Script


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The performer walks to the camera. The camera is located right in the centre of the vacant audience rows. The space is a theatre space. Black cloth all around the stage. Subdued light, rather neutral. Size of the space is approximately 7x25 meters, longish. the audience seats are red and located on the short side of the space, two times six rows: maybe for 140 people? The only sound: the cooling of the video-projector, some voices outside in the reception area of the theater. A board meeting, making plans. The theatre makes plans, schedules.
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a simple comparison concerning the capacity to imitate: lack/unity versus effortlessness/details


secondly, a question concerning perception: how to acknowledge and imitate that, what is insignificant, at all


the first conclusion concerning legibility: imperceptible itself the imitation of details differs radical from any other form of repetition
 
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The walking distance between camera (in-between the audience rows) is about 14 steps. The screen is located on the left side of the microphone. Texts being send via the "voice" page are displayed here. The performer activates the microphone and the digital sound recording. Starts performing?
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The imitation of that, what does and at the same time does not belong to the object of imitation, marks the imperceptibility that is operative in any act of imitation, the fortunate moment in which they flee the integrity of a body. Both effortlessness and crucial for survival this moment of imitation, which is for no audience as such perceptible, passes around or rather trembles in between two realms of legibility.
 
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The performer reads "voice" aloud
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In between the object and its imitation is NO ROOM FOR NO audience perceptible - the border of play is intrinsic to it, the very place of memory.
 
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Performer goes back to the camera, switches it on again, back to mic. A new "voice", aloud.
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question of blindness ersetzt mit einem Sprung und Fall imperceptible imitation of minor details
 
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The performer listens to his own voice with headphones" ... those childish little ones, the ones you can see everyday in the metro, especially if you are sitting and going far to the outskirts of the city. aubervilliers is the second last stop of the metro-line 7, just after parc de la villette. people jump in and detach themselves immediately with plugging in their i-pods: I don't listen to you. i can't hear you. I don't, I don't) ... while recording his very voice
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drama of suspending the audience or collapse of the distinction between stage and room of the spectators mit einem Sprung und Fall (discontinuity) simultaneity of belonging and not belonging as indistinguishability; objects as absolved theatre as the very place, where the order of visibility appears in the moment of its collapse
 
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The performer makes peculiar movements to plug in the headphones on stage. The stage is dark, he is dressed as well in black clothes (the standard type intellectual look of the 80s).
The performer says aloud: I DON'T LIKE MY OWN LOOKS HERE ON THE STAGE. I AM NEARLY INVISIBLE WITH THESE DARK CLOTHES. MY OWN DRESS MAKES ME DISAPPEAR ON THE STAGE ON WHICH IN FACT I WANTED TO APPEAR.'
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if
 
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Performer goes back to the camera, switches it on again, back to mic. A new "voice", aloud.
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as if
 
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The performer leaves theater stage. Takes a jacket, wallet. Opens door, closes it. The projection stays on it's own in the space. Some sound, again the cooling of the projector, the lights make little noises. Could this be a car passing by outside (where the performer is taking a coffee). Who is writing this? Me? Who is listening? Me?
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as if not
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NO PAUSE
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he does not observe the limits of the play and imitates too much
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Scene in the bakery. Two women, end of their 20s, colored, strong black hair, golden earrings, black clothes (as the coffee drinking performer's clothes. One of them grasps for a pizza-slice. Pling! Her little headphones (rather earphones) fall on the floor, she had them squeezed in her hands before - my earphones, she says. Do you want it hot? She is a bit to stiff to reach the ground. Yes, hot please. The earphones still have a second of rest before they have to perform again for her. My black earphone, she mumbles and catches the wire to lift them up.
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legibility - something can not be grasped as such (isn't every word a thought of something that was at one time unsayable in language, was stuttered, and then brought into being-in-language)
 
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Performer goes back to the camera, switches it on again, back to mic. A new "voice", aloud.
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his hazy notion of the demands of the stage drives him to this
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The performer reads "voice" aloud
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imperceptible imitation Sprung und Fall is a work of memory - it always already is at work within the architecture of any given work, to which it (that, what mimics and doubles it), counts as part of its construction
 
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The performer has his earphones (the little white ones) still plugged in his ears. He does not listen to the recordings he made, but to the cooling of the projector (the only sound in the space, unless he would talk). This sound is filtered through the earphones. Suddenly he feels like he imagines the young people in the metro to feel like with their i-pods. He thinks: My earphones. He sais: My little white earphones. He repeats even louder:My little white earphones. " He repeats this sentence several times (general in a tender tone, as if he would talk to a lover). He stops when he starts to be bored with it.''
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Sprung/Fall concerns writing as trick. Not as method. Sprung/Fall concerns the conditions of writing and allows for writing to take place as imitation within - at the point of imperception.
 
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Now, for the first time, the performer is watching himself on the videorecordings. He sees a small figure standing with his hands at his hips, looking to the big screen, reading aloud: voice.
He says:
I see a small figure standing with his hands at his hips, looking to the big screen, reading aloud: voice.
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At the end of the performance we still expect the actor, whom I would admire in the dust.He is supposed, as is customary, "to announce": "Dear guests, I thank you in all our names for your visit and cordially invite you to tomorrow's performance, when the world-famous masterpiece by will be produced. Until we meet again!" Exit with a flourish of his hat. Instead, we see the curtain first held tightly closed, then tentatively drawn apart a little. This goes on quite a while. Finally it is drawn wide open, in the middle a button holds it together, behind it we see the actor walking towards the footlights and, his face turned to us, the audience, defending himself with his hands against someone who is attacking him from behind, until suddenly the whole curtain with its wire supports on top is pulled down by the actor who is looking for something to hold on to. Before our eyes P., who had played the savage and who is still bowed down as if the curtain were drawn, grabs the actor (who is on his knees) by his head and pushes him sideways off the stage. Everyone runs together into the wing of the theater."Close the curtain!" they shout on the almost completely exposed stage.
 
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Performer goes back to the camera, switches it on again, back to mic. A new "voice", aloud.
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The performer reads "voice" aloud
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" To his astonishment the performer (who sees himself only loosely conncted to the outer world) found this text on the "projection screen. He read it aloud: ''His hazy notion of the demands of the stage drives him to this, and even if the spectator thinks one actor or another is bad because he stands around stiffly, toys with his fingers at the edge of his pocket, puts his hands on his hips improperly, listens for the prompter, in spite of the fact that things have changed completely maintains an anxious solemnity regardless, still, even this actor who suddenly dropped from nowhere on the stage is bad only because he imitates too much, even if he does so only in his mind.
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Seconds before reading this sentences aloud, the performer had found himself confronted with his own performance as a performer by watching himself again on the videorecordings. He saw: I have stiff arms, making a strange angle. He thought: Can't I let them be more loose, relaxed. He said: I want to look more relaxed while being on stage. I want to look like a different man, that's why i want to perform. Now i have to see that I just look like myself. '' He closes his lips and utters silently (if this is possible at all): I am the man with his hands on the hips, I am the man with his hands on the hips, I am the man with his hands on the hips, I am the man with his hands on the hips, I am the man with his hands on the hips, I am the man with his hands on the hips, I am the man with his hands on the hips, I am the man with his hands on the hips,...
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Performer goes back to the camera, switches it on again, back to mic. A new "voice", aloud.
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The performer reads "voice" aloud
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Information of two spaces.
 
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The performer found this icon on his videocamera before the last "voice" session": No battery, No recording.
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So, this as a last picture. The space: WRITING TABLE, MICRO, PROJECTION, PROJECTOR, CHAIR - NO FIGURE. please switch to "figure-space!
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