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When does the personal become collective and when does the collective slide into the personal?
When a particular layer of a movement or a gesture remains imprinted in all the bodies, the group recognises that as an imprint. The group can become exactly this imprint or even play with it, connect through it and once again decompose it, embodying it in time and space.
From the position of the spectator: the tools or scores that the spectators have received at the beginning of the performance, for example, the map of the space, help with the spectator’s orientation. The spectator is invited on a walk and shares simple actions, which turns out to be enough for individual roles to begin to overlap or even change.
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What is repetition?
The more you wish to become the repetition of some space or gesture, the more you change it. Settling in gives you an inner understanding of that space, gesture or layout. Because the individual performer finds in the previous space some personal influence on how they inhabited that space. The space begins to belong to the group, and the group is constantly modulating the space in the space-time continuum. In doing so, the group eventually develops a vocabulary of gestures, hand motions, movements, situations, relationships and poetic images that belong to this shared space.
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How to reach your social role?
Knowingly or unknowingly, in the proposed installation environment, the spectator, who becomes active, assumes the “editing” as a mode of action. Namely, the spectator is not only passive, with one’s perceptual activity sensitised, but also organises. Similar to the K-effect (an experiment in film), which shows the fundamental impact that editing has on human perception and proves that reading an image depends on the context of the image before and after. The event becomes a “film”, full of images that are loaded into the spectator through one’s active presence.