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00:00:58 00:02:03

I want to read first a text that’s not literature, but some notes I can read first. I will start walking. It’s more about. I was thinking about this walk+talk. And it’s to set up a concept. It’s to set up a context. To try and make it happen to set up a context. Where my sources are from. To try and find. That compilation of notes. Where my physical sources are from. It’s more a constellation of notes. A compilation of notes. A small compilation of a compilation of notes.

00:02:03 00:02:53

The thing I want to achieve is horse riding. I want to ride a horse. I want to achieve. As a child I used to ride ponies and horses as a child. I’ve learnt to mount for more than ten years. I’ve experience, like many children. I have learned how to… I’ve experienced. How to fall. In order to ask the animal. Basic things. Or something once.

00:02:54 00:03:35

Things like, first, basic walking forward, slowly or rapidly, stopping, turning right or left, walking sideways. You have to find out… in order to get something from the animal. And to do so… What we have in common. What we are sharing. What we could share.

00:03:35 00:04:05

Horse riding is a matter of horse techniques. Horse riding is a matter of abstraction. Horse riding is a matter of dissociation. You have to admit you’re facing the fact that you are not speaking the same language. You have to operate some transfers. Facing forward…

00:04:05 00:04:47

Fulfil your desire, to eventually be rescued. But keeping them. Other desires. And then your satisfaction working will occur. On another aim. All the techniques we’re using for horse riding occur. I think it’s an issue. I think it’s about abstraction. Techniques. Used in horse riding all the time. Abstraction. In doing something else. It’s all…

00:04:50 00:05:11

…all the time. Reaching our goals. By working and putting our concentration on something else. Reaching our goals by working hard. Something we have achieved, we want to get.

00:05:11 00:05:54

To gallop for instance, we have to concentrate. To achieve is not to achieve. It’s a kind of galloping. Consequences. We have to concentrate. Back to the horse. Together for instance. We have to work out concepts. In order to obtain any matter. To what we have to achieve. In a way. Gallop for instance. Collateral damage. Weight issues.

00:05:54 00:07:11

There are three physical elements you have to deal with. Weight shifting. The weight which shifts. The balance. Muscles. Weight shifts. You have to combine and associate those values. Also according to the gaze. You have to combine. According to special parameters. The gaze. I speak about the horse. When I talk about the horse. When I speak about the gaze. Peripherical gaze. Watching. Look at something. Location. Peripherical. Direction. Physical location.

00:07:11 00:07:41

In previewing of what you’re going to do… looking at where you have to go. Previewing what you’re going to do. Concentration. Proprioceptive information. Strongly working off. Provides you some concentration.

00:07:41 00:08:38

Tiny physical modifications. And those modifications are providing the horse a way for some information. You’re surrounding yourself with practice by constraints. When I speak about constraint, your surrounding, your practice, yourself becomes a constraint. It’s a way to get what you want. It’s a tricky frame. Putting a frame. A way to get what you want.

00:08:40 00:09:50

And I’m thinking about physical constraints. When you decide to build up. At the same time. Consequences. Or gestures. Transfers. Gestures are providing the gap. In order to put the horse up. Putting the horse out of balance. Framing. All the techniques we have learned and invented to locate the horse. It’s all about weight shifting. Shifting our weight in order gain control. Shift our weight.

00:10:00 00:10:46

One more example. You have to concentrate. It’s about balance. It’s about the horse. How to fit the horse. In order to recover. Running up to physical reactions. Keep your position. Keep your attention. The horse for real. Because it’s really ready. When you could experience… When you carry someone… It’s the same situation. When you bend forward…

00:10:47 00:11:34

It’s the same if you hold someone on the shoulders and if that person would bend a little bit forward, you have to step in order not to fall down. And if the person bends severely backward, that is more or less stopping you.

00:11:53 00:12:00

Even with a small person above.

00:12:06 00:12:13

I mean, someone who you liked. It’s not a question of weight.

00:12:17 00:12:43

You ask someone to step forward. If that person bended forward, you have to step forward in order not to fall. That is more or less stopping you. If that person then bends backward, that is more or less stopping you.

00:12:43 00:13:10

It’s a physical situation. All for me. A way to open structure. Relations. Related to physical situations. Weight. And also abstraction. And dissociation. Power situation. And also constraint. A strange relation. Power.

00:13:10 00:13:45

We’re using to… Issues. Someone. Many words or issues. You’re using to… Both practices are similar. Peripherical gaze. We have to… Weight shifting. We have to balance. The relationship between the present and the past. The awareness of what happened. In one body. The weight shifting.

00:13:45 00:14:22

What kind of potentialities? What kind of relationships? What kind of decisions do you have to take? Physical sources. Issues. What happened and what could happen in the near future. What kind of potentiality? And I’ve come to the conclusion that horse riding has been my first dance education.

00:18:04 00:18:24

I like the idea that the event is constantly shifting from place to place and from person to person.

00:18:24 00:18:56

In the same kind of theme, I like the idea of being caught up into history. Not in a way of being trapped into history, but just being completely or fully involved in what’s happening around.

00:18:56,000 00:19:21

The fact that I could be the event now, but the building we are in now could also be the event, and that’s only a matter of focus.

00:19:21 00:19:42

How do we relate to the event and to the context around?

00:19:45 00:20:10

There are many things which have been done. There are many things I have done. There are many things which has been done. But I don’t know them, even though I have knowledge about them without knowing anything.

00:20:32 00:20:25

Some years ago, I was performing here, with some dance. I was participating as a dancer. In the Halle G. And in the middle of the performance, I was exactly here. But at that moment I was kind of hidden. I wasn’t in the space, I was behind the black thing here. And I was kind of waiting for the cue from someone close to the backdrop there.

00:22:28 00:23:23

The same year, it was in 2003 (…). And at that moment, we were touring in Portugal and it was a small theatre and I was behind the backdrop and my colleagues were joking around there where I was. I was concentrated. And it was an Italian style theatre, so there was a kind of slight slope.

00:23:23 00:23:31

And I do want to do it now, but not as if I was in that theatre. But I want to do it right now.

00:25:08 00:25:29

Two years ago, in 2001, we were already touring that piece… well, that one. And we performed in the room next to that one in Halle G. So it was quite different.

00:25:44 00:26:00

And it was something like…

00:28:15 00:28:24

And this lasts four minutes and thirty three seconds

00:28:27 00:28:53

But the interesting thing is how to shift from what I’ve done, randomly, what I’ve done, what I could do, and what has been done. But I don’t know. But I don’t…

00:28:53 00:29:47

What I’m doing now.

00:29:48 00:30:32

What I’ve seen some days ago.

00:30:34 00:30:42

What I’m doing now. (…)

00:31:35 00:32:02

Now I’m struggling with…

00:32:05 00:32:39

Some weeks ago, I heard on the radio in France a woman addressing an overexcited crowd:

00:32:39 00:35:00

I stand before you tonight, the Iron Lady of the Western world.