day two: 05/20/07
subtle five (revisited):
I revisit the last site that I performed in the day before. I have three observers who have come prepared to find me and follow the performance. This drastically changes the feeling of the event. The anonymity is lost and I am self-conscious of my actions, in a manner that is altered by familiar faces.
subtle six: bus stop, telephone booth, bicycle parking
A lady asks me what I am up to as she draws in a long hale on her smoke. A man is talking on the telephone. An observer comes to sit with me and introduces himself. We speak for a while before I depart.
subtle seven: exterior hudsons bay
I am joined by a young women, She is wearing pajamas and has a kinetic, faced paced, movement. She wants to play with the chalk. We spend some time together drawing on the pavement.
I return to this spot later and find that the yellow lines have been cleaned up and the only trace of the performance left behind is a drawing that the young woman drew on the road.
subtle eight: loading dock
I draw myself a large space. I work within the confines. There are not many people around. I have the time to explore the boundaries to the fullest extent. In this spot, an empty loading dock, I seem to go unnoticed by the passers by except for the occasional glance in my direction.
1 comment:
I suppose my next question would be: why, as a performer, must your movements satisfy the audience? and what constitutes as satisfaction for the audience. I saw the photo the press took for the journal, and dance is always very photogenic, but I think there is something much deeper here that remains shrouded by . . the stage and all its implications? anyways, your project was and remains fascinating, but in retrospect, it's probably best studied from afar.
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