ONGOING Concerning Aboutness

attempting to not be about.

~Public can assist to my informal performance event once a month, which invites them to encounter my research as well as the experimentations of other artists whom I invite to share the evening with me.

aboutness is the state of being about something.

The mover attempts to escape completion of sentences in order to not create subject matter strong enough to solidify themes.
By avoiding aboutness in the formation of choreographic images, everything one wants to say can be said and subject matter never exposed.

The performer focuses on openings, beginnings, shortcuts, summaries, new, hypothesis.

I fool myself thinking that I change. Then I don’t. There are certain things that I tend to remain true to: the not-aboutness, the search for what lays underneath our constructed behaviors, the fascination only with those moments of truth in which the eyes reveal a small discovery.

I am interested in the freedom the body can find in expressing instantly a sensation. A direct tube that connects sensation with action, unconsciously. If there has to be processing of information, that can happen afterwards, in the reflection or the looking back at what was that surprised us. I am captivated by the immediacy of sensation, of attention in the body into action of the body.
This can be exercised but not mastered I believe. Exactly the reason I find myself liking it so much. If I do it correctly, I should not know what I am doing, and therefore you, the viewer also, will go on your own journey through my body. You would not be able to feel what I feel but you would be there with me, also looking for something.
I would be looking for attention: Where is it going? What am I grasping from my body? Or from my thoughts when trying to be thoughtless.

Time is needed to allow the body to get into the unrehearsed material. Performance does not need rehearsing when what we are after is in fact searching.
Are you looking for something? What am I looking for? What the body is trying to tell you..and then me. That is why there cannot be much
aboutness before the body tells us what it has to tell. After we can look in this mirror and read what it reveals.

I see the practice and the performance both as books and diaries which speak to us in different ways according to what is our baggage of experience. We might find each our own reading when the preface is not spelled out.
From Low Content, Irina Baldini 2013-