Regards sur le Stockfeld / How do you enter

novembre 15, 2010

How do you enter

“…They walk, they are walkers, whose bodies follow the thicks and thins of an urban “text” they write without being able to read it. These practitioners make use of spaces that cannot be seen; their knowledge of them is as blind as that of lovers in eachothers arms. … The act of walking is to the urban system what the speech act is to language or to the statements uttered”. (Walking in the City, Michele de Certeau).

Your body walks in Neuhof and in Stockfeld. How do you thrust your body into an unfamiliar place?

How do you name yourself inside the place? How do you see? Do you smell, hear, read, something new but still familiar enough to know it as “you”? Do you amplify and sustain fictionalized perspectives, subjectively projecting them into the “public” and therefore “problematic” space? What kinds of knowledge backgrounds help the one who enters? How is the problem modified by what you know and who you are? Do you replace “who” with “how”?

How does one become a tourist? What is the trauma of the tourist? How do you perform yourself as a tourist? How are you, at once, the other and not the other?

How do you bridge Neuhof with Stockfeld? What is the nature of such a bridging?

She walks slower than anybody else. The world passes by in fast emotional winds. The ball is passed in three and four and six and seven and eight and nine. You sign the ball with a different name. Four times you sign it with Neuhof.  How do you share the time from a piece of transmittable paper? How can the small paper travel from you to a you? Is the Indian a tourist?  Fragmented windows, from different times and places connect in red and white plastic stripes. Climb the metallic ladder to reach the window. Draw the map from above you with you inside. Climb high to view from a distance; walk far to see it closer. Does it help? You take the persona of an emotional tourist confronting us with our own walks into Neuhof. Your emotion is present.

Now replace all the “yous” with the “Is”. You, the doer, you “gamesercise.”

“Each excersise is a “physical reflection” on oneself. A monologue. An introversion. …The games are a dialogue, they require an interlocutor. They are extroversion. There is a fair proportion of exercise in the games and a fair proportion of game in the exercises.” (Augusto Boal- Games for Actors and Non Actors).

This place was made for I to walk in it. The food was made for I to eat in “Mosaic”. Have I stayed?

Irina Botea

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