síntesis y continuación
arribo
visualización interna con ojos cerrados
abrir los ojos al mundo y practicar una mirada que no nombra
no identifica
mira
dejar entrar a los otros
cómo se mueve un cuerpo que no nombra?
es posible la continuidad de este tipo de percepción?
cuántas veces me alejo de la consigna?
puedo estar con otros objetos y cuerpos y aún no nombrarlos?
pausa. conversamos.
estamos fuera del espacio. uno de nosotras entra en él.
el espacio pide. necesita. cómo poder escucharlo? cómo se callar para escucharlo? cómo tomar una decisión pasiva?
de a uno entramos y hacemos solo lo necesario
acción que potencie lo que ya está sucediendo
desde afuera continuamos practicando una mirada que no nombra. que mira al cuerpo en ese espacio. que mira a este cuerpo accionar más o menos ampliamente.
cómo acumular deseo hasta que sea imposible no intervenir?
qué me impulsa a la decisión de intervenir si es que hay algo?
puedo entrar sin saber, sin nombrar? puedo decidir sin definir? decidir decidir no más?
puede existir una conexión telepática con el espacio? y con una situación? no me hablan los sujetos pero me hablan las cosas. y dicen.
comparto un texto sobre la decisión pasiva, este concepto de Derrida que mencioné el otro día (avisen si quieren que traduzca). va acá:
... the proper creative process is a dispositive
that more than being conducted by goals and the development of a
certain planning, constitute the gathering of elements and the test
of conditions that may make an event arise, affecting and producing
the performance material1.
This unconditionality of the creation process does
not mean a pure chaos devoid of any form or logic, but singular
rationality. A reason worthy of its name
would justify continuing pursuing an effort to create ways of
thinking that more than falling into irrationalism - would take into
account plural rationalities and the fact that “the rationality of
the rational has never been limited to calculability, to reason as
calculation, as ratio, as account” (Rogues
133). The mourning time that Derrida describes for philosophy in the
present – originated in the fall of sovereign rationality –
relates to the saturation of a reductionist use and practice of
reason, that dance has reproduced throughout its history by
subsequent (rival) paradigms. What Derrida is proposing is a
deconstruction of the sovereign reason that has shaped certain
cultural habits and even the definition of the human. In its desire
for control and prevision, in its understanding of knowledge as power
(used towards this control), reason has lost the ability of being
hospitable to the “events”, those incalculable irruptions, those
unforeseeable alterations that has the breaking force of
transformation. This explains how whenever teleology comes to orient
and order a historicity, a certain neutralization and binding of the
event takes place
If an event worthy of this name is to arrive or
happen, it must, beyond all mastery affect a passivity. It must touch
and exposed vulnerability, one with absolute immunity, without
indemnity; it must touch this vulnerability in its finitude and in a
nonhorizontal fashion, there where is not yet or is already no longer
possible to face or face up to the unforeseeability of the other. In
this regard autoimmunity is not an absolute ill or evil. It enables
an exposure to the other… (Rogues 152)
1 In Rogues,
Derrida argues that without autoimmunity nothing will be ever arriving –
is kind of a passive decision This ex-position to the incalculable
event would also be the irreducible spacing of the very faith,
credit or belief without which there would be no social bond, no
address to the other, no honesty, no promise to be honoured, and so
no honour. This opens the rational space of an hypercritical faith ,
one without dogma and without religion. This is the “messianicity
without messianism”. This faith is another way of keeping within
reason, however mad it might appear (153). There also several
articles about “passive decision”, a concept that seems
particularly interesting to analyze the rational – cognitive –
bodily acts implicated in dance improvisation, which is frequently
used as means for the emergence of choreographic material.
No hay comentarios:
Publicar un comentario