From the outside in

The most interesting thing about it for me was afterwards she said that she usually tries to distance herself when performing and curtail her emotions. She also said that the reason why she had to “come out” was because the didn’t feel like she could keep performing until she had identified herself with and to herself. This made me ask why, if her performance was so internally motivated and oriented, would she seek to distance herself emotionally? why not through her every emotion into it? Her response was that when she used to do mime, she would concentrate so hard on trying to express what it was that she peforming that it ceased to be about the symbol. She became both object and subject, if you will. she wanted to remove herself from the performance, meaning she didn’t want it to be about her but about the expression itself. This presented a very intriguing and new, for me, way of perceiving the world–from the outside in. She gave the example of standing from the floor. I don’t think that I quite understand it yet, but I envision it as something like being pushed up from the floor or standing being defined not by the physical positioning of your body but by all the negative space–the floor beneath your feet, your body perhaps parallel to the walls, the ceiling above your head. you are the expression solely because of your relationship to external things. nothing about the expression comes from within. In such a way it feels that what is performed is much more real and much less personal and subjective.

-Soton R


One Response to From the outside in

  1. Thanks for the article. A really interesting read. Keep in touch.

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