Aeneas
representation and there exists as such, because that which is never represented is the work . Everything is triggered as an unexpected sequence of events that show the before the performance, and that's representation. The nude scene is a skeleton that, at times, crumbles and falls to reassembling otherwise.
"October" as a work proposes a metalanguage. The same director involved in the scene to fill empty phrases transcendental projection, that is nothing. It reflects on the action before, during and after being executed . The work is part of a network of imaginary contents of world of dance, some of which are reflected in the returns made by the director to the performers ("- how does by the way, be more effective. ") The place d director, dancer, the public, representation and dance is questioned, the latter being one of the great questions that basic functions: What is dance? How should it be a dance piece ? When does the part where they dance? "Any dance is art? Is this a dance piece ?
The public is called to share . Some objects are arranged on the seats to be brought to the stage. The director makes use of its role and leads to new entrants. Microphone in hand, displays a short list and says, "in row 3, seat 4. " The purpose of participation wallow in themselves, reasons not discovered until the end. The result: the representation of a crime made public. (?)
Within the public also are some intruders. That is, actors beyond dubious membership. But we do not realize this until something sticks. The difference is given by the eccentric trait that exceeds any behavior on this side of the stage. The scenario unfolds, and we realize that not everything is what appears .
The participation takes two qualities. On the one hand, participation the public, a kind of helper / builder of a scene, the results have little to do with what was growing, but function as a wink or joke in the play. For another, the performers in the audience that, through his speech and his actions, reconfirm sites that were already questioning pose. The place of critical eye is constructed in the eyes of the public, but not for him.
danced Small fragments (in response to the question, when will the dance ?) Form, in contrast with all this meta-discourse, moments of pure sensuality. One of the dancers to a viewer chooses to devote a dance. For this calls for the others to close their eyes. And, as one resists the temptation to look , the dance becomes a big dedication of sensuality, guided by the pure dance desire to dance and to create that intimate moment, guarded by many, but led to one. At other times the body get carried away by the music and flows within that time and space accurate musical performance is also part of the scene, leaving pure matter exist as full of energy, full (again) of desire.
Reflection is the cutting that energy, that returns the body to the head, and opens new Compartments include it. And we talk of compartments, because we could take each issue of which we speak, and which is operated under a concept framing. The discussions are extended and we are facing common places, places and somewhat exhausted, because the answer does not exist if not as a new art form, to renew in us a bond of undecidability with art.
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