2011/02/16

First Person Plural

Idea:  Nicola Unger
Performer:  Sato Endo, D. Grdinic, Nicola Unger, Juliane Zöllner
Advice:  Duro Toomato
Sound advice:  Neon & Landa
Light /Space advice:  Tilo Schwarz
Softwareprogramming:  Simon de Bakker, V_2 Institute for Unstable Media Rotterdam
 
Production:  Productiehuis Rotterdamse Schouwburg, Zeitraumexit e.V.
Supported by:  Zeebelt Den Haag, WP_Zimmer Antwerpen.
Thanks to:  Paul Perry, Christian Birko-Fleming, Maria-Inti Metzendorf, Oliver Möller, Almuth Simmchen, Monika-Margret Steger
Performances are in English and in German / 50 min
November 24th & 25th, 2010  Zeitraumexit,
Mannheim
December 3rd & 4th, 2010  Rotterdamse Schouwburg, Rotterdam



When does thinking happen?
How does thinking feel?
Are there different versions/states of thinking?
Is the inner voice thinking?
Is there a connection between theater/imagination and the process of thinking?
(When you see yourself doing something, are you in your own theater as your own observer/audience?)
Observe your inner conversations. Try and categorize those inner processes. For example into:
- 10 sentences pointing towards the future (I have to do my taxes, call aunt, clean up…)
- 3 dilemmas/questions/problems that I am thinking about in life and keep on tossing around in my head until I forget them again (Why do artists make the same type of work over and over-is that disappointing or relieving?)
- 7 slogans, quotes, proverbs that I learned at some moment and still remember (Die Milch machts/Reden ist silber/Schweigen ist Gold)
- 5 sentences about body sensations (I need to pee/I am hungry) etc.
Record those examples. Have at least 59 soundfiles.
Have them play back randomly.
Then start speaking to yourself.
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1. PERSON PLURAL is an experiment trying to investigate thinking.
Thinking understood as a silent ‘Selbstgespräch’ one holds with the inner voice, when being in discussion with the soul.
The inner dialogues of three performers will be externalised and rendered audible to the audience. With each performer a database of possible thoughts has been recorded. All these sentences and fragments are controlled by a software that plays them back randomly and will engage each performer in a Selbstgespräch. Randomness or maybe arbitrariness seem to mirror the dynamic process of thinking best. The performers never know what is coming next and will improvise. Every evening they will weave a different image of their thinking strategies and inner doubles.