pestilence day 13

Friday, rehearsal 13, night and darkness. Daniel and I seem to work rather well when the building creaks and groans, possums scurry in through rotten guttering, dust and the rot of building disease fall from the rafters in a gentle drizzle. The darkness is eerie, and we turn off man lights, warm ourselves with the bar heater, cluster around laptop, chocolate and notebooks and entertain ourselves past the witching hour.

Abjection. Yes, we finally got it, all nine or so minutes after a couple of walk-talk-throughs and then it became … fun. There is a skeleton of motion which is largely the same, cycles of repetition that unintentionally came from both the improvisations and the editing of video. But that’s not the scene. Retching, gagging, mouths running with saliva, eyes watering, involuntary bodily noises and shudders, mess and the smell of spit, fingers probing noses, ears, mouths, asses, the taste of other orifices, tongues licking and biting feet and anything that can be reached, this is the choreography, the fun in the scene.

I spent the previous night and Friday morning reading Baurdillard and Foucault, and watching some of epidemic again, preparation for the night. In the end only one scene was played with, a description of the Black Plague as it ravaged a town in 14th Century Italy. We reduced his description down to the bones, bodies dragged to mass graves, thrown in piles, dogs digging up and devouring the barely inhumed corpses, the contagiousness of breath, crosses marking the stricken.

It’s fun to do this as improvisation and then tailor it, talk and watch the video – the camera in my MacBook Pro is exceptional, it seems to have a noticeably wide lens and is so receptive in low light mmm… perfect for recording rehearsal stuff and not wanting to lug a video camera around.

So we have much of the second section of the work in some state of existence, and a couple of bits of the first half. Monday we’re going to spend most of the time going over this and hopefully it’ll all come together and be something.

pestilence day 12

Inadvertently, Daniel and i have spent all of this week working on the one scene that came from Kristeva’s abjection, over and over until our brains were fried. I don’t know an easy or simple or fast or effective way to learn complex stuff from video and retain it. Today we were repeatedly mocked by our inability to remember what comes next, finding ourselves with toes in mouths pondering just whether we fell to the left one more time or perhaps stuck a finger in an ear again.

It’s not just the complexity of the skeleton of the scene that is causing our eyes to water and brains to drone, “lalalalalalala!!!! I can’t hear you!!!” and bodies to seize in moments of catalepsy when we try to endure one more attempt, it’s that everything is so similar and for some reason we are always on our left sides.

We have though, only been working methodically on this scene this week, and it is currently around ten minutes of very intricate movement, a shadow of monadologie and the delirium of learning improvisation from video. So therein lies the imperative to make sure we burp and fart often and laugh a lot and go for coffee, and remember the moment when we spat copiously in our hands, rubbed them together then, while rubbing our spit in our eyes vigorously, we realised ArtsSA is paying us to do this.

No more of this though. Henceforth, we just reiterate what we know and don’t spend too much time fretting over forty or so small phrases. Friday brings another night rehearsal, when the gloom and hysteria seep a little too close and the old building shudders of its own life.

I have all my books with me again. For the first time in four years, all my possessions are in one place, here in a small cottage in Adelaide, near the Central Markets. Unpacked mostly still, I did burrow around like a truffle pig in a couple of them for sundry oddments… books. My belongings total six large and heavy boxes of books and a suitcase of clothes. (Other boxes, a couple for additional things not so important.) Two books surfaced I’m now reading in an exemplarily cursory manner, Baudrillard’s Symbolic Exchange and Death, which was the heart of this work, failed to stimulate me in Melbourne, was injudiciously packed away, resurfaced and caused me to go, “Oooh!!! Rather good!”, and Foucault’s Birth of the Clinic which I read by staring blankly at the page and turning it every minute or so, hoping his style of writing, which I find reads like a pompous twat droning, will miraculously appeal to me.

Other things for tomorrow night: Lars von Trier’s Epidemic, still. Bodily detritus, necessitating reading Foucault, other things I hope engender fun, mania, bouts of terror, involuntary bodily functions… I burp in public now. Loudly.

pestilence day 1 & 2

There is a reason for not blogging day one of rehearsals and it has to do with being delightfully waylaid by someone. However, yesterday Daniel and I started rehearsals for pestilence, which is supposed to be the third work in a series that began with extermination and followed with hell but perhaps is something else.

I started to read Baudrillard’s Symbolic Exchange and Death again and found after all the theory I was reading last year, Judith Butler and so on, it just didn’t feel substantial enough. So I thought I’d go to Foucault who has always been something of a silent partner in this stuff, and found him a bit boring to read, which I remembered from the first time. Lucky I stumbled back onto Julia Kristeva and began reading Powers of Horror again.

And then while rifling through all my DVDs looking for some Cantonese Opera, some unfinished stuff from hell, I came across Lars von Trier’s Epidemic, and Daniel and I have been watching much of it today and last night.

Also we have been expectorated much drool and spittle, and are having much disturbing fun in Dancecraft’s studios, and experiencing much abjection.

But more profoundly, it was a word that was a crossroads, a bridge, and that took into account [accounted for] Céline’s interest in borderline states: idiocy, rot [rottenness], people’s violence, anger … being mired in vomit, all sorts of phenomena that have to do simultaneously with disgust and fascination.

…I realized that in a certain number of clinical states that we see now, and that we perhaps a bit hastily refer to as “borderline,” the subjects are neither in the classic category of neurosis nor in the more or less classic category of psychosis, but find themselves between two chairs in a way, and what characterizes them is an extreme fragility of their boundaries.

By that I mean corporeal boundaries, for example, the skin, which becomes the locus of different symptoms and somatizations. This can also be different places, borders, or frontiers, of the body, the different orifices, the mouth, sexual organs, the anus, but also ears, eyes, etc. And also the limits [boundaries] between the self [ego, moi] and the other. The borderline [person] is often extremely sensitive to all sorts of threats and challenges to his integrity in terms of the other … creates a sort of territory between the two, which he often inhabits with a feeling of unworthiness or even deterioration [indignity or even rot].

— Julia Kristeva in conversation with Sylvère Lotringer


This morning, sleeping not yoga-ing, a little message from Alison in Adelaide, “Dear frances … i am pleased to hav approved $15000 for ur project! Wo hoo! Yay! Xxxxx”.

I’m feeling slightly delirious again …

I mean to say, Arts SA have funded pestilence, for development early next year. This is the third part of the cycle of works that started with extermination and hell. And so I get to play with some of my favourite dancers once more.

And equally thrilling is Alison herself getting Triennnial funding.

Champagne!!! etc. I expect a rather drunken night at La Boheme soon.