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The Ghost Writer (by Rita Natálio)
21.02.2013

THE GHOST WRITER

An idea shows up as an unfamiliar guest. After it shows up, someone forgets the reason why she or he was writing . While temporalities merge one misses a clear proposition.  The character – the writer - thinks about James Joyce:  Close you eyes and see. But  she is much more interested in the absurd opponent: open your eyes and don’t see. If one tries to discover how it starts, one will have to take a look at how it ends. And maybe one will have to imagine a Moebius strip, a reality where all temporalities are co-responsible.

The writer thinks about a performance of Christine de Met, a piece that she didn’t see. She thinks about a video of four minutes that she did see in the internet. By seeing the video she is reinforcing the fact that, in fact, she didn’t see the piece. But at the same time she did see something.  So, is “not seeing” a show  necessarily “not seeing” a show?

 

Another idea shows up as an unfamiliar guest : in the video of the unseen performance “Untitled 4” by Christine de Met, de Met explores the  boundary of non-identity. She presents a collection of portraits about the relationship between life and work constructed upon interviews with Jonathan Burrows, Alain Platel, Xavier le Roy and Eszter Salamon.

Christine de Met, alone on stage, speaking about others or in the place of others is close to the place of the writer who writes about pieces in the place of  writers who write about pieces.

The writer thinks about one of the portrayed artists of “Untitled 4“ - Estzer Salamon – known for her works with autobiographical contents. Estzer Salamon did recently a melodrama called “Melodrama” where she re-enacts the text, the body and the gestures of a woman named Estzer that she previously interviewed.  Through the impersonification of someone else, she un-personifies herself and she dances on the limit of the her non-self together with the her non-body. So, she is like Christine de Met in the boundary of non-identity. But from Estzer Salamon’s “Melodrama“, the writer only saw the presentation photo in the internet and the 10-line synopsis! So what do we see when we don’t see a performance?

 

 Apart from the familiarity in content between “Untitled 4“ and “Melodrama“, the writer  -or should we say the ghost writer? – is again confronted with the fact that she didn’t see this piece. But the point is:  the more the writer is absent, the more she is a non-spectator , the more she is a non-writer of reviews, and the more she is close to the thematic of the works above mentioned.

So…open your eyes and don’t see, says the ghost writer thinking of the thread of many “Bartlebian“ contemporary works, exhausted from the desire to occupy a certain place. The thread of contemporary dances who run agains the course of rash identifications and explore other paradigms of creation, non-individualist, created upon the language of economical fluxes.

Do you believe in ghosts? Asks the little girl to Jacques Derrida in the film “Ghost Dance”- Firstly, you’re asking to ghost if ghosts exist. Here, the ghost is me, answers Derrida.

 

 RITA NATALIO

 

 

 



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