foivi psevdou
theatre pedagogue performance artist
intra-disciplinary
research with
artistic practice
performative experiment: there is a time to/for...
i repeated the phrase there is a time to/for...
manifold versions of the phrase compiled with duration
click here
poietic speaking
layered repetition
measured time of sound clip
circa twenty minutes
and here
poietic speaking
durational repetition
measured time of sound documentation
circa three hours
scroll down
and find out about the performative experiment
i stay with the repetition: there is a time for laughing out loud there is a
time to rest there is a time to admit that it is a huge huge effort not to count
i digress from the score: memories, habits, wishes, stories
i return to the repetition. the utterance of there is a time to/for seems mechanical. it does not make any sense. i repeat durationally. i am tired and confused. it’s difficult to make a syntactically correct sentence
i wait. i repeat. i am aware of my body breathing, listening, waiting for the
next word to emerge there is a time for eyes closed and skin open wide there is a time to pause and choose the next word there is a time to admit how thick time feels right now there is a time to
pause and feel the body move in thoughts and feel a thought without words move through my hands in my torso up into my eyes all across up my spine
the time in stillness
i attend to the time in-between utterances. linearity and predictability shifts towards awaiting the unexpected as i enter an unknown poietic process. the words are known to me, the order in which they emerge is unexpected
research journal some notes
terms
linearity is an attribute of normative temporality: time moves in one direction on a line from past to future. this norm manifests in language, for instance, in the categorization of verbs into past, present, and future tense. respectively, in traditional theatre meaning is produced through the arrangement of events on a storyline that progresses from past to future.
designing the performative experiment
increasingly in the 21st century the operation of repetition is deployed to subvert linearity and explore other modes of making meaning. specifically, the repetition of pre-decided phrases that can be completed in manifold ways, is a common score for devising and improvising speech in theatre and performance art.
language and its embedded linear structures are for me primary means of making meaning. this experiment suspends my habit of linear speaking and meaning-making.