Diving into cold deep seas
Weird orchestra for a blind auditory


In front of us, a vast of beauty and intensity, the whole ocean and the whole sky,
so we run,
we run and we took out our clothes
and we run
we run to join the communion of the sea,
the communion of being hurt by thousands of knives
the communion of joining really really cold water in winter
Chapter I-Identity
The IDcharacter vs. The non IDcharacter.
-what is/does a ID character.-Character is because does- Knowned characters in
theater-fims. [Hamlet, Mc Beth, Don Juan, The Godfather], Evolution, Goals,
Strategies [Vengeance, power, fear+power] Is really Hamlet Id Character?
Doesn’t search his identity -but with a vengeance strategy (Solide strategy, solid
goals, solid wishes, solid conflicts = SOLID ID Characters) what’s solid, what’s
liquid?
-what’s a non Id Character? non Id’s characters doesn’t do, so they aren’t (where
are their goals, strategies, wishes?) It’s about Identity, what they research, they
don’t have strategies -maybe society or nature or theirselves are their “engine” their
will are they already fragmented, or is the action -or non action or the story or nonstory
who takes-off their Identity?? [Woyszeck, Memento, any modern drama’s
character?]
-Are we ID Characters? or are we Non-ID Characters?
#This concept -little thin, by the way- never appeared properly, but can be
renamed as from Cells to Beings, or from 0 to 10, because is that the organic
progression, and about IDʼs, could, be, if we called
Diving into cold deep seas: A Théâtre de La Liberté protoexperience
1 this research has been started in 2012 In Brussels, in the environment of Théâtre de La Liberté, during the soundlab: Identity
workshop and will continue in Nadine: Paradox, (with the background of the fertile Swansea week of arts and There’s something about
silence “performance for a none existing auditory”*)
# All the remarks mean after the process in Lab©
Keep your ID, beware the pickpockets.
(CRAZY WORDS+MONKEYS)

 

WE ARE the starting point in creating a character, as any artist function (see Autobiopsy) so, which terms or points in our life -endogenic vs. exogenic- do we

realize as ID or NOT ID?

-Can we be compared as those people that doesn’t have name, no personality? are
some of them in us, or vice et versa?
What would do an ID character if we steal their ID? what we should take off from
some of them?
#Even more, even further, the starter point is not even us, but our breath, and then
our voice or sounds from inside, and then maybe a silence. Thatʼs for real.
#-What’s the difference between a
Monkey and a Cell?
Monkey just steal and waste, after playing a lot, doing a lot, but they are free
to switch and laught.
Cells are so busy on identify themselves, on Identify the others, Identify the
environment. But cells get the words to grow, to INTEGRATE them. and
themselves (I don’t know about monkeys)
Not avoiding the history but focus in the
source:
who are those people -but we don’t care
-Ok, so there is an history, so, what’s happening in there? but in deep, not in
concept, but in deep. What is happening there further away from text (a lot) or
actions (not many) or history (confusing, banal, maybe just context) What is really
happening in there??
So what are they doing) What about what they do against what is happening (do
they still having strategies, tools, goals?)
# Is about environment, contexts, frames: Is like that how we catch the
source and play in a new and fresh manner

Not running away from the action but
digging in the word:
what are they saying -but we don’t care
-Thats it, those people are doing, so they are, and they are talking, therefore they
communicate, so they are, and they are saying things (Is that content important, or
is just discourse) what is discourse, and why NON ID Characters use to do it a lot?
They became voice-machines, ¿Are we in a over-talky society? It’s enough for pass
the message? Discourse against message
#Is in words where we express each others, we transmit, we BROADCAST.
Words can be modified, stolen, changed or mutated, but they still full of
meaning.
# But really silence is strongest.
Creating our own non ID-characters:
crash them, stretch them, split them!!
-Sure, letʼs create a character in four steps: Where he is. With who is he talking.
What he does. What is he saying. So this should be a character more or less solid,
He is situated on place, he recognizes an interlocutor, he is doing and saying, so
thinking and he also exist…Or maybe not? let’s play taking off equations, changing
or adding? Maybe he is not, he is not there, he is alone, he can not talk…he does
nothing…
-Let’s do even less, create a character and try to do it the most blur as possible…
Playing and performing the other’s non
characters:
picking up the pieces from the floor.
-We can start from a classic play or film, and choose any character, and try to make
him loose his Identity, become him confused, isolated, anxious, afraid, scared,
alone, (More, more of this elements/states of being that can describe a NON ID
character -are we feeling it as well as public?)
DO we need to show something finished, can we keep not only the characters an
discourses but the message fragmented, as well?
Diving into cold deep seas: A Théâtre de La Liberté protoexperience
The blind public:
why we don’t want anymore their eyes.
We can assume than our characters are fragmented, as the history we will show, as
ourself, we are Non ID…but has the society Identity? have our public Identity, are
they solid, do they entrust in their goals, targets, strategies…we are completely in a
game changing moment, and the society is becoming more and more liquid…
What’s wrong with the excessive emphasis in image, a huge amount of everyday
visual info, our retine is more and more wasted, and we are developing skills for
consume very fast those images, those contents,
but are we loosing the skills to keep them with us, to keep information and even
knowledge? We need to aware the public, they need to hear, to realize they are
becoming liquids, that not solid ID’s are necessary any more, that for those not
identity characters, the best way to approach is no way to do it.
Sound, with his lightness, ephemera footprint in our brain, and the capacity to move
and awake unconceness and forgot places in our sleeper brain, maybe is the
choice to show this absence of Identity in our work.
#And maybe we want the orchestra blind, as well..Blindfold is honest, humble.
Noise, sounds and other references in
space and time:
environment is not made of silence never
But music is us, we made it, we are it. what we need and is hard to get is SILENCE.
#Repeat the experience with “the silence” workshops and performances.
#Achromia
#Chaos we are, In chaos we trust.
Diving into cold deep seas: A Théâtre de La Liberté protoexperience
* About blinds auditories and none
auditories.
WE had to destroy the old theatre. It was TOO Old. It was dangerous for
pedestrians.
WE had to play (we cannot stop thinking doing doing playing) in the nowhere,
where before was our OLD theater (there are some, old and even older, that stills
stands)
WE missed a roof,because winter was cold and dark, so we started to ask for
hostage.
WE missed freedom, because in hostage you have to behave, and if not, your out.
WE get a place, we builded. It was a mental place, a mental state, WE were free.
But there was nobody.
WE where playing alone.
ARE WE allowed to destroy, to take off the pedestrians?
SHOULD WE Invite them to our new place?
ARE they very WELCOME?
ARE WE prepare for them? Or they remind us our OLD BURNED THEATER?
IS REAL THAT?
ARE WE REAL?
ARE THEY REAL?
ARE THEY OUR MIRROR?
DO WE NEED THEM?
WE need a BLIND AUDITORY
A HANDICAP AUDITORY
Because they don’t need us
And we don’t need them
BUT Is about SYMBIOSIS
IS ABOUT PARASITS
Is the OLD history of
people listening fire-camp stories.
I need a BLIND auditory,
because they are BLIND, they do not remind me nothing
nothing attached to the past
BECAUSE they are BLIND
I can whisper in their ears and they will understand
THAT
OVER ALL
WE ARE SO BLINDS AS THEM.
#Against the logic, this was used in the background in the Broadcasting Test
before Broadcast the day 3/3/12
Diving into cold deep seas: A Théâtre de La Liberté protoexperience
TRANSVERSALITY:
What you think crossing the street or in the bathroom
Time Line: There’s no play, there is not live performance but a time line, an action’s layer
of place and time, which somethings means
Layers:
” ” Characters
” ” Space
” ” Sound +
” ” Story
” ” Scene
” ” –––––––––––––––––
” ” Identity
#” ”
” ” Environment
” ” cells ”
” ” being
” ” aware +
” ” breathing
” ” sound
” ” voice
” ” language
” ” meaning
” ” contact
” ” ––––––––––––––
” ” character
# The previous addition, shows how in first instance, expectative for the Lab© were on
surface, from Character to Identity, but is during the Lab© where we had realize that the
most important starts in the environment, where the first cells (of that character) grows
from 0 to 10, and are evolved in to a character, before he will became Identity (more solid
or liquid) In a very standard manner (all are index from the analysis of a text or -not-
Diving into cold deep seas: A Théâtre de La Liberté protoexperience
Culture=Identity=context=verbalization, if you don’t/can’t say it, it doesn’t exist, but if
culture means, culture makes your context, so YOU are what you say in where you life
because YOU are.
Culture and context can be call Story, as some points, signals of reference. (or anything
else)
#AFTER WORKSHOP: I INSIST; IDENTITY CAN BE AN HERITAGE IN PART; BUT IS
ABOUT CONTEXT AND ELEMENTS. Change them and you will change your Identity, or
almost your COMFORT AREA (or what to avoid for the rest of your life)
You are what you say
Doesn’t mind what you say if you don’t realize it (How to stop acting, Harold Guskin)
But doesn’t mind what you do as well (new dramma of non-action)
Try to go to the unconcesness, that’s the only key; from unconscesness to
uncounscesness -or how to make work change, message and behavior in modern society
Multi characters-disfunctional dialogue-The mass vs the man-Situation and conflict or
atmosphere and environment?.-The sound as vector of action and non-action.
AFTER WORKSHOP:
Some images:
Evolution of the character: from really early ages!!! (how to grown them, awake them, they
are just amebas in cold deep seas(which is the context)
Importance of context: After breathing, and self awareness, they can explore the
environment, discover the word.
Really honest characters.
They can deal with other ENTITIES
They have enough recourses, strategies, tools.
It’s better if they are blind BLIND BLIND
About elements: How space elements defines the play. PLAYGROUND vs GARDEN :
Feed them or let them play?
Second natures: Languages, how to deal with them (singing, moving, showing)
Diving into cold deep seas: A Théâtre de La Liberté protoexperience
The importance in going from 0 to 10
From the bottom to the surface
Try to get a solid character is a totally 10, even more. How to deal of being Tréplev or
Maria Estuardo? Isn’t better to start from 0, to make grew your own character?
Is not an impure, is REALLY a new being. Is not about other context, sorry, this workshop
is not IS NOT for being a solid Character. Solid characters (ID CHaracters are needed of
SOLID ACTORS, SOLID TEXTS and SOLID DIRECTORS) We are Scenic Artists, which
means: we are aware of what we look for. (SOLID ACTORS are hidden behind SOLID
CHARACTERS- ID Characters and they are pushed up by SOLID DIRECTORS, and even
worst, EXPECTING some FEEDBACK from PUBLIC-another new huge element in the
equation, which, in convention means; to make works their expectations)
Scenic artist don’t do that, even if they have to deal with SOLID CHARACTERS or
DIRECTORS- and if the keep they NON ID shape)They are Independent creators, so not
part of that chain of SOLIDITY and RUSTY.
So going from 0 means humble, honesty, give yourself the space and time to discover this
those news elements. This is a strategy that still in progress, and for the moment is only
tested in human beings (more than 10), in an environment of research.
At the same time, THE WEIRD ORCHESTRA FOR A BLIND AUDITORY works as a
research it self, but is an idea that comes from another idea, which is the fragmented play
from Maeterlink, the Sightless.
It doesn’t means that it can not work for it self, or even been tested on other plays, as the
ones in the biography, even more, in SOLID ID CHARACTER’S Plays (are them solid,
really- I think if IDENTITY -our one-Doesn’t exist because is part of a context, those words
in those sheets are not for real any more, Isn’t?)
What I Heard in the water
(After “Test Broadcast” at KaaiTheater) While diving into deep cold
seas: Identity.
Because I became a “Listener”.
What IS or what’s NOT Broadcast (Is not acting, is not performing, Is not
doing a show IS NOT ENTERTAINMENT)
I think, for Broadcast, is not enough to be part listener/part maker but to
some kind of receiver system (were we broadcasting in the garden, while we
were broadcasting on streaming? It’s that enough?)
I became I BLINDER, a person who blind people. As well, I started to write
quotes, so I spread some characters or languages or text to the
environment, to the CONTEXT.
I didn’t like most of what i saw, what I heard, so I became:
-Armored, but permeable, blind, but listener.-
Diving into cold deep seas: A Théâtre de La Liberté protoexperience
Like that I stood for one hour, in a chair, while the others, the “WEIRD
ORCHESTRA” interacted with me, but not me with them.
The said, my image was too strong, maybe it affect them too much. But is all
what about is.
I didn’t realize when we start and when we finished. The environment was
completely changed. That’s something really nice to enjoy.
The first time, we woke up and all the web was around.
The second time, I woke up and everything was clean and empty.
There’s some magic in being BLIND.
I also did a Siesta, as well.*
I got a flower, some ear-whispers and a sweet candy smell…
Those are gifts, as the plic plic of the lights.
Going subtile.
*Maybe a Siesta is so needed as a Piñata** is.
**Piñata was the way developed to sacriffy to the group a symbol, to avoid
the “bad luck” to our researchers/travellers -Do it Your Self Vodoo-
What about the weird orchestra for a blind auditory?
I was the orchestra, trying to blind people. It didn’t work, but they used as a
new state of things and played with it.
I was the auditory, but It didn’t work. I was so present as performer, as
maker, stucked in the place, with a rough “I DON’T WANT TO SEE YOU
ANYMORE”
Diving into cold deep seas: A Théâtre de La Liberté protoexperience
While diving, you can find ghost fishes
Or dealing with the others
We all fight our GHOSTS. But in intimity. Is a domestic activity, not artistic. In
Performing arts can happen that many people saves the visit to the “Doctor”.
I’m not anybody’s doctor, I don’t want to deal with anyone GHOST. I bring
myself aware and worked. I work out, on it. Is not fair enough to get different
levels of processed people -but self processed, as the benefits of getting
involved in self-process-
Can all we share the same PLAYGROUND?
#Digging silence in chaos
It happened, We were there.
Tuning before Broadcasting
How to tune ?
Is a huge question, but maybe is so simple as -where and how we start
BROADCASTING and some times -(OLD THEATER RULES-) A collective
warming up works, or just a common starting point.
Is needed to tune?
I was some sort of public, but what I realize, was that, I’d not enjoy (-Is not
about enjoy, but is about to be there) a long term performance with people
not TUNNED. Maybe is boring, maybe is NOISY, maybe is not even ART*
As well, as public, I’d not understand what is about, not even the most
simple concepts, because maybe they are hidden behind lots of sublimes
and remarks -We need SINTAX, SYNOPSIS, SIMPLICITY, so the antagonist
concepts become one, one in all its complexity and power, or maybe two, or
three, but not infinite.
We need to communicate some elements, some questions and some
concepts
Diving into cold deep seas: A Théâtre de La Liberté protoexperience
BUT WE DON’T.2
*What the hell is ART?-ART is completely old, and overrated, but what we
do. -what about un-artists,-Allan Kaprow
*What the hell is performer
*What the hell we do
*So many questions, we should try to answer one a year..
Diving into cold deep seas: A Théâtre de La Liberté protoexperience
2 we are all handicapped, let’s stop pretending we are not.
blindfolding : a concept ( syntax, synopsis, simplicity)
the blinds: a concept
let’s keep it simple: blinding ourselves, to see clearer… the cracks,… it’s all
about the cracks,…
through which light shines in,
real light,
to see this light, you got dare to take the risk to turn your face in the other
direction (blindfolding)
the blinds maybe see more than the not blinded ones,
they are not blinded by all these lights that clear up the sky, any more,
can see the darkness, and all the stars behind,…
(everything inverse : to see, blindfold yourself,
blindfold yourself)                                                                                                                                                                                                                                                                                                                                  What they wrote to DIVE…
-Baby, Baby, I’m here
-Kuchu kuchu
-Eh up Eh up
-Sometimes I think there’s many too much talking all the time, you know, you
know…There’s too many words and wouldn’t be much better…
-Do I like this blue?
-Stripes are better
-(the noise of a dingling clock)
-Forget
-Who is waiting for yesterday
-The room is Hot
-I feel the wall of sound
-It won’t stop dripping!
-I could just drift off
-Wow! Nice
-I just hear a rumor
-Silence
-I’m waiting for something
-Someone
-Noise
-Noise
-Praying
-I need to stay here. I’m afraid.
-Breath is sacred
-Leave no notes behind
-Die young
-Have it now
-Relief ambient
-Sometimes we are one, sometimes it’s 7
-Be a monkey
-Is there an end?
-Warm
-It’s good to shut up once in a while
-what is that? How beautiful
Diving into cold deep seas: A Théâtre de La Liberté protoexperience
-I want to join in
-Let me go
-It’s blocked. I need to unblock It
-My physical state has changed
-are we separated?
-Poem of the tongue
-Feeling one with sound
-A sound was born, a sound exist
-just be sound
…or EMERGE
-Scream (aaaah)
-Where am I?
-I feel pain!
-I can’t see anything
-Let’s get out!
-Don’t get the wrong feeling.
-Au
-Maybe
-Should we go on?
-Arrrrrgh
-Crazy words are also words
-What’s that smell?
-I want to run away. But I can not
-Why?
-Because It’s dark
-Noise
-Noise
-Not listening anymore
-I’m attached to the ground
What I wrote or read, as the blinder, or maybe before
-I lost my voice
-What am I doing here?
-I don’t know what I’m doing here.
-Nice drawings.
Diving into cold deep seas: A Théâtre de La Liberté protoexperience
Some quotes from the play: the sightless
-Is he not coming yet?
-You have waked me!
-I was asleep too.
-I was asleep too.
-Is he not coming yet?
-I hear nothing coming.
-It must be about time to go back to the asylum.
-We want to know where we are!
-It has grown cold since he left.
-Does any one know where we are?
-We were walking a very long time; we must be very far from the asylum.
-Ah! the women are opposite us?
-We are sitting opposite you.Wait, I will come next to you. Where are you?
Speak! that I may hear where you are!
-Here; we are sitting on stones.
-There is something between us . . .
-It is better to stay where one is!
Diving into cold deep seas: A Théâtre de La Liberté protoexperience
Chapter II-Paradox
Our thoughts are thought by another
“thinker” who thinks of us…
The beings are awake, they can breath, but, do they own their thoughts?
Brain pollution, or, How to pollute a Brain.
Become a listener, beware of listening
Infection: one minute of silence is not enough
The Unique Thinker
Neurone-ville against the Unique Thinker
How to break the community and became individuals
How to deal with the pain of being splatted
How to became again one: COMUNNION
Diving into cold deep seas: A Théâtre de La Liberté protoexperience
Bibliography selected
Vorher/Nachher, Roland Schimmelpfennig
Schwarzes Tier Traurigkeit, Anja Hilling
Attemps on her life, Michael Crimp
L’Innomable-Breath, Samuel Beckett
Les aveugles, Maurice Maeterlinck
Liquid Modernity, Zygmunt Bauman
L’impersonage: study from La crise du personnage dans le théâtre moderne,
Jean-Pierre Sarrazac. 2006
La crise du personnage dans le théâtre moderne, Grasset, 1978 Robert
Abirached.
Ubay Martin
vzw.Thêátre de la Liberté
Brussel
2012

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