FUSE#2

SCOPE #3
Notes on There is Speficifisfety
by Lee Ren Xin
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Allow inequality.
Post-moment or post-happening: how one re-/contextualizes it or unfold
from that moment.
Pre-run, I have a notion of the piece. During run, the notion of the piece is
not useful.
Meaning: An arrival made by all parties: Mun, Ren Xin, the audience.
Politics: Testing and negotiating boundaries between the two bodies.
I think sometimes when we think we know the work, and we perform with
that notion we think is the work, the work’s life actually dies. Because we
might just be performing an impression of the work, and so the experience
becomes a non-situated memory of the work. I feel that impressions are
generally set (fixed/dead) things. They feel like a mushed
color/image/notion. So, if we work from such a place, the distinct colors or
shades that maketh the work would be lost.
Really, what are we doing??
How do we feel, about what we are doing?
What feelings/thoughts are we encountering right now where we at, at this
juncture?
What is this unconvinced or non-belief that I am feeling?
What have I been avoiding to address about this work?
How do we want to work, for this phase, from next week onwards?
I can’t help but notice our bodies relating to each other subconsciously
whenever we are talking or discussing things in rehearsal.
The following dots the 5 days at Dance Nucleus, 17-21 September 2018:
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Apart / a part of
Synchronicity that does not come together.
What is casual? Is that casual? Does it matter?
Let the audience rest. Let the audience breathe. For a bit. OK.
This is just one way.
Why perform? There is no reason to perform.
There is reason to perform.
No need reason to perform.
What do I recognize? What do we recognize? Do we recognize that we
recognize?
Why take risks? Because I want to please the audience.
The need and attempt to choreograph happens whenever we are stuck.
Bodies of thought.
Bodies of idea.
Bodies of ambition.
Body of the task.
Body of the situation.
Body of sound.
Body of anxiety.
They are like bodies. Some sexy, some uncomfortable, some unidentified.
Body within body.
Body of this building.
Body of this work.
The survival program in us prescribes hierarchy to what we encounter e.g.
prioritizing living bodies or “brain-bodies” over other (inanimate) bodies in
the space.
When do I refer to it as ‘the work’, and when do I say ‘the piece’? Does it
matter?
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