Eric Peter, ‘Economy as Intimacy’
With days lengthening, things in regards to the choreopoem i’m producing during this residency period under ‘Economy as Intimacy’, are beginning to take more concrete shape. By now, i’ve met up a few times with Monika Dorniak to think through movement in relation to the poetries i’ve written. With her background in psychology, she is very much aware of making from a series of gestures and bodily language, a carefully crafted choreography. For the poem ‘Two-And-A-Half’, the movements are at a near-finished stage, whereas we’re still working on the other poems to come up with a choreography. Kari Rosenfeld has been part of the latest rehearsal, to incorporate her role as camera-as-body; questions around how to have her be a present body, yet not taking away attention of myself as performer and the texts i’m reciting; when to come in, when to remove herself, et cetera. I guess, having a camera-as-body sounds all good on paper, but of course there’s challenges arising when incorporating this role in practice. Nevertheless, this has all been quite exciting, and although in the recordings i cannot remember my lines completely yet, i’m still attaching a sneak-peak into one of the rehearsals with attached images.
Tossing verb & noun roundaround
as to synchronise mania with adjustment
the whispered prefix is a code of passage.
In a twisting of the می & -ing
the distance of meaning is closest
in their separation of thousand miles.
But with the sun up
conjugations in abundance force a face
to grow plaster to mask in stillness its emotions.
Excerpt from ‘Two-And-A-Half’
Apart of these things furthering, i found a lot of recognition in a text Monika recommended me—one which i should’ve read long time ago anyways—entitled ‘Anti-Oedipus’, the first book of two on schizophrenia and mania under late-capitalism, by Gilles Deleuze and Félix Guattari. Already in the first chapter, thoughts around machines, bodies, voices, languages, mania and relation come together in beautiful lines such as “Producing-machines, desiring-machines everywhere, schizophrenic machines, all of species life: the self and the non-self, outside and inside, no longer have any meaning whatsoever”* and “[…] [C]apitalism constantly counteracts, constantly inhibits this inherent tendency while at the same time allowing it free rein; it continually seeks to avoid reaching its limit while simultaneously tending toward that limit.”** My poetries developed in a way where mania, schizophrenia, longing/desire became part of the words. I guess this is a line to be drawn from a previous choreopoem i’d presented in May, here in Berlin, at silent green Kulturquartier as part of my graduation from the MA program Art Praxis (Dutch Art Institute), where i’m disrupting language into clicks, gaps, sounds, as they are produced by hiccups of the digital. Now, these concepts have become a more explicit part of my writing. Possibly also under a short email conversation i’d had with Zohreh Deldadeh, whom told me about her curatorial work, and ideas, on mania.
Apart of the things described, work with Kari Rosenfeld and Monika Dorniak, i’ve been meeting up with Ya’nan Wang to talk about the stage: how to think of an encompassing format in which dance, props and words come together. There were some thoughts about DIN standards (the A4 paper, ref. to bureaucracy, paperwork, the printed poem, the unwritten, etc.), and live-projection. I cannot say much more here, but these are initial plans. In relation to what Monika, Kari and i are doing, the work by Ya’nan will shape. With Hamed Kabouk i have had conversations about printing the poems as a booklet, and where photography can form a relation. I am not sure if i take too much work on me with trying to publish a booklet too, so possibly this has to move a few months into the future. Anyway, to summarise, things are rolling, this are melting, things are weaving together—and i’m already halfway the residency period, i realise.
Fig. 2 and 3 – Screenshots from videos Monika shot during rehearsal
* Gilles Deleuze and Félix Guattari, ‘Anti-Oedipus’, p. 12
** idem, p. 48