Nothing is stable and we are in a continuous changing, vulnerable to the outside stimulues but ready to turn them into ideas and emotions. (The most people like to do in life is exchanging ideas and emotions).
There is a
concept of almost total freedom, of the continuous flexibility of outside and
inside borders.
The freedom
is conditioned of one’s non-attachement to her/his own creation. If flexibility
and internal mobility is the aim, the harmony
of inside and outside becomes the aim, too.
The relation
between people restricts their freedom just as much as
it’s necesary to stay in contact with the others, not to be alone.
The outdoor
performance is like an organism in motion, which is changing form and colour and
who is grabbing people with tentacles but releases them whenever they feel like
to leave. It fullfills the concept of a
good place to be in, one having the choise to belong to it or leave it.
The
performance space is modifying according to the further person who pays
attention and become an audience.
Our
different approaches to time and space tended soon to get together in a meeting point. To bring new audience, to enlarge the space of perfomance, you need
to enter into their time and alter it. Spectators time is altered by taking
their attention. We did this with movement, colour, forms and sounds, with
direct exchange of emotions and ideas, with challenging their normality. When a performer brings someone inside the performance space
makes his/her time slower. to alter time means catching attention, changing the
values around you and the audience : to redesign the space, to reinterpret the
movements, to bring different intentions which brakes the monotony of normality
by changing the use of the objects, challenging people’s belief, letting yourself
enter into another story. İf they are breathing together with us, they are in.
The indoor
space of performance:
İt
brings the presure of the edges to the
performers and audience.
İn Ca’n
timoner the audience came with the time already limited. We didn’t intend to
limit but a limited space will bring automatically the first sensation of
limited time, i suppose because you enter somewhere from where you should get
out. ( İn the outdoor performance space the audience don’t feel the entrance
into the space physically, because they are entering there by attention, more
it looks like the space extends taking inside their bodies.)
How to create an unlimited time, or a hole of
time into the limited space, to open the space in time by making audience, again
with grabbing their attention,
forgetting about walls? There, the time should be in performer’s hand,
like into a magic globe. The performer shoudn’t
be dragged into spectator’s limited time but making him fall into the no
time hole of curiosity, empaty, admiration, identification.
(The
relation between speed and time. The pressure of limited time makes one speed
up. Stop and you’ll stop the time.)
