Artistic Research Assignment given by my teacher, João da Silva.

Notes

Cluster # 1

LATENCY (Magician, Ghost, Trace)

How to use precariousness as a principle to shed light to the vulnerable, fragile side of the communication/relationship/connection between the performer and the spectator (and between the subjectivities introduced in the autobiographical stories).

How the experience of precariousness (existentially and socially) can raise questions about what happens in the theatre (in relation to resistance)?

How to let the precarious and the vulnerable be revealed in the description of an event (not described) as ways to give potency/agency both to the spectator and to the performer. What lies in the experience of sharing a story on stage? What is it that I don't yet know about what this story makes on stage?

How to create both a form and choices for bodies to resist their crisis? How to create both a form and choices for stories to resist their crisis?

How staying within the experience of a fragile, vulnerable body can be used to make it potent ?

How can one liberate, transform a body (in crisis) by using imagination as a poetic principle? (And as a principle to connect verbal to non-verbal – language to movement?)

What lies in the experience of slowing down the perception in relation to precarity, vulnerability and fragility? Is this maybe a way to resist precariousness?

What is it shared when we feel, think, move, write and read together? What is it shared when we do all of the aforementioned in the theatre, on stage? Does this open a way to resit precariousness?

Cluster # 2

CONSTRAINT (Diamond)

Theory as a blind spot. How to connect what I know with what I don't know. There is another kind of knowledge, an embodied knowledge, relevant to what is experienced rather than learned .

Ideology as a blind spot. How to connect my need for freedom/independence as an artist, to my need to connect with institutions/frameworks?

How to work with theory and ideology in order to solve problems ?

How to use them to open potential within the research?

How can I make relevant for the theatre, the work I do in the studio? Why does it not seem relevant?

Writing, movement/moving, performing as my artistic means.

Making movement practice public, as a blind spot. Why making it public does not seem relevant? Protection of privacy and intimacy on what happens between bodies and people. Not wanting to confess publicly what happens in the relationship/communication among bodies and people. (as a resistance to neoliberalism?) How to make it relevant while keeping it protected?

Cluster # 3

COLLABORATION ( Care, Responsibility)

Collaboration as a way to get, to do, to create together.

Collaboration as a way to share our precarized modes of existence.

The process of collaboration.

From personal to collective as a way to work together.

Shedding light to care, caring for the unproductive, the feminine, the fragile, the private. Shedding light in order to politicize care. Being responsible by respecting the 'being together'.

Being together neither as positive nor as negative.

Caring for the need to be cared by.

Cluster # 4

FAILURE (Stutter, Vitality, Matter, Labyrinth)

Failing to connect verbal to non-verbal publicly.

Failing to articulate through language what lies within the blind spots, what makes them blind spots.

Political, artistic, personal relation to precariousness. Stuttering their connection.

My motivation to do art is driven by my desire. It is a desire I cannot control. How do I keep this desire in the research? Using artistic research as a means to keep the desire alive, by giving continuity to the work. Not let it end with one performance, or with one process.

Cluster # 5

Trust (Leap of Faith)

Trust needs time. What is my relation to time? I need time to understand, sense , feel, digest and articulate a new stimulus. How do I trust the time I need? I trust that some things need more time for some people than for others. Time in relation to distance. Slowness. Slowness in relation to distance. Slowing down as a way to contemplate?

Trust my process as an artist. Trust that artistic research is my way to bring into consciousness parts of what at the moment is unconscious.

Trust that there is a way through the senses to come to critical thought.