Epipiderme – encounters around performance
Nuno Oliveira, Fabrice Ziegler, Margarida Chambel and Carlos Farinha
Performance seems to propose Participation as the most important value at the construction of an action, thus demanding the performer a ‘real’ experience moving away from theatrical representation, as much as an appeals to an effort in attention and interactivity with the spectator acting as a non passive subject. In this sense, performance can also promote a certain simultaneity at the point in which it coincides the experience produced by the artist with the one experienced by the audience.
Such issues seem to lead to the concept of “inscription” proposed by the philosopher José Gil . In his book “Portugal, Hoje. O medo de existir.” [Portugal, Today. The Fear to exist], José Gil indicates Portugal as a Country of “non-inscription”:
“In this, as in other various aspects, the Portugal of today continues with its ancient regime. This [condition of] ‘non-inscription’ is not new, it is an old habit which arises most of all by a refusal of ‘inscription’ imposed on the individual. Since inscription implies action, affirmation, decision, things with which the individual conquests autonomy and a sense of existence”
Performance seems to concentrate on the effort to produce, in Real Time, an action capable of surpassing this kind of prison with the everyday routines, and its structures of networks and needs; provoking an existential tearing which produces something more real and understandable than a stereotyped image already configured of the world; through the voice and the special way of seeing of an Other which is revealed, a new way of knowledge can be produced.
It is expected that within this space this ’other’ reveals itself, and that its breathing produces an epidermic reaction.
http://epipiderme.blogspot.com/
http://epipiderme.blogspot.com/
Nuno Oliveira, Fabrice Ziegler, Margarida Chambel and Carlos Farinha
Performance seems to propose Participation as the most important value at the construction of an action, thus demanding the performer a ‘real’ experience moving away from theatrical representation, as much as an appeals to an effort in attention and interactivity with the spectator acting as a non passive subject. In this sense, performance can also promote a certain simultaneity at the point in which it coincides the experience produced by the artist with the one experienced by the audience.
Such issues seem to lead to the concept of “inscription” proposed by the philosopher José Gil . In his book “Portugal, Hoje. O medo de existir.” [Portugal, Today. The Fear to exist], José Gil indicates Portugal as a Country of “non-inscription”:
“In this, as in other various aspects, the Portugal of today continues with its ancient regime. This [condition of] ‘non-inscription’ is not new, it is an old habit which arises most of all by a refusal of ‘inscription’ imposed on the individual. Since inscription implies action, affirmation, decision, things with which the individual conquests autonomy and a sense of existence”
Performance seems to concentrate on the effort to produce, in Real Time, an action capable of surpassing this kind of prison with the everyday routines, and its structures of networks and needs; provoking an existential tearing which produces something more real and understandable than a stereotyped image already configured of the world; through the voice and the special way of seeing of an Other which is revealed, a new way of knowledge can be produced.
It is expected that within this space this ’other’ reveals itself, and that its breathing produces an epidermic reaction.
http://epipiderme.blogspot.com/
http://epipiderme.blogspot.com/
