5/25/2005

dancing Body Without Organs

dancin' dancing's the reply to the repulsive de ath in yer organs the dance the danse that came across



dancing Body Without Organs


startup document (1998)


How do you make yourself a dancing Body Without Organs?
"When you will have made him a body without organs,
then you will have delivered him from all his automatic reactions
and restored him to his true freedom.
Then you will teach him again to dance wrong side out
as in the frenzy of dance halls
and this wrong side out will be his real place."
A.Artaud


Aim
The research and development of concrete strategies to approximate the concept of a Body
Without Organs, in order to open up unknown areas for the dancers and audiences.
'practice leading to theory leading to ........'.The initiators Van de Ven en Meesters are currently running a research and performance
platform in Amsterdam grafted on the work of Min Tanaka, who is one of the leading and
innovative exponents of the dance-form generally described as Butoh, that developed and
came to blossom in the sixties and seventies in Japan.


In Butoh there are already a number
of features pointing to the Body Without Organs (a.o. multicenteredness, ongoing
metamorphosis, equal valuation of all parts of the body, exploration of the 'ugly, dark
and unknown' faculties of human expression).
A tangible connection is the collaboration between Min Tanaka and Felix Guattari that
resulted in the publishing of a book (in Japanese, 1985) and in several performances of
Min Tanaka at Guattari's clinic 'La Borde' around the same time.
Another connection is the thesis of Claudia Flammin(*) in which she uses the concept of
the Body Without Organs to analyze Min Tanaka's work, focussing on his concept of 'dancing
a place' instead of merely dancing in a place.
Based on this thesis Meesters and Van de Ven invited Flammin for a preliminary research
period in may '97 in Amsterdam, to initiate a first translation of her analysis into
practical dance work.
What is a Body Without Organs?
While using the notion Body Without Organs Deleuze and Guattari already come to the
conclusion that the Body Without Organs is opposed not to the organs, but to that
organization of the organs called the organism.
The Body Without Organs expresses itself in an attitude of curiosity and observation,
that appears when we ask ourselves what exactly we are doing when we perform the act of
seeing, hearing, feeling, touching and tasting, when we break down the hierarchy of the
senses where the gaze plays a predominant role, when we undermine the automatic signifying
process of the sensual experience.
It goes on when we pursue the intensive, unformed, uncodified material that remains of
the body when its signifiers and its subjectivity have been disorganized.
Following Deleuze and Guattari, we take the three qualities characterizing this Body
without Organs: disarticulation of the organism, experimentation without interpretation
and nomadism.
Within dance, we think :
* A disarticulation of the organism occurs when the dancer works at dismantling and
reassessing the physical and psychological organization of its own subjectivity.
This operation can only be carried out through a thorough and detailed re-
examination of the habitual body;
* Experimentation without interpretation occurs when a dance-experience is lived
through without granting it a pre-fixed meaning, to avoid becoming either signifier
or signified;
* Nomadism occurs when the dancer conceives of his dancing body as a flux, a being
with variable and multiple intensities that has neither a me nor a you
(desubjectification), neither an exterior nor an interior, but is a multiplicity of
fusions which are in a perpetual state of becoming.
....... to practice'
How to come from theory to practice? From our experience with Min Tanaka's work (see CV's) and
from the initial working period in May '97 we arrive at a (as yet incomplete) set of practical
working ideas.
It includes
- working simultaneously with different musical scores for different parts of the body
- in an upbeat tempo thinking of one movement and executing its opposite
- being moved by outside physical impulses without will or interpretation
- deregulation of the breathing
- working on the image of an inside and an outside physical state exploring both sides of the skin
- not conceiving of sensations as subjective knowledge, nor as mechanical event, nor as a
psychological event but as an objective reality, that is extremely varied and has no unity
WorkplanTo secure a certain degree of non-individuality, we want to work with a team of 8 dancers, one
artistic leader/ director and besides Claudia Flammin a theoretician, working in Holland who
is well-versed in the application of Deleuze & Guattari's theories within the Dutch artistic
field. The working period will be two weeks. (*)
In order to advance rapidly we seek to recruit dancers (partly international), who already
have experience in this specific area of dance, and who are achieved performers in their own rights.
The research period will probably end with a studio presentation.
Future performances
Besides the enrichment of our own performative qualities, with the material from this research
period we envision in the near future dance-events around the Body Without Organs, which also
include other artists who are involved with Deleuze, such as architects, visual artists, musicians.
Frank van de Ven - Rolf Meesters - Claudia Flammin
Notes:
1. Antonin Artaud: "To have done with the judgement of God", a radio play (1947), from "Antonin Artaud, Selected Writings" ed.S.Sontag (1988)
2. Gilles Deleuze, Félix Guattari: "Mille Plateaux" (1980)
"Thousand Plateaus", transl. Brian Massumi (1987)
3. Claudia Flammin: "Un lieu, une danse: Min Tanaka et la météorologie du corps", un travail théorique de DEA (Diplôme d'étude approfondie) … l'université de Paris 8, département danse. (1996)
(4. This has taken place in May 1998 in Amsterdam with 15 participants including a philosopher)
TO BEGIN OF DOCUMENT home »»
document date: spring 1998



the nights and years dance block body ballocks without ___ sans __ organes. yer body whip



________





That's what it is, I want you to punish me waken my flesh
- it's because you're alone, like a shopping centre and
he wants you, he's attracted to you, but tortured by the thought
of your love, I'm attracted to you , in the big city, they
call it the big city, the big city centre, "down town" why
"down town " down in the town as opposed to up in the town
Punish me, pull my pants down, and punish me, as an afterthought,
Pull my pants, down , pause in the after thought
all these bad pepople wanting to be punished and
I am a stranger here in this town, a stranger in town,
in town a stranger came riding, a stranger like you and me, wanting
to be loved by all kinds of faces, feeling guility and lonely about
being alive and being alive like the live night and just a letter
makes a difference
in the page which has no end, no jusitified unjustified ragged

I need to be "whipped" to wake me up margin


__________________________


Cry Cries in the hospital / the hospice


____ The dance cries wake me up, the 'me' the soi-meme of the sememe not the poetry of death and didacts but that of

Dithyrambic

rambic

rambic joys

limbic

5/18/2005

art orbit deleuze

art orbit deleuze



Much of the work of Gilles Deleuze (1925-1995) is still to be discovered and re-discovered. Until recently his works were not particularly known in the English speaking world. But since a few years back his philosophy has begun to make impact on a range of disciplines such as the theories of art, architecture, literature, film, psychoanalyse, feminism etc. At a symposium, held at Art Node in Stockholm, nine international guests were brought together to present their views on Deleuze. This symposium was initiated by Sven-Olov Wallenstein (editor of Material - Journal of Contemporary Art), Helena Mattsson (architect and Ph.D.student at the Royal Institute of Technology, Stockholm) and Johan Kilander (architect). Art Orbit is happy to present some of the lectures in text and/or sound.
Sven-Olov WallensteinIntroduction to Gilles Deleuze´s philosophy(6 min, RealAudio 28.8) and the symposium Folds of MultiplicityJohn Rajchmanphilosopher and co-editor of ANY and Artforum, New YorkSensations of the City(42 min, RealAudio 28.8)Manuel Delandaartist and writer, New YorkDeleuze and the Genesis of Form(41 min, RealAudio 28.8) (also in text)Astrid Söderbergh-Widdingassociate professor at Dept of Cinema History and Theory, StockholmConcepts of Cinema: Deleuze and Film Theory(33 min, RealAudio 28.8) (also in text)Jacques Rancièreprofessor of philosophy, ParisDeleuze and Aesthetics(55 min, RealAudio 28.8)David Lapoujade
tutor in philosophy, Paris
The Body of Sensation: Francis Bacon and Gilles Deleuze
Suely Rolnik
psychoanalyst and professor, Sao Paolo
An Instauration of Worlds
-->

5/14/2005

yer aunty

yer anti was dialectical patois idiot self__ language on the barriers before inertia,

the group in fusion
mad machines Plus


come aunty she said Holding the Book
In her Hand
Like aPerseus Shield
Not
Syntheseus Yield

Go Forth
Yunger Man
Go Froth and create




AnitOedipus AntiHead

5/12/2005

the[e] Booke is a little Machine


AntiOedipus _ Posted by Hello


I zing the place I

zing

the

place


said

Anti __



1979 apres L'Antitete de Tzara _ poeme en prose _ etc.


http://guattaricomplex.blogspot.com/

5/05/2005

let cinema

let cinema work new __ shall childish __ not So when __ it's
subject passes __ intensive __ Lover? cannot call be __ ok _closer tothe ind_ent
ent as in entity
ok teethabe
come close
face
vis
the hole
spinnin'
vacuole






push the space
bang bang bang


a body not long
before space

over
cinema



lipped
yer crace
c'race being coming
f'race
not so,
schizo'type



so then

so then it's now or wicker then so then dad shoosh
fire walk
cat face
baby walk


the practico-inert footnote went for a page or two
machines not alienation close to the fuge

ok

are you coming yet?
I cant you know I have 'blogigations?
engage

ring
ring
ring
gold
carat





was then



_______________

some friends and |an d Mine

I was with Satie and we saw Amedeo before he dropped dead, she had sent hima final email __ it was too much too late __ O geepers let's end all of this tragic goat! I said and hugged her in the rain!





my friend Modigliani is tender but died of alcoholism. /But look at her crossed hands __ she reminds




__ in those days I was writing a poem __

________________


the Modigliani Montparnasse Poems. Gerald Locklin __. Posted by Hello












my friend deChirco __ makes me happy when the world. Posted by Hello



when you were with me
in the 20's sweet heart we were lovers
happier than buckets in the rain
luckier than tickets in the conductor's hands
I kissed you then
recalling that that was what lovers do



look my secret love
rhizomer beneath the tunnel

its okay I do and always did



makingthe beast with two backs
it's tricky all__ways




ways of beast ways of beast
two back
two beast back
two two
too too
to to
you





but who are ye?
when ye think of me?


twobeastI Kiss ye


______

"Desire in itself is not a desire to love, but a force to love, a virtue that gives and produces, that engineers.( For what is
in life still desire life? Who would wnat to call that
a desire?)

But desire must turn back against itself in the name of a horrible Ananke, the Ananke of the weak and depressed,
the contagious neurotic Ananke; desire must
produce its shadow or its monkey,
and find a strange articifical force for
vegetating in the void,
at the heart of its own lack.
For better days to come? It must _
but who talks in this way?

what abjectness _ become a desire to be loved,
and worse,
a sniveling desire
to have been loved ,
a desire born of its own frustration:
no, daddy-mommy didn't love me enough.


Sick desire stretches out on the couch,
an artificial swamp, a little earth, a little mother ..." A/O 333-4.






Antioedipus had enuff of that shite
busted his gape
won the gurl
riddled her shoes
with bellybuttons.