openEDsource

This will be about the conditioning and the conditions for improvisation as performance. I won’t talk about improvisation as a technique to create new movement, or as a technique to free the body from habitual movement patterns, or as a technique in contact improvisation to explore movement by physical contact.

THE CREATIVE ASPECT OF THE HUMANITIES has not yet found its recognition in the established classification and methodology of scientific disciplines. Are the humanities a purely scholarly field, or should there be some active, constructive supplement to them? We know that technology serves as the practical extension ("application") of natural sciences and politics as the extension of social sciences.

One of the first comments I could call out after the performance of The Theatre of Repetitions was: finally! Finally an event where music and theatre engage on an autonomous third plane of philosophy, saved from the obsessive search for a suitable Musik+Theater relationship whereby the capacity for representation in music traditionally is weighed against theatrical staging.

When Marx undertook his critique of the capitalistic mode of production, this mode was in its infancy. Marx directed his efforts in such a way as to give them prognostic value. He went back to the basic conditions underlying capitalistic production and through his presentation showed what could be expected of capitalism in the future. The result was that one could expect it not only to exploit the proletariat with increasing intensity, but ultimately to create conditions which would make it possible to abolish capitalism itself.

He staged a building, some kind of historical site. he invited his colleagues and friends to stage the site and to direct themselves and to direct it themselves so they did a coming and going of friends and colleagues and friends and colleagues of friends discussing their work discussing proposals of work working working together a platform of exchange of merging of the smoothiest way to produce and gain knowledge of experiencing and training of invention a performance a strange performance a permanence