Chicana Ways - Aletta

AnyBody's Concerns 6(2003)
des psycho-pathologischen ausbruchs aus den einengungen der
norm versetzte uns in erzückung, süße schauer überkamen uns.
er grub sich ins eigene fleisch, verletzte sich, schnitt sich
wunden, klaffte seine wunden auf. ein zuckender tanz ließ ihn
sich am boden wälzen, die grammatik der katatonie brachte
kurze erstarrung über ihn, die aber wieder in schreiende
ekstasen aufgelöst wurde. marksteine der körperkunst wurden
gesetzt, die später von anderen ausgebeutet wurden [...].
(cited in Schwanstein 18).
[everything was cut down, exaggerated, overheated, driven to
perversion, to shrill madness, we went into raptures over the
beauty of the psycho-pathological transgression of normative
constraints, we were seized by sweet shudders. he dug into his
own skin, injured himself, cut wounds into his skin, folded
them apart. an ecstatic dance made him roll on the ground, the
grammar of catatonia made him go stiff for a moment but was
dissolved into ecstatic shouts the next moment. landmarks of
body art were created and later exploited by others.]
Compared to the unambiguously politicized performances
presented above, Brus's Endurance Test - even though it may
have been an innovation of artistic expression at the time, as
Nitsch contends -provides a very cryptic and idiosyncratic
language of pain and violence, whose subversive power does not
readily disclose itself. Judging from Brus's own description
of this particular performance, the main challenge seems to
have been that of withstanding the temptation to give in to
pain: "Der Körper des Agierenden wird auf eine harte Probe
gestellt - Muskelflattern entsteht und Keuchatem,
Achselschweiß und sonstiger Schweiß und Sehstörungen mit
geröteten Augen" (cited in Dreher 222) [The body of the
performer is put to a hard test - muscle cramp and panting
develop, sweat under the armpits and elsewhere and sight
http://www.genderforum.uni-koeln.de/anybody/gutenberg.html (41 van 60)31-3-2005 18:21:57