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00:00:30 00:00:46

I was invited to a dinner. It was about ten years ago. It was in Vienna. And I didn’t speak German yet, or just a little bit.

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All the people knew each other. And at the beginning, they were translating to me. But after a while, they were just talking German. And I could hardly understand the conversations.

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But the food was good. We were drinking wine. Had fun.

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Suddenly, a guy there starts to tell a joke.

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At this moment, I had two possibilities. Either I would ask a person to translate the joke to me. But then I will maybe have the embarassment to have the people witnessing me eventually faking the laugh.

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Second, I could pretend I understood. I chose this one.

00:02:30 00:02:54

So I was watching the guy in front of me and completely copying his face. And started laughing and laughing. Completely disconnected from the situation.

00:02:57 00:03:32

Witnessing myself laughing, I was thinking that this is representing the performance. Where the physicality starts to take over. And where the situation is completely detached from the social reality.

00:03:36 00:03:39


00:03:55 00:04:00

I touch Marianne [Baillot].

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I caress her hair. Her face. Her nose. Her neck.

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I caress her skin. Her hand.

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All the parts of the body where the skin is visible.

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From outside, this can be seen as a certain intimacy between two people. But by insisting on this gesture, this movement becomes artificial. Information between two bodies.

00:05:22 00:05:31

Eventually, Alix [Eynaudi] and Agatha [Maskiewicz] are touching themselves also and start touching me.

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My body received the touch I’m giving now.

00:05:52 00:06:25

The body becomes a landscape, a texture, an image, a close-up.

00:06:25 00:06:34

Information is circulating inside myself, receiving a touch and giving one.

00:06:55 00:07:07

In general, I’m interested in blurring the correlation between cause and effect.

00:07:07 00:07:15

Trying to find situations which are not coming from my personal understanding.

00:07:23 00:08:01

While working on the Sports project, Fouad [Asfour] told me about the concept of ‘agativity’, a linguistic term. For example swimming. Swimming is less a movement of arms and legs, but much more the water which makes you swim.

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I really like this.

00:08:10 00:08:16

I was thinking it’s a nice way for me to approach movement.

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And then…

00:08:45 00:09:24

I worked on this piece, in which I would repeat sixty times the same phrase. And each time I will change one parameter. I will constantly struggle in between keeping the flow of the phrase and applying a new task, which will change completely the movement.

00:09:30 00:09:51

I would be interested in how the transition is perceivable. What makes the change recognisable?

00:12:33 00:12:38

A theatre play without words.

00:12:42 00:12:56

Last year, I did this piece where I would perform the whole theatre play but putting the words away.

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We will be two on stage, constantly cueing each other. Having the lines, running into… inside our head. Trying to understand what the other is doing.

00:13:16 00:13:34

Every blink of the eyes, every movement of the shoulder will indicate us… will give us information and will influence our reaction.

00:13:34 00:13:39

The lines were the score of the play.

00:13:45 00:14:07

I guess for the viewer, the desire was to follow a certain narration. But this was never fulfilled. Even though we had to continue playing the play.

00:14:12 00:14:17

Okay. Act one. Part one.

00:17:11 00:17:17

Shaking is a nice feeling.

00:17:18 00:17:43

It’s so full of possibility of a continuous movement. I will feel the muscles, organs and skin shaking by itself.

00:17:44 00:17:56

Marina Abramovic was using shaking for the performance she did in 1972, Freeing the Body.

00:18:02 00:18:44

She was shaking, getting in trance for about six hours, before collapsing by exhaustion. I was kind of intrigued by what she meant by freeing the body. Then I decided reenact this performance. So I went into the studio, covered my head, got undressed, and started dancing for six hours.

00:18:46 00:19:29

After fifteen minutes, I realized, in order to continue, I have to find a strategy. And then I started to understand that for me, less than thinking freedom as a state, like ‘I’m free’, freedom can be seen as a construction of the body.

00:19:31 00:19:59

So I was in transit, I was changing constantly quality, and managed to keep the six hours. And I realized that each change was more and more bringing a certain connection towards the viewer.

00:20:01 00:20:04

This is my response to Marina.

00:23:06 00:23:08

Thank you.