The line between perfect and imperfect is so subtle
how to stretch time?
at the beginning, they had no holes, just organs
they were real
then industrial production came and they started to be multiplied
happiness is a warm gun
”A Intimidade dos Joelhos” is Ola Osowicz and Valentina Parlato exploring each other imaginaries and surrendering to a multitude of esthetic views.
The piece questions the relation between emotions and motions, fiction and experience, improvisation and set material, human and not human animals, exposing the space in between these binomials, a space that doesn’t belong to any of this categories but, still, exists.
“We love nature the less humanly it behaves,
and art when it is the artist‘s escape from man,
or the artist‘s mockery of man,
or the artist‘s mockery of himself.”
(F. Nietzsche, The Gay Science, §379)
Playing music, orchestrating, killing, washing,swimming, breathing, killing, persisting, acting heartless,enjoying the silence, observing, risking everything, being totally emotional, being becoming, loosing shape and gender and species, executing just another task, and still another one, antispecism, anthropocentrism, being smarter then words, being ready to go, crafting, playing with audience, make them laugh, make them cry, becoming audience, get lost in the task, letting the ideas physically emerge from our bodies. Singing as a way to set you free. Set all the animals free. Celebrating shapeless. Becoming with, do not perform for but rather in the place of.
”For Deleuze and Guattari, becomings are real in a very specific sense, according to which the traditional opposition between the actual and the virtual no longer stands. Becomings do not take place in a oneiric, phantasmagoric world (―I dream that I am a bird). Rather, they occur in concrete and material states-of-affairs that express impersonal forces in order to transform sensible forces that would otherwise remain insensible.” 1)
Thoughts and questions:
we keep on going, we want more, we never give up,
Is it possible to stretch the time of our feelings without losing their power of affection on our body/instrument?
Is fiction sublimating or destroying reality?
Can artificiality be emotionally moving?
Can you just keep on breathing?
The orgasmic state is maintained for such an extended length of time that it becomes unpleasant. How to stretch time without breaking my orgasms? what is a performative orgasm?
Can we shift roles all the time?
Can we stay in the becoming and let the viewer choose the meanings she needs?
What is love?
baby don’t hurt me
being human animals
being humanized animals
Yes, we are talking about animals, so we are talking about you,
we are talking about living and dying beings so we are talking about us,
we are dancing about animals and so we are dancing about you,
we are performing in the place of animals so in the place of us all.
”Deleuze connects animal life to the writers or philosophers who must always be ―on the lookout (aux aguets), never resting, sleeping with one eye open. Thus, the task of writers and philosophers consists of tuning into the forces of an impersonal life similar to the actions and reactions of an animal in its environment. In doing so, writers and philosophers are able to push language to its limits, to becoming-other, and eventually to writing ―in the place of the animal. Finally, Deleuze argues that it is not humans but animals who know how to die. This is because animals seek solitude to live out their last moments with dignity away from the group, on the edge of the territory, and with no expectation of posthumous celebration. One of the writer‘s or philosopher‘s tasks would then be to experience and describe this link between a dying human and a dying cat, and in doing so, experience the common border separating and yet also unifying humanity and animality. ”1)
Here we go, we enter the stage with this desire to unify species without losing each other identities, we do not aim at attaining a form but at reaching and anchoring the becoming state in between the forms. We want to habit ”the zone of proximity, indiscernibility, or indifferentiation where one can no longer be distinguished from a woman, an animal, or a molecule—neither imprecise nor general, but unforeseen and non-preexistent, singularized out of a population rather than determined in a form” 2)
”A intimidade dos joelhos” is a work where a multitude of emotions finds a place to be experienced and observed together with our ways to bring them on stage. By performing this material we question the notion of performativity itself, swinging the focus between the daily life dramas and the entertainment’s virtuosity and exploring the possibilities to play a plurality of emotions and bodies in very quick succession without losing the ability of truly embodying them.
What else can we verbally share with you about a intimidade?
”Ola and Valentina are two opposite type of performers that managed to find the strength of their collaboration in extremizing their differences in a common choreography. Navigating together through all sorts of references and a multitude of styles, Ola and Valentina have presented us as their final performance a delirious, tragic and wonderful perception of love, commonplaces, and daily life issues. The swiftness with which they jump from scene to scene from style to style, changing their duet into a concert, a drama, a comedy, a poetic moment or an insane absurd Play, makes the audience surrender in a very rare and accomplice way, mixing the strangeness and the familiar in a unique recipe.”3)
1) Alain Beaulieu, The Status of Animality in Deleuze’s Thought.
2) Gilles Deleuze, Becoming animals.
3) Patricia Portela, writer and artistic director of the transdisciplinary association Prado.
Concept , Choreography and Performance: H.A.L.F. Collaboration; Duration: 45 minutes approximately; Light design: Thomas Walgrave; Advisors: Patricia Portela, Nelson Guerreiro, Loic Touzè; Support: Forum Dança, O Rumo do Fumo, Spazio Parlato, Il Pavone sperimentazioni, Cyber Kultura, Teatro L.I.R.A.