Staging expresses both the questioning of the world and its abyss as a scene (Jean Louis Comolli).
Each night, a single continuous sequence that publishes live the current scene, building a piece/work at work, where what enters and happens (to us) is the ways of perceiving, feeling, thinking, looking, listening, and also, ways of representing without representing, of associating by decoupling. Ways to be on stage and simultaneously get out of it.
In purely theatrical terms there will be no scene/stage. There will be no time to refer to a closed result because it is happening. There is no premeditated rhythm, no leading actors and / or predetermined viewers. There is no scenic action because there is no simulated progression of elements that push time towards an end.
HOW TO DO?
There are 3 ways to facilitate yourself in the game: 1. Prior agreements with those involved with whom you will be connected in the sequence plain each night. 2. Assistant figure that will bring together those involved each night to coordinate a plan. 3. Sharing tools that help us play the sequence plane from the shared vocabulary and experience.
GENERAL CONDITIONS OF THE SEQUENCE PLAIN
- Since there is no scene to present or represent, everything is susceptible of "being a scene".
- There is no "scenario" or territory of privileged visibility, nor specific frontality.
- We speak of the "scene", nor as something given and / or something to fill, but as what is happening susceptible of being perceived in a plural way by the bodies, voices, looks and actions of what is already implied.
- As an ongoing scene, that is to say, “at work and ongoing”, it knows that it does not depend on personal and / or individual actions since everything around it is susceptible of "entering or being part of the scene".
- Accordingly, "we are in situation". That is, in a situation that is likely to happen with others, fragile and vulnerable, since it happens through what is happening, and therefore it is exposed and continually built.
- In this way, it would be interesting to think that everything is a "secondary", so to speak, susceptible of "entering the foreground" by will, error or coincidence, or some other event beyond our control (contrary to the idea that there are "protagonists" which go to the background).
- To think that the "secondary" does not count for the visible one, from there it can do something without anyone taking it into account, until he/she/they mess it up ... (reference movie The Party).
- Other figures that we can relate to the secondary are the support figure and the assistant. In other words, we are all support and assistants in the sustained question of what, how, when, for what, who?
- Thus perhaps the basic premise is to start from the fact that we are also spectators, that is: we do not start from the place where one is doing, but from the place one is listening to. Strategy that we can think of as a “reception device”.
- Listening is a practice, it is to be perceiving: perceiving is action.
- Keep in mind that you are in a work/piece/scene at work, that is to say, your actions are inter-dependent on the current situation and as such, they must be carried out according to that pluri-situational plot that is perceived plurally and at the same time.
- The work and –at work– are inter-related concepts that involve the collective and the singular.
- In this way, think that your work (actions, interventions) is continued by the actions that are executed next and vice versa, and that that belongs of someone else is continued by your actions.
- Nothing is to be stated a priori. In sequence, there is no interlocution or mediation.
- It doesn't explain what's coming next. It does not explain what will happen. There is no explanation because it is happening while it is being done.
- "Doing while doing it" is the main command.
- Do not expect the "community and / or group" to follow you, since there is no such thing as "a group". Anyway, do not worry, you will not be alone. Although that is the condition, trust that there will be someone putting the body together with you.
- Remember that in the sequence plane there is parentheses: to take (the) time to be able to think, do and perceive together and imply that what enters the scene are the ways of living the visible as a sustained problem and as a potentiality.
COMMON TOOLS / STRATEGIES TO SUSTAIN THE PLAIN SEQUENCE
We can propitiate the listening of the sequence plane through the following tools:
Interference (bursts and disappears).
Overlay (add or incorporate an element or plane over another (the one that is happening).
Continuity/ongoingness (which happens without interruption and continues) in two modalities: as a "continuous bass" (perceived but not invasive, does not break in) and "operatic" (supports a particular moment from the soundtrack dramatizing it...etc).
Simultaneity (coincidence over time of two or more actions, elements or planes).
- Remember that the "peripheral devices and facilities" trigger a lot in order to sustain, to tense, to continue, to disperse the sequence plane.
- If there is no front or a place of privileged visibility, the actions begin and end anywhere.
- Your body (operator) proposes the point of view, whatever you do.
- If we understand that in the plain sequence there is no mediation, we can understand that we are an "operating body".
- Trust that "the operating body" is perceiving, doing and that this is what is happening.
- You can give yourself and take the time you need to set up your place / action.
- You can consider continuing your action, attending what comes next.
- If your action "has an end" is fantastic there will be some body else who will continue anyway.
- In this way we can think that "to continue" does not mean "agreeing on the tone, form, rhythm".
- You can disassemble everything you've assembled.
- If you need help, ask the one next to you normally.