Structural Play



STRUCTURAL PLAY #3 / BRIAN O'DOHERTY

The grids are 60 inches by 60 inches, individual squares 20
by 20. They may be demarcated by half-inch masking tape.

They are at least 6 feet apart.

The performers are not dressed in white bodystockings or
leotards, with tight-fitting hoods covering the ears.

They wear their faces which are indeed masks.

Leaps move but words are not spoken, with a one-second
interval between words. (The lips may be closed between
words.) The capitalized word is still emphasized by increase in
volume, not in pitch.

A leads with the right foot, B with the left. Half-steps are
taken, i.e., the non-leading foot is brought up to the
leading foot. After a one-second interval, the leading foot
is advanced again.

Turns are taken in a semi-military convention (e.g. for A
left heel-right toe; for B right heel-left toe). This leaves
the non-leading foot advanced. It should be brought back
to the leading foot, and the leading foot advanced again.

There is a five-second interval between speech and
movement. Speech is made before the related move. There
is a ten-second interval before the first speech and after
the last movement.

Light is preferably indirect, doing away with shadows and
"drama." The performers should be discovered on their "drama."
The performers should be discovered on their grids when lights go up.

The locus is preferably the floor around which an audience
sits on chairs. Stages should be avoided when possible.
RULE 1: you have to fall on the ground by a recoginced mistake.
The mistake is recogniced by the performer him/herself
RULE 2: after falling on the ground (recognizing the mistake), the
performer repeats the part in which her/she made the mistake one time
only (no endless repetiions)
RULE 3: the new texts/quotes and pictures should be delivered in a casual,
calm, low voice and move freely through the space. Therefore a third
character will be created in the performance.


A i could go now, because otherwise i lose track with all
the changes:
WHAT do you want?





B what DO you want?





A what do YOU want?





B what do you WANT?





B for me there are already in the space two spaces
B the gap between them is not so clear, they a blurring into each other
B would that mean that these two spaces overlap from time to time,
fall into each other or have a common fold that doesn't allow them to
be told apart?
A we started to think exactly from such an indistinction - or it's
experience
B blur appears in the documentation of speed
A (talking directly to B, turning his head)... yes, blur appears
in the documentation of speed , at least in photographic technique)...
if something is moving in front of the camera (or the camera is moving)....
so it is a phenomena of time and speed....the indistiction might has
to do with closeness in time (maybe), rather than with closeness
of mode (gesture). the fixation of time (freeze frame, filmstill, blur)





B i DON'T know





A i don't KNOW A i have the need to be more straight in the original score
and to jump off from there to go off the track to find the
other texts in between to use other forms.
A i don't KNOW, Mein Nachahmungstrieb hat nichts Schauspielerisches, es fehlt ihm
vor Allem die Einheitlichkeit. Das Grobe, auffallend
Charakteristische in seinem ganzen Umfange
kann ich gar nicht nachahmen, ähnliche Versuche sind mir
immer mißlungen sie sind gegen meine Natur. Zur Nachahmung
von Details des Groben habe ich dagegen einen
entschiedenen Trieb, die Manipulationen gewisser Menschen mit
Spazierstöcken, ihre Haltung der Hände, ihre Bewegung der Finger
nachzuahmen drängt es mich und ich kann es ohne Mühe. Aber
gerade dieses Mühelose, dieser Durst nach Nachahmung entfernt
mich vom Schauspieler, weil diese Mühelosigkeit ihr Gegenspiel
darin hat, daß niemand merkt, daß ich nachahme. Nur meine
eigene zufriedene oder öfter widerwillige Anerkennung zeigt
mir das Gelingen an. Weit über diese äußerliche Nachahmung
aber geht noch die innerliche, die oft so schlagend und
stark ist, daß in meinem Innern gar kein Platz bleibt diese
Nachahmung zu beobachten und zu konstatieren, sondern daß
ich sie erst in der Erinnerung vorfinde. Hier ist aber auch
die Nachahmung so vollkommen und ersetzt mit
einem Sprung und Fall mich selbst, daß sie auf der Bühne,
unter der Voraussetzung, daß sie überhaupt augenscheinlich
gemacht werden könnte, unerträglich wäre.





B WHO does?





A who DOES?





B YOU





A ME?I am interested in a readability of a gesture!by sönke,?sönke,
do you find time for it?





B YES, you





A yes, YOU





B I don't know (-Is your present my present? how do we
destroy the grid? how do we perform without being performed upon?
("The stage will no longer operate as the repetition of a
present, will no longer re-present a present
that would exist elsewhere and prior to it, a present
that would exist elsewhere and prior to it"-Derrida, the
theatre of cruelty..., p. 237)





A i DON'T know





B i don't KNOW





A I think you do





B i THINK you do





A i think YOU do





B i think you DO






maybe - we can try next time