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Dutch performance artist Bram Vreeswijk put up a new website. He writes about his own orientation:

“At the moment I am particularly interested in the issue of watching a moving body versus watching an ‘image’ (whatever that may be). A source of inspiration for this research is the work on ‘the split between the eye and the gaze’ of Maurice Merleau-Ponty and Jacques Lacan. I read their discussion of vision as an extension in the scopic field of Georges Bataille’s fight with language in the ‘Inner Experience’.”

His performances always have something distinctly unheimlich about them. I spoke to one person who was at a complete loss about how digest her experience of attending on of Vreeswijk’s performances. This probably has something to do with the fact that, as far as I understand at any rate, it is Vreeswijk’s intention to incorporate the audience into his performances in a way that causes them to question their identity, and their presence in relation to him as performer (‘The Disappearance’ for example, takes place on all sides of the audience and ‘solicits’ from them, a becoming-other.

There is an essay, available on his site, which I still have to read properly; ‘Towards an understanding of presence (in theatre) as movement within and between bodies‘. Scanning through it now one interesting point is dancer Seon-ja Seo’s technique and use of disjunctive movements to create a becoming-multiple, a fragmented body meant to keep the audience’s attention close to the moment itself.

Striking because of the parallel with Silliman’s New Sentence and other paratactical techniques in poetry also used to actively engage the audience/reader and destabilize supposed ideas of identity. Maybe there are more interesting comparisons to be made (first will read the whole essay..)

Some samples: a recent film I just watched: ‘The Experience’

A one-minute film, ‘The desire to become an Indian'”

One part from the performance piece ‘The Disappearance’:

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