tori kudo

mshb ダンス公演「見舞」＠八丁堀七針 collaboration with Florencia Rodriguez Giles

僕が尊敬するアルゼンチンの美術家フロレンシア嬢は先年の神保町視聴室の周波数オクターブ舞踏を観に来てくれたのだったが、今回の七針のマヘルの日にもちょうど茨城のレジデンシーで来日していて、一緒にやりたいと言うので嬉しかった。最近またアルトーに出会い直しているのだ、という彼女の異言劇に対して、ダンス公演「見舞」というのを考えた。その下敷きには、石田尚志が府中でやった、それまでにかれが行き着いていた「奥の部屋」の提示だけでなく、さらにその奥からの、作家も含めた私たち全体に向けられている一台のカメラの存在が啓示のようにしてあった。

The setting is like a dance performance. I am lying as if I am on a bed in a hospital with my guitar. Then participants give some kind sound/motion to me, using no words.

床に寝ている病人は携帯を隠し持っていて、見舞いに来た人の顔をツイキャスで流しますが、レンズは白濁していてもう相手のことを覚えていません。

見舞いに来た人は携帯を隠し持っていて、寝ている病人の顔をツイキャスで流しますが、相手のことを感じられているかどうかという自分のスプランクナに関心を持つあまり病人を物のように見ていないかうっすら悩んだりしています。

それらを受信する二つのツイキャスビュワーはさらにナースキャップをかぶったもうひとつの携帯によって交互に編集されながらプロジェクターでステージ後方に投影されました。観客も映っています。

それらすべてを撮影している5台目のカメラも「奥の部屋」に居ます。すなわち病人一人につき五台のカメラ。

ダンス公演「見舞」はそのようにして即興演奏のフォーマットにされます。

フロレンシアのプロジェクトに参加する場合、前もって夢を共有するFB上の閉じたグループに参加することが望ましいようなので、参加したい人はお知らせください。彼女のテクストは以下です。

This project is based on the idea that the act of dreaming can be used as a source of new narratives and collective practices.
I conceive this project as a communitarian practice based on the idea that a group of people can open a different space within the state of wakefulness.

First in Buenos Aires and then in Ibaraki, I created a community of persons that started to share their dreams by means of a closed group that I opened in Facebook.
My objective was to establish a virtual community in which the participants could relate to each other exclusively by means of the materials extracted from their dreams.
After a period of time during which both groups shared theirs dreams, I started a series of meetings with all the participants. For these meetings, I produced masks. In the first meeting, each participant got a mask, which became from that moment on her or his intermediate face.
The practices were based in the remembering and collective sharing of the dream experience – as a script produced every night by all the participants. These scripts were used as material through which I was looking for an intermediate state, between sleeping and being awake.
The instructions to make the practices were oriented by the following questions: how we talk in this intermediate state, how we walk, how we interact with the space, with the others, with the objects? I was also interested in using mechanisms extracted from the act of dreaming, such as for example the blurring of the difference between me and the others, either subjects or objects, the suspension of the strict distinction between past, present and future; the rearrangements of the spatial relations; the possibility of establishing discontinuous trajectories between heterogeneous situations, etc.

I was also interested in exploring how this production of intermediate state takes place in correspondence with a new relation with language. I am particularly interested in the capacity of language to induce subjective affects, for example by producing sequences of sounds, by stuttering, by the use of glossolalia, etc. This means that I am interested in using the human voice in a register that is independent from the functional tasks of communication and meaning. I conceive the voice as an entity that acts inside the body, rather than an entity that represents the subject.

Through this intermediate state I am interested in creating a singular atmosphere that could produce different intensities of existence, as if changing our state we could transform the density of the air, the quality of the time, the weight of the things.

I think this work also as if we could expand the moment in which we wake up, and make it last longer. As if we could live within this intermediate zone.

Florencia Rodriguez Giles