role in the organisation of the scenes, seeming to be that the way in which actions are executed and conjugated are more significant than what is exactly done or displayed.
How? When? Where?
Perhaps “what” is the least important question for a piece which displays communication systems more than a subjective perspective of communication processes … sign patterns don`t evolve organically, but are reconstructed, abandoned, replaced by the arrival of new codes or systems
Two bodies make restricted and repeated movements all over the space, small variations or degeneration of the original code take place, the external eye identify small relations and coincidences even though the bodies do not establish direct relations between them
Small actions, minimum actions… carried out by bodies that don`t seek consequences … is the accumulation of actions, their sharp execution, the perception of the inherent singularity of each body what captures the observer`s eye, be the camera, be the spectator, be the own space that processes the alterations and interventions on itself, the progressive and steep variations that determine the abandonment of the preceding pattern and the sprouting of the following one.
From the beginning it becomes clear that the interpreters do not appear as characters or of regular people but as bodies…
In Signal the body opens to the outside, to the connections, the infinite possible combinations that the environment propose…
The artistic is released from the will, from the logic, from realistic or illusionist intentions, from the organic structuring of an actor`s body and the utilitarianism of his actions… there are either metaphors nor symbols but signals, systems of iconic signs. the body speaking from its own material, signs whose meaning alludes to the material of which they are constituted
They are physical and non psychological beings those that we found in the scene of Signal. They are minimum actions deprived of intention or emotion but highly accurate and clean… the movements are not abundant and the selected material is reinforced by an intense concentration in the present actions, in the being present that those bodies show and practice. This sub-expressive pattern is not synonymous of neutrality or indifference but leads to a potentiality of the inner energy… but whereas energy is usually associated to external impetus, to the excess of muscular and nervous activity, here it is related to something intimate, which pulses in immobility and silence or the minimum movement, a retained force that flows in time… the energy results in the accuracy and sharpness of the actions.
Signal is not as much “what” but “how”, taking place along continuous transformation organized in fragmentary periods of time. The piece is made up of moments of different levels of complexity in which the relation between its components changes, presenting more or less recognizable codes which opens different possibilities of association … everything is possible in a proposal that incomplete its action fragmenting or cancelling it
Relations settle down without the explicit intention of the interpreters but just through the presence of the bodies in the space and time. The forms and actions with which these bodies write, do not constitute a language to be decoded, interpreted or revealed but a performative writing, one that if it is not reduced to interpretations works as a form that thinks a form that thinks .
Text and translation: Lucía Naser
Andrei Tarkovsky, Sacrifice
"You know, sometimes I feel that if every day at the same time, we undertook an act and we are faithful to this ritual, in the unchanged form, every day, without missing one, the earth will change."
Andrei Tarkovsky, The Sacrifice
Andrei Tarkovsky, The Sacrifice
Staff
Concept and direction: Miguel Jaime - Santiago Turenne
Sound Design: Francisco Lapetina
Production: Ezequiel Steinman
Text: Lucia Nacer
Graphic Design: Juan Miguel Ibarlucea
General Production: Gestionarte Producciones
Sound Design: Francisco Lapetina
Production: Ezequiel Steinman
Text: Lucia Nacer
Graphic Design: Juan Miguel Ibarlucea
General Production: Gestionarte Producciones
Fondos Concurables para la Cultura
"Signal" was declared as a Artist Cultural Interest in the category of dance by the Funds Contest for Cultural 2008 edition.
The judgement of the jury was approved by Ministerial resolution M-598/08 of April 24, 2008
For more information please contact
www.fondosconcursables.mec.gub.uy
The judgement of the jury was approved by Ministerial resolution M-598/08 of April 24, 2008
For more information please contact
www.fondosconcursables.mec.gub.uy
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