Showing posts with label change. Show all posts
Showing posts with label change. Show all posts

Sunday, 21 October 2018

the sea: wave 6


Lulled by the Sea’s roll and curl, its breath synced with mine, I return to my dream of floating far from land, the boat long gone, just me and the Sea and the sky. A me-shaped hole in the vastness of the Sea, two turbulences enmeshed with each other in a nameless place on no known map. The tight breath and anxious splash and oh-my-God of my earlier corkscrewing desire to stand up and out of the water and see where I am, to orient myself, are now released. Soft. My thoughts are fluid, nomadic, provisional: they flutter and drift and unravel in a waking that is brushed by wet sleep, carried on the currents of association, very small, very quiet, a slow swarm, the little by little suddenly. I have the impression the Sea can somehow hear my thoughts.

In the Mandaean sect in the region of the Iran-Iraq border, newly ordained priests marry a cloud, a stand-in for a wife in the other world. The Mandaeans’ holy scriptures tell the story of Dinanukht, half-man, half-book, who sits by the waters between the worlds and reads himself … (1)

Movement and transformation. The resilient persistence of matter, its survival, its memory - and yet the bottom line is that the only constant is mobility, change. It’s all circuits and flows in the mortality of forms, and the unpredictable migrations of their constituent parts. There are the remains of sea creatures in deserts and on mountain tops. Shells on Everest. And a tiny bead of sweat on a forehead might contain something of the exhaled vapour of another person or creature from long ago and far away. A glass of water here now is informed by the past. Perhaps it holds molecules evaporated from a glacier, a tree, tears, mist, snow, fog, ice, a cough, the gurgle of a new-born child ‘trailing clouds of glory’ or someone’s final sigh. Maybe even molecules from Archimedes’ bath water. Countless micro-moments of time, from yesterday or centuries ago on the other side of this blue ball, potentially co-existing in the same small container. The glass itself was once sand. It’s almost promiscuous, this co-mingling, and there’s joy in that thought.

I was born by the river in a little tent
Oh and just like the river I’ve been running ever since
It’s been a long, a long time coming
But I know a change gonna come, oh yes it will (2)

Researchers estimate that 12 million tons of Sahara dust drops out of the air onto the Brazilian rainforests of the Amazon basin every year. Great plume-like vortices of aeolian sand that rise from the desert and drift west, only the finest phosphate-rich particles making it across to South America. Shamans too ride on whirlwinds; the way out of the world, or into another world, is through the vortex … (3)

If we could only let go of our compulsion to dress transience in mourning, and instead confer value on impermanence and change, might we not inherit the earth? Why not lament (briefly) the very notion of permanence and move on? ‘God’, ‘Truth’, ‘Progress’ - looks to me like these are all cover stories, formative human delusions. Funny stories to tell ourselves, aren’t they – funny peculiar if not funny ha-ha. Let their heart-break go. Why not? It would be an act of kindness. Of realistic optimism. And an occasion for invention. We’ve been pointing in the wrong direction. Let’s use the fact of transience for our fictions. That’s the way to turn a death story into a life story. If you want to be remembered, give yourself away. La la laaaa la laaaa lalalaaaa, oh yes it will.

The words of Meister Eckhardt: ‘the humble man is he who is watered with grace’ …

Beginnings and endings, all endings in reality new beginnings. Hourglasses eternally emptying out and being turned over again and again. At first the Earth was a smouldering sphere condensed from interstellar gas, its atmosphere a toxic soup of hot vapour. For maybe half a billion years. Then eventually as the Earth began to cool it rained for maybe 12,000 years, and the Sea came into being ... As we fade and die, us humans, the hot-house internal fever of our living bodies begins to cool from its regular 98.6 degrees Farhenheit, and eventually we become food, then soil, then … The spilling of seeds …

In the past, when people died at home, a lighted match was applied to the big toe. The toe would blister whether the person was dead or still alive; but if they were dead, the blister would fill with gas and burst.

After he died, Alexander the Great was shipped back from Babylon in a vat of honey. Nelson came back to England from Trafalgar in a keg of rum. A temporary suspension, of matter and time.

There’s an invisible haze in the air and in the water – the water in that glass, this Sea, that sky-mountain cloud, in all water – a haze of stuff too small for these eyes to see: the dust of anything and everything, the ghostly traces of what is carried in the wind and the rain and the rivers and here, right here in the Sea. Dancing sediment. Ejecta. Dejecta. Rejecta. A kind of soil, life’s compost. Trace elements of Newton’s apple. Or of Darwin’s busy worms, their castings the source of his consolation and inspiration in his final years of life: blind machines for making soil (aren’t we all?); digestion as restoration, the life destruction makes possible. (‘Never say higher or lower’, Darwin once wrote in the margins of a book).  We regularly inhale air-borne fragments of vehicle tires. Possibly dinosaurs. Dodos. Certainly powdered insects’ wings. Powdered people. Debris dispersed and afloat and en route to who knows where. How to read and map and re-member these atomised histories, and our place in their foldings and unfoldings and becomings.  ‘Galloping horses of the departed century, I will consult ashes, stars, and flights of birds’. (4)

‘Air routinely carries intimate fragments of rug, dung, carcasses, leaves and leaf hairs, coral, coal, skin, sweat, soap, silt, pollen, algae, bacteria, spores, soot, ammonia, and spit, as well as salt crystals from ocean white-caps, dust scraped off distant mountains, micro bits of cooled magma from volcanoes and charred micro-fragments from tropical forest fires. These sorts of things can add up. At dusk the particles meet rising water vapour, stick together, and fall: that is when they will bury you. Soil bacteria eat what they can, and the rest of it stays put if there’s no wind. After thirty years, there is a new inch of topsoil … We live on dead people’s heads […] Time: you can’t chock the wheels. We sprout, ripen, fall, and roll under the turf again at a stroke: Surely, the people is grass […]’. (5)

A thousand years ago, in silent-order Benedictine monasteries, monks communicated through hand signals. If you wanted honey, you put your finger on your tongue. If you needed a candle, you blew on your index finger … Where are those breaths now?

It was said of Confucius, and there was no higher praise: He knows where the wind comes from. It was said of Lao-Tzu that he spent 81 years in the womb before being born …

Everything is still, everything moves. Floating here, treading water, pulled down by my body’s weight, buoyed up by a cushion of liquid. Up-down, gravity and lightness. The im/possible dance. Everything that is dances this dance. The structure of a day. Organic life cycles. Weather systems. Social histories. Religions. Civilisations. Mushroom cloud. Smoke from a cigarette. A glance. A memory, bursting to the surface like the fin of a fish, then gone. Every breath is in itself a wave, a weather system, a life cycle of rising up and falling away. The inhalation can be a falling away, the exhalation an effortless rising up. Body weather. The wind in my heart – the dust in my head. Internal oceans, deserts, fronts, cloud formations, floods, droughts, turbulences, seasonal lows and highs. A synoptic chart of the soul, written in and on the body. Upside down, inside out.

The wind in the trees, the oxygenated ocean of air in which we swim or sink; an economy of exchange, inside and outside touching and blurring, like lovers. The tree-like structures of the lungs, of blood vessel and nervous systems, of river deltas and tributaries, of lightning strikes, synaptic connectivities and divisions. The arc of a thought. Like lovers.

Resemblances, analogies, metaphors: ‘like’ does not collapse difference and create the same, for the in-between is unstable, potential, the coexistence of near and far, like and not-like, identity and difference. The Sea is like the sky, the desert like the Sea, only … different. Like is a gap. Everything happens in the gap. Mind the gap, you could fall into it.

It is said that when the philosopher Empedocles (the originator of the concept of the four elements: fire, air, water, earth) dived into the spurting liquid magma of Mt. Etna’s crater, his own ‘Eureka!’ moment at the age of 60 or was it 109, the volcano promptly spat out one of his bronze shoes …

Falling down. Falling sick. Sinking. Coming up for air.  Climbing back up. Standing up. Settling down. Falling in love. Free falling. Rising into love. Defying gravity. Gravity rises, lightness falls.

‘We don’t fall in rows like hay, but we fall. Once we get here, we spend forever on the globe, most of it tucked under. While we breathe, we open time like a path in the grass. We open time as a boat’s stem slits the crest of the present’. (6)

Oh there been times that I thought I couldn’t last for long
But now I think I’m able to carry on …

Treading water. Leaving no trace. A little dance written on the wind.

Did you know that camels, the great anomalously-shaped, grace-ful ‘ships of the desert’, the two-humped Bactrian model like mobile model mountain ranges, leave oh so delicate lotus pad-prints in the sand for the wind to wipe away? (7)

Everything is still, everything moves. Sea. Sand. Sky. Air. Pulse. Breath.

It’s been a long, a long time coming
But I know a change gonna come, oh yes it will …


(1) Eliot Weinberger, ‘Mandaeans’, An Elemental Thing, New York: New Directions, pp. 100, 103.
(2) Sam Cooke, A Change is Gonna Come, 1964.
(3) Eliot Weinberger, ‘The Vortex’, An Elemental Thing, op. cit., 2007, p. 126.
(4) Czeslaw Milosz, ‘The Unveiling’ (from The Rising of the Sun), in Collected Poems: 1931-1987, London: Penguin, 1988, pp. 124, 153.
(5) Annie Dillard, For the Time Being, New York: Vintage Books, 1999, pp. 124, 153.
(6) Annie Dillard, For the Time Being, op. cit., p. 203.
(7) Eliot Weinberger, ‘The Sahara’, An Elemental Thing, op. cit., p. 186.

Tuesday, 10 July 2018

life forces


Over the past decade or so, in her solo and collaborative work in live performance and film, Jane Mason has explored ways in which the movements of bodies and objects can create ‘image worlds’ of great affective resonance and tenderness. These dynamic architectures of memory, loss, and longing combine dance, text, song and music in patterns of images that slowly align and unfold to suggest passage ways through felt times and spaces of a rhythmed intimacy and intensity. Usually triggered by some aspect of her own lived experience, these ‘worlds’ invite a quiet attention to detail, and an active slowing down into present process. Over the years, many of Jane’s images have lingered with me and etched themselves into my imagination – for in their exquisite precision and mystery, paradoxically they seem to invite and activate something of the life forces within our own memories and associational fields.

With its initial trigger in some boxes of photographic slides taken by her father some years ago, Life Forces develops this work of mining, uncovering, transposing and inviting, and opens up new landscapes of be/longing. Developed in close collaboration with a film maker, a writer-performer, a visual artist and a dramaturg, Life Forces offers a meditation on memory’s place in the face of uncertain futures, on place and home and their resilient fragilities, on the utopian impulse to ‘build’ together and to let (it) go, on the arcing electricity of connection and the drift of dispersal, and on transformation and change as the core ground of being, the ‘life force’ that links everything and everyone.

Short text written in the wake of various collaborations in recent years with the wonderful Jane Mason, and in response to her new performance piece Life Forces, prior to a showing of work-in-progress at Siobhan Davies Studios, London, in early July. With Jane Mason (choreographer/performer/writer), Phil Smith (performer/writer), Magali Charrier (film maker/animator), Sophia Clist (sculptor/designer), and David Williams (dramaturg). Tour from autumn 2014

Saturday, 25 January 2014

becoming dovecote

'I've spent my whole life walking around these places ... I feel like I'm looking for somebody ...' 
(Nick Papadimitriou, The London Perambulator)

'Breakspear is being broken into separate living spaces, all way beyond my pocket. A riding instructor jiggles her jodhpured buttocks down by the composting shed, but it is the Tudor dovecote that draws me and as I recover from the rigours of my climb out of the valley I feel myself passing into its brick walls and upwards through the timbered cupola to its ornate and timeless clock face. Circling, minute by minute, I am dialled through on-off heat, cold, light, dark, rain and sleet, watching a movement from pantaloons and merkins through to these luxury flats and slug-like cars.

Slip, Motorway, round my ankles if you must; drag me into your petroleum future. You will pass too, ending crotcheted by red leaves of herb Robert, stars of cow thistle. I see your car crashes. I see economies collapse. I sense the unspoken family secrets; I see the white cow-gate lit by sunshine. I am the centre. I am buttressed stone walls. I am oak rafters and the soft flap of doves' wings in cool corners. 

See the de Haviland Mosquito, Hatfield bound. See sweet Brian Connolly sitting and playing guitar in the meadow. He's out of his rocket on mushrooms, his hair as fair as hay. Now his face grows furrowed and worn as he ages into knock-knees and long-johns. Now his corpse is laid out and still I stand. 

See my thrust through time, my doves flown high in circles over tall oaks I knew as saplings. I am the pivot around which it swings, the spigot through which it all flows. I push down to worm-holes and into the moist darkness beneath your bullied present day. Now there are Kindles, now you are wired to Androids. Now there is a white flash and everything is swept away'.
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From Nick Papadimitriou's exquisite book Scarp (London: Sceptre, 2012, 48-9), a 'deep topography' mapping-through-walking of the North Middlesex/South Hertfordshire escarpment, 'edgelands' and 'interzones' largely overlooked by the nearby northern suburbs of London. (He conceives of the suburbs themselves as 'the momentary dream of a mushroom god', a place of eerie beauty, sadness and loss - depending on one's temporal perspective, either 'a huge storage vat of regional memory' or 'just a momentary film, a suggestion of a possibility that will be replaced by other possibilities in due course'. Whichever, they offer 'rich pickings for the deep topographer'). 

Brian Connolly, lead singer of the Sweet, who died aged 51, went to school in Harefield close to the Breakspear dovecote.

For Nick Papadimitriou's 'Middlesex County Council' website, see here

For a full-length version of The London Perambulator, John Rogers' fine documentary film about Nick Papadimitriou, see here

'I'd like my work to be found in a skip - in Southgate or somewhere - in 40 years time' (Nick Papadimitriou). All quotes in these end notes are from The London Perambulator

Thursday, 3 March 2011

how to work better



Peter Fischli & David Weiss' ten-point manifesto comes from one of my favourite shows of the past few years, Flowers and Questions: A Retrospective at Tate Modern, London, 2006-7. For a fine text by the artist Ryan Gander about this manifesto, 'Working It Out', see here. Gander writes: "I like it quite simply because it acknowledges their awareness of the idea of practice rather than production, which indirectly points to the main aspect of what they do that I find really endearing. It's relatively easy to stumble around making a successful work now and again, sandwiched between disasters that never leave the studio, but it's hard to attain good practice. Their's isn't about making good artworks, but about how to mould the conditions for artworks to be made possible".

Sister Corita's 'manifesto' (bottom image), the Art Department rules from the Immaculate Heart College, Los Angeles, in the late 1960s, is drawn from Julie Ault's exquisite book about this genuinely remarkable teacher-artist-nun, Come Alive! The Spirited Art of Sister Corita, London: Four Corners Books, 2007
.

Monday, 15 March 2010

festival


These notes form part of the tour programme for The Festival, the third part of Lone Twin Theatre's The Catastrophe Trilogy. It opened last week at the Barbican in London, and is currently on tour in England, then in Europe.
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‘Quelle catastrophe!’
Notes on the making of Lone Twin Theatre's The Festival

‘Good. There’s our catastrophe. In the bag. Once more and I’m off’ (Samuel Beckett, Catastrophe, 1982)

The task of devising is to try to locate the shapes of what it is you think you’re looking for while often being largely in the dark as to exactly what that is. At the very beginning of work on The Festival, we have only the barest of hunches as to what we are after. We know that we will continue to explore narrative forms and structures in a simple traverse staging, a presentational and relational performance space of proximity, encounter and exchange. Beyond that, we have little more than a broad sense of wanting to generate a narrative set in the present, in counterpoint to the ‘pasts’ of Alice Bell and Daniel Hit By A Train.

In addition, we want to modulate the notion of ‘catastrophe’, and explore something much smaller on the sliding scale of catastrophic possibilities. Something more everyday, domestic, familial, something more intimate than cataclysmic. Perhaps just the sense of something missing, or someone missing out on something or someone: like the quiet pulse of a ‘hungry heart’. Gregg talks of the ambiguity of ‘tragic fun’, and of ‘songs of everyday life and how the silent catastrophe of love seeps into each hour …’

On one of the very first days in the studio, as we grope our way towards a beginning, there are just four words on the flip-chart - NO DEATH. NO INSTRUMENTS – like the seeds of some new version of Yvonne Rainer’s No Manifesto. So, we will orient ourselves towards the ever more spartan and pared back in a further refinement of the company’s goal to employ minimal means to maximal effect. Gregg describes Dennis Potter’s creation of song-based conventions for ‘saying complex things in simple forms’, then wonders aloud: if Alice Bell was a ‘line drawing’ and the greater complexity of Daniel was ‘coloured in’, then what would be a third form that had the ‘elegant simplicity of the natural?’ He suggests our task will be to ‘do what’s required, don’t art it up, then get out as cleanly as possible without the performance mode getting in the way’.

*****

As we work, we dance around the rhythms of the ordinary in our stories and in our lives: the weather forecast, the café, work, the kitchen table, traveling. At the same time we return again and again to instances of the extra-ordinary in the everyday: chance encounters, surprising visitations, as unforeseeable as Miles Davis’s sudden appearance with his band on the runway of an outback mining community in Rolf de Heer’s 1991 Australian film Dingo: “Hi, my name’s Billy Cross and I’d like to play for you …”

Throughout the work of Lone Twin Theatre, there has been a shared enthusiasm for music, song and dance, without any of us necessarily being ‘expert’ in these areas, and at times we have approached devising with the buoyant, untutored energies of a newly formed band. In our work on this new performance, songs in particular start to assume particular functions in the studio and in the emerging fictional world. Songs as meeting points, games, sites of imagination, desire, small epiphanic excursions and suspensions in the ongoingness of it all (an ‘interruption of the incessant’, Maurice Blanchot). Expressions of pleasures and fragile yearnings in the face of present absences. Fleeting mechanisms for reflection and immersive celebration. As with the solace of the radio in the kitchen or the car, songs can offer dreams and time machines in the everyday. As we proceed, the micro-festival of singing provides the soundtrack to our lives.

*****

As has so often been the case in Lone Twin Theatre’s approach to devising, our frames of reference in initial discussions are rooted in music, film and contemporary fiction (rather than, say, theatre). At one point early on in this devising process, for example, we look closely at some of Alice Munro’s remarkable stories. In part as structural and textural case studies and possible triggers for our own fictions: resonant ‘shapes’ and ‘feels’. In part for their grace-ful anatomizing of everyday lives, their repressed yearnings, confusions, compromises and mysteries.

In Lives of Girls and Women, Munro writes: “People’s lives were dull, simple, amazing and unfathomable – deep caves paved with kitchen linoleum”. Elsewhere in an interview, Munro suggests: “The complexity of things – the things within things – just seems to be endless. I mean nothing is easy, nothing is simple”.

Perhaps above all, at this early stage we are drawn to Munro’s temporal weave in some of these stories: the braiding of the time of lived experience with the unpredictable time of memory and its ‘embroideries’; the juxtaposition of the time of waiting, anticipation and imagination with the linear time of sequential events in the everyday, and the cyclical time of recurrence and return. Out of these delicate temporal architectures, Munro elaborates compassionate cartographies of processes of change.

Perhaps that’s what we’re after: a story that tracks small changes in understanding over time?

*****

In mathematics, ‘catastrophe theory’ attempts to model the dynamic systems at play when small shifts in circumstances of equilibrium provoke sudden changes in behaviour (e.g. the ‘tipping point’ in a landslide).

In classical tragedy, the ‘catastrophe’ is the final resolution or narrative unraveling that brings things to a close. Aristotle proposed a ruinous shock that would provoke terror and pity and enable the purgative effect of catharsis.

In Samuel Beckett’s short play Catastrophe, an irritable director conducts a final rehearsal of a minimalist play-within-the-play. On one level the ‘catastrophe’ here is the actor’s tiny act of defiance in the face of the authoritarian director. For at the very end of the play, when the director has left, he ruptures what has been imposed by the director (and by a mode of theatre) by looking up and out into the audience, and ‘the applause falters and dies’. He returns the audience’s gaze in what is now a space of encounter, and the audience is uncertain as to how to respond. So the ‘catastrophe’ seems to reside in part in a particular mode of theatre, in its coercive power relations and compromised economies of representation.

When Beckett was awarded the Nobel Prize for literature in 1969, his wife Suzanne’s response after hearing the news by phone was: ‘Quelle catastrophe!’ She knew the changes this would entail for this most self-effacing and private of people; she knew that he wanted above all to be able ‘to be in his life’. I have always loved the honesty and compassion of this response to ‘success’. Reputedly, Beckett quickly dispersed the prize money amongst those of his friends most in need.

(Since their deaths in 1989, Sam and Suzanne have been buried together in the Montparnasse cemetery beneath a common gravestone that he had stipulated, with his characteristically mordant wit in the face of the inevitable catastrophe of mortality, could be ‘any colour, so long as it’s grey’).

As we proceed in rehearsals, the catastrophes in The Festival remain modest, related to small losses and a barely articulated sense of incompletion. The fiction hovers around a largely unspoken desire for ‘something more’ in a life that feels fine, but not quite ‘right’, ghosted by other imagined possibilities that seem to be somewhat compromised – and at the same time compromise one’s capacity fully to be where one is. So much is unspoken here; the dialogue often glosses over feeling, and moves on. Only occasionally do the emotions and perceptions that underlie these everyday exchanges breach the surface in small wishes and revelations. When they do emerge, they have a disarming economy and immediacy in this context, a joyous honesty that in itself may be both a micro–catastrophe and an illumination, an admission enabling integrative acceptance and change.

*****

Ultimately all three performances in this Catastrophe Trilogy present differing conceptions and experiences of catastrophe in stories of love, conflict, failure, loss and compromise. However the ‘catastrophic’ here, whether epic or intimate, social or domestic, is always contoured with hope and the possibility of change. From these invitational and open-ended structures emerge playfully minimalist pieces of music-theatre, in form and tone suggesting a kind of proto-Brecht discovered by intelligent children with their hearts a-pumping on their sleeves.

And as we come to an end of devising this final part in a cycle of performances, and the ‘things within things’ unfold endlessly, our work feels unfinishable. For other stories and new songs insistently bubble up and out, and it seems as though this disparate ‘band’ of fellow travelers and accomplices has only just begun …

Extracts from rehearsal journal during the devising of
The Festival, January-February 2010
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The Catastrophe Trilogy is on tour from March to May 2010. The tour includes dates in the Barbican London (The Pit, as part of BITE), Huddersfield, Manchester, Aberystwyth, Dartington, Lancaster, Brussels (Kunsten Festival des Arts), and Utrecht (Festival ad Werf). The Festival will also be performed separately in Bath, Plymouth, Colchester, Barnsley, Bristol and Brighton.

For some reviews of The Catastrophe Trilogy, see here, here, here, and here


For further details of Lone Twin Theatre and the current tour, see the Lone Twin website here


For earlier posts on Lone Twin Theatre, see here and here

Sunday, 2 November 2008

instar

'People thrown into other cultures go through something of the anguish of the butterfly, whose body must disintegrate and reform more than once in its life cycle.In her novel Regeneration, Pat Barker writes of a doctor who "knew only too well how often the early stages of change or cure may mimic deterioration. Cut a chrysalis open, and you will find a rotting caterpillar. What you will never find is that mythical creature, half caterpillar, half butterfly, a fit emblem of the human soul, for those whose cast of mind leads them to seek such emblems. No, the process of transformation consists almost entirely of decay". But the butterfly is so fit an emblem of the human soul that its name in Greek is psyche, the word for soul. We have not much language to appreciate this phase of decay, this withdrawal, this era of ending that must precede beginning. Nor of the violence of the metamorphosis, which is often spoken of as though it were as graceful as a flower blooming ... The process of transformation consists mostly of decay and then of this crisis when emergence from what came before must be total and abrupt'. (Rebecca Solnit, A Field Guide to Getting Lost, Edinburgh: Canongate, 2006, 81-3)













'But the changes in a butterfly's life are not always so dramatic. The strange resonant word instar describes the stage between two successive molts, for as it grows, a caterpillar, like a snake ... splits its skin again and again, each stage an instar. It remains a caterpillar as it goes through these molts, but no longer one in the same skin. There are rituals marking such splits, graduations, indoctrinations, ceremonies of change, though most changes proceed without such clear and encouraging recognition. Instar implies something both celestial and ingrown, something heavenly and disastrous, and perhaps change is commonly like that, a buried star, oscillating between near and far'. (Rebecca Solnit, A Field Guide to Getting Lost, 83).

All photos from the Butterfly Farm at Buckfastleigh, Devon
© David Williams 2008

Saturday, 1 November 2008

you are here
























All photos from Plymouth drift - © David Williams