There is something in my work related with the materials and physicality I use to propose to my performers and also to my audience. They somehow need to be experienced rather than being perceived or seen. I am more interested in what is the act of becoming than in what is established, in the negotiation of the “happening” rather than in the fragility of the statement of “being”. I do not use to choreograph my physicality. I use to condition the bodies to produce physicality. It is not created and setted but it is constantly appearing. The physicality I am exploring it is shapeless but it still have it own identity. It does not end in form but get defined and concrete by dealing with the actions, conditions, instructions and obstructions that create it. A narrative without beginning and end. It is a gesture.
Agamben definition of gesture:
"…Gesture is that dimension of language that is not exhausted in any communication of meaning and that in this way marks the point at which language appears in its more capacity to communicate. (…) Without identity, defined by nothing other than its existence in language as irreducible, absolute, POTENTIALITY"…
It is also one of the weak points of my work.
My “physicalities” are normally exposed to disappear, they are ephemeral and used resist to work always in the same way.
Once they are chosen, they become independent from me and then are as if I would not be able to direct them anymore.
I don’t want to improve my strategies to be able to set material. I am not interested in hunting for shapes and put them together. I would like to be able learn how to create more and more conditions and contexts to be able to construct a clear environment where the physicality could habit in its entire authenticity and fragility without risking the presence of the total work.
I need to play more with composition.
I NEED TO PLAY MORE WITH COMPOSITION. This should be added in the chapter of the first part where I talk about the points to be improved.