fieldings

fieldings — Tue, 12 Feb 2008 17:58:32 +0000

audience (n)

fieldings — Sun, 10 Feb 2008 22:17:48 +0000

I thought, performing the work would inform us and then we would know if it was a good idea to do it the way we did. But actually, I must say, I am still not completely grasping what was activated, because there is no general opinion, assumption, judgment possible. So many different views. We should open a blog for the audience to be informed about their thoughts.

100208n

fieldings — Sun, 10 Feb 2008 22:13:37 +0000

It is a funny question: how did the performance go? Do I care if people liked it or didn’t? No. Not interested in the likes and dislikes. What do I care about? That it produced movement, of thought, a little displacement of something, discussion, maybe friction. That it stays longer than the time spent in the theater. It might have not been entertaining – or was it – but if something continues with your walking out of the theater, then I am satisfied. I have no idea ‘how it went’ because it went into multiple ways for different people, but I have been surprised by the actual performing of a concept and that surprise feels very refreshing.

rhythm (n)

fieldings — Sun, 10 Feb 2008 15:57:23 +0000

Making felt the rhythms of those movements and changes.

feeling (n)

fieldings — Sun, 10 Feb 2008 15:56:12 +0000

Making felt the subtle movements of potential, and the (collective) changes in those movements over time.

exposing (n)

fieldings — Sun, 10 Feb 2008 15:53:15 +0000

Exposing or making visible: the degrees of people’s needs for spectacle.

09.02.2008 feeldings (pablo)

polefontde — Sat, 09 Feb 2008 23:48:39 +0000

an israeli woman sits in the bus. she spots someone that looks suspicious and thinks he might be about to blow himself up. she gets stressed, and doesn’t know wether she should get up and do something, wether she should try to tell the bus driver or something like that.

intensities (n)

fieldings — Fri, 08 Feb 2008 13:25:04 +0000

Even though this piece is physically not very exhausting, compared to other works I have made, I have felt it very intensely in my body, more than ever. Last night I could not sleep and my body was running on speed, felt completely coked up. The entire energy of this field of people openly exposed and accessible to everybody in the room is something that is extremely affective. I think I have had energies of 55 people running through my body every night. Becoming a power station or fuse or something like that. It is very electric.

negotiating power (n)

fieldings — Fri, 08 Feb 2008 10:56:16 +0000

Last night’s performance seemed to become such a space for navigating energies and powers. It is indeed a political space. As simple as our walk is, it is enough of an extra activity brought into this space of potential that it can be felt as imposing. On the other hand, nobody was asked to accept it in that way, to sit still on their chairs, to not add what they wish to add. If we add something, do we add it in a sensitive or in a resisting manner. Do we use predictable codes (whistling, clapping) or do we become collectively creative, producing something new and other. If participants feel the difference between potential and passive arrival on chair as audience, isn’t the making-visible of that process exactly enough?

chairfield in retrospect (n)

fieldings — Fri, 08 Feb 2008 10:46:04 +0000

Isn’t it funny that actually quite a number of people think that nothing else than this chairfield needs to happen. It seems as if for some, any type of additional activity (rhythmic walking) becomes too imposing on the situation, making them turn into passive audiences again. All I can think of right now, I am happy they even become aware of that mechanism. Nobody told them they couldn’t stomp around with us, after all it’s easy enough to do. If anybody feels passive sitting on their chair, they could decide otherwise. Some do, some don’t. Those rhythms through which we negotiate activities, powers, energies…. I find very fascinating.