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BODY FACTORY
Souci de soi
INRH P2 (duet/group)
together
à residence
Nick Cave Dance Lab
INRH P1 (solo)
SMELL
Cabinet
(Cont.)
PLUME
Siza Study
MGM Grand
Cold Vein
OPEN
THE BELLS
Mouth w/ Objects
Ingrain
The Endless Pace
Jandek
kilterstase
bell + garcia
RINDR
PRISM
easy prism
s/Moustache
studlec
Raydon
OtherDANCE Fest
gallery girl
TCITCW variation
5 eyes
TCITCW duet
Aether
FETE
TCITCW solo
ShHe Knew
Peacocks
Kinderglow
Yellow Sidewalk
Who Me House








Kinderglow/13 august 2004

1. the twins. two girls enter holding hand. sisters. twins. they are glamorous & androgynous & reflect incest & innocence & reflect twins – gemini- they are two aspects of self. of woman girl, combined. these two see each other without having to look. they sense the bodies of one another without having to touch the skin of one another. these sisters intuit & telepath with simple convergence of thought & emotion.

 

2. the twins sit on the couch together. sisters. gelsey reads nancy drew stories to biba, who sees right through them. these stories of girlhood, innocence, are merely an excuse for the two to sit close, presence of another’s body close. so curious are they of one another, attracted, as they are so similar. alarmingly so. erotic these moments can by perceived by the audience, as they are also natural, thoughtless, simple interaction of the two sisters.

 

3. the room is framed & lit. the girls are watched by few, watched by many. they know they are being watched, the audience’s presence, they know this is also natural. can this be objectification if they are the creators of the image? if they are the purveyors of feminine/feline/womangirl stereotype, manipulating its limits & boundaries, who defines & who is defined?

 

4. the twins enter the room together. one tells a story & the other is told. the actor & receptor, giver & audience. their minds are narrow. thoughts are narrow. their room, their couch, their bodies their nancy drew story. this is what is done, this is how it is always done. no need to dismantle or uncover. the traditions & ritual are innate, inherent, each movement is calculated, exact, and intentional. geography of domesticity. biba begins to get restless with all the reading, & eventually she leaves the room. she goes out. she tries to run, forever coming back, being slammed back to where she started. it is another day out in the city, out in the country, picking up debris, dusting them off, giving use again to that which is constantly discarded. she also discards, in the end.

 

5. gelsey knows biba is gone, she looks out the window. she salutes biba through the window. gelsey is at first afraid of her vulnerability now that she is alone in the room. she crawls to the corner after the first glance in the eyes of an audience onlooker. then she begins weaving the web. each time she makes eye contact with someone in the gallery she chooses the color of the string & the number of passes based on how this visual exchange has made her feel.

 

6. biba returns. crawls through the web to the couch. gelsey closes the window. their room is complete once again, contained. biba gives gelsey another nancy drew & she begins to read. softly when close, louder when far away. whisper whisper. secrets, small minds are shared minds, mysterious minds. these girls. these women. sheltered in a doll-like world. own private world.

 

7. the web. its protection from the others, the gaze, the subjector. it is a trap, a seduction, a net for fear & insecurity. it is a guide and structure, shedding light on the dimensions of reality, the dimensions of fantasy, & grounding the space. mapping it like a grid. offering truth in this web, offering a shield, offering another frame for the bait who also spins the web. object & subject once again emerges as one.

 

8. the wall. gelsey & biba both have separate moments with the wall, then they have on together. here. leaning the head into the wall, all weight & pressure is here in this contact & the movement along the wall passes through this contact as well. the mind is alleviated and supported and it is a sensual experience. here the girls rest hands on each other’s bodies with small subtle movements & shifts between. incestuous & exhibitionist nature of the moment attracts the pedophile, attracts the sexuality of the one who plays with dolls as they play with each other. gelsey salutes. the first cycle of the story is completed. this cycle ends.

 

9. the cycle begins one again. this brings about recognition of the “installation” nature of the dance piece. art object in gallery.

 

10. second time around there is the web within which biba gets caught as gelsey reads another nancy drew story. biba moves within the lines of string, then wraps it all around her body, tangling limbs & torso, ripping the web down and away, it’s all over her. gelsey comes to untangle her.

 

11. they sit. they smile at one another. they exit with the knock of 13 & the fist. testing the waters with toes. this is also how they enter the room. the power of the end. the power of the parting. the power of resolution & the questions left behind. the power of love.

 

 

13. the musician is tim. he plays the xylophone. it is the soundtrack and also follows a specific time frame/structure. 10 minutes xylophone. peaches. suicide. tim can leave the room when he is not playing. he can go into the gallery to observe the art, to talk with people who may or may not be direct audience members of the piece. he can drink wine and smoke a cigarette. tim returns each time though to play the xylophone for the next 10-minute music cycle. he sometimes watches the dancers. he sometimes concentrates solely on the music he’s playing. tim knows biba & gelsey. he knows them well. he is used to their antics, he is generous with their world. they are like neighbors who both agree to tend the garden, watering on opposite days. working together they are also apart. intersecting indirectly, to make something beautiful & complete which is beyond the any one of them. biba, gelsey, tim. they are inextricably linked.

 


urisov