Revised score of the performative experiment-event 'Three Orange Trees. In the future'.
Score- 6 narrations interrupted by 5 interruptions
Deep breath denotes a change of the movement task- this is meant to help the performer concentrate on the task, and help the spectator to become more aware of the change in movement. Even though s/he does not know what happens exactly, the breath is there to introduce a change, and maybe intrigue spectator's imagination on the what changes each time after the breath.
1st Narration- no words: Only hand movement, no voice. Placement of the elements of the general categories of the list in space (on the small scale board that I use).
Movement task: Move from the bones and not from the muscles.
Quality of movement: Very soft, searching, very careful, uncertain, as if the board is going to break.
2st narration: Introduction of voice- naming in language the elements of the general categories of the list, while continuing to place the hands in space and showing each category. Introduction of the specific elements of the list only first or first and second word of the full sentence.
Quality: low voice, loud enough to be heard.
1st interruption: Hands off the board- description of one of the specific list elements.
3nd narration: Introduction of more elements of each category of the list, say first the general and then the specific element (to avoid confusion after the interruption)
Movement task: Movement is already in space, find it.
2nd Interruption: US - us is the category that brings me to the here and now. I describe what I have sensed in relation to what was happening in the space of the studio, and how I perceived it in relation to the body and the senses. Or the body (of me and the spectators).
4rd narration: Introduction of more elements of the list, make sure to start making sense in the story (e.g. weather conditions: winds, time: 23rd of July 2018).
Movement Task: the same, rhythm : quicker
3rd Interruption: Description of another specific element of the list
5th narration: very short, bringing elements that only relate to the actual event (the winds, times, phone calls) making sense of the real story. 4th Interruption: Description of another specific element of the list
6th Narration: Full sentences, I repeat all the elements of all categories, general and specific ones.
Movement task: The movement is already in space.
Hands get of the board, everything happens with the head and gaze only.
5th Interruption: US. It is the introduction of the first Imaginary. I let the board in front of me and my movement task continues to be : Movement is already in space. I take time between narrations of each imaginary, to remember which is the next imaginary.
Voice: Clear but low and warm.
Introduce 6 or 7 imaginaries.
Finish by giving to the spectators one large paper that writes the story, the narrative I wanted to transform, without explaining if this the real story or not.
Thoughts on the aim of the imaginaries and on the how to get there.
Aim of the imaginaries is linked to the aim of the research. This is to create a social and public space, where engagement with imagination can happen. In that space, events are placed out of their spatial and temporal contexts; they move away from the personal and towards the relational and the public (in the world). Why is this important? Because within this space of imagination we can start to shift our perception and transform the dominant narratives of stories and eventually of real life events
Question: How to move from the personal to the relational and to the pubic?
What is relevant for the spectator within this motion?
1st Method : Take things out of their spacial and temporal context and into the world in some time or place that exists in history either now or before in time. (e.g. the story of how the cats ended in china , the dog part of the old testament, the smile in a long tail, the trees in a city and time that exists etc). 2nd Method: Start with a poetic image that has the potential to sustain the element of the story for longer in time, and then put it either within a practice or within a time and space which you describe in detail.
3rd Method: Imagine a different way of doing something as a way of living together in this world. Maybe that is a wish or a hope that could have a potential real practice. (e.g. The letter of the prime minister in which he apologises personally through a letter, for all the wrong decisions that he has made). 4th Method: by bringing the attention to what connects us : the everyday things that we can all relate to (e.g. Taking our dog for a walk, breathing, touching, we all are human after all).
5th Method: Use principles of care-focused feminism to create the conditions within the imaginary. (e.g. women bringing personal objects in the demonstrations, women making a circle and sing around another woman, in order to save her from being beaten by the police).
6th Method: Politicise care by creating imaginaries that relate to real examples of solving a socio-political problem by using ethics of care (e.g. Use real feministic political speeches in order to create the imaginary about the speech of the prime minister, or make an imaginary about a care strike).
What not to do:
Do not make imaginaries that are moral or suggest a way to live that is more moral.
Do not make imaginaries that are related to the future as a point in time.
Do not make magic imaginaries. (disappearances, etc.)
Do not make dystopian or utopian imaginaries.