Three Orange Trees in the future-revised description and something between a score and a script
In this performative event, I continue to explore how I can use language and imagination to transform an autobiographical story into fiction. Using the story of a catastrophe (that at the same time relates to my life personally) as a starting point, I imagine different fictional scenarios that will move the story to more open understandings. A connection with the 'here and now' interrupts several times the narrative, in order to switch our focus to our bodies (the spectators' and the performer‘s body), the relationships among them, and our senses and feelings.
The list consists of 11 general categories and in each category there are minimum one, maximum four specific elements.(e.g general category: plants of the house, specific elements : one huge blooming basil plant).
The narration of the list is interrupted by descriptions of the specific elements and by the category US which refers to us in the studio, performer and spectators and to the here and now of our bodies, senses, affects and feelings, that relate to this co-existing in the studio.
Narration: General and more specific elements of the list
1st Interruption: what have I observed while I was doing the narration, or what I observe now in relation to the elements of the list I was talking about, in the here and now.
Narration: More elements come in, two or three words maybe a sentence
2nd Interruption: questions about the elements of the list. What do I want the spectator to think about the elements? The day you first saw your dog? How you touched it? incidents between you and the plants, the first day you ate a herb or a plant you planted, how did you care for it etc. incidents - stories - memory
Narration: More elements- full sentences-developed story telling
3rd Interruption: I - you -us
what brings us together? why are we here? awareness : how do we sit, what does a spectator remind me of? movement of the bodies ? maybe describe how you sit in relation to the tragedy?
Narration: Full stories, maybe more than one- include words that will give some knowledge of the story - people running, catastrophe, previous day we were ....
4th Interruption: beginning of the radical paradoxical imaginaries (I take hands off the table - maybe I stand up and walk ?)
these are about:
1. take things out of geographical and temporal context or bring them in the here and now
2. build on the care - describe a story about the care or care focused feminism again a practice, e.g. me making a care strike
3. describe ways that we could be living together: practices e.g. the far right minister writes personal letters to the people
other interruptions:
descriptions of elements to their finest detail : basil plant, tomato, cucumber and feta salad, face of politician?
hands choreography before the introduction of the more specific elements: one hand after the other then two hands with the reshuffling.
US: quick movement : hands off the table
sensed choreography: tasks for the creation of that
1. move with the bones and not with the muscles
2. move with the second impulse and not the first one
3. the movement is already in space
4. the movement is already in space, catch it