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This article was posted on 07 Jun 2013, and is filed under e-Journal, Volume 2, Issue 2.

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PUZZLE seminar performance: the theatre of consciousness

Maria Lalou (author of theatre of consciousness & PUZZLE seminar performance)

Katerina Drakopoulou (co-author of seminar performance PUZZLE)
Maro Zacharogianni(co-author of seminar performance PUZZLE)

Abstract: PUZZLE – theatre of consciousness critical work is the 3rd circle of PUZZLE attempting to get into an encounter between the original seminar performance PUZZLE and this other dimension of contextualizing ‘theatre of consciousness’ and its method by choosing a radical example, on talking with other’s people’s tongue. PUZZLE series is part of the on-going research with the title ‘polyrhythmic realities’ which has its core of interest in the intermediary space of conscious and subconscious, triggered by the distortion of the notion of space. There is where the looping question reoccurs on the relation of spectator and spectator-ship, in the points of what is seen, who/how is looking and what is perceived, gives its constant feedback; but if there isn’t a spectator there is no spectator-ship and and there is no spectator-ship if there is no spectacle. In reference to the fact of one perceiving things that are not immediately evident… the viewer experiences an architectural representation of a brain scan, via the constant reconstruction of image and speech.

In the seminar, two performers are brought together in order to create a relation based on the view through a glass mirror cup object. The object becomes a lens of observation to their perception of reality. A surveillance camera captures their action, and a television streams the recorded action. Within the composition of PUZZLE – seminar performance, the performer is initially developing a relation to the self, further the relation to the mirrored object returning to self and in continuation to the other. In both practical and theoretical sense, the use of a mirrored object, the spatial arrangements, and the sequence of elements given are placing the performer and the audience in a direct research. Gilles Deleuze informs on one less manifesto ‘The true power of theatre is inseparable from the representation of the power of theatre, even if that is a critical representation.’ Yet while exposure of a performance act is delivered by a mediated viewing to the public, there is no concept as such of representation.

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Maria Lalou is an artist and independent researcher born in Athens in 1977, living in Amsterdam. Lalou works with the science of objects – containers, spatial installations, accumulated performances and film, developing context as of extensions of architecture. Lalou’s specialization at glass science has been evolving in contextualizing aspects of mass / surface / space/ time /duration in the sphere of cognition by challenging the bodily experience and questioning alignment of the vertical and horizontal, disposition and disorientation; as a performance within the politics of time. She graduated from the Gerrit Rietveld Academie and is currently a researcher at DasArts Amsterdam. Her works has been shown amongst others in De Oude Kerk Museum in Amsterdam, in the Contemporary Art Museum of Thessaloniki during the 2nd Biennale of Thessaloniki and in ‘Living Spaces’-2nd Contemporary Art Festival in Damascus. For more info visit http://reaction-lalou.com

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