« IT MIGHT ALSO CHOOSE TO UNMAKE ITSELF »
commissaire Danielle St-Amour
finissage 19 avril | April 19
cargocollective.com/wwtwo
WALTER SCOTT
CELIA PERRIN SIDAROUS
A play wherein pleasure, dreams, and violence are drawn onto THE SCREENS1. Guns, cash, antlers, a bloodstain, blue-red eyes, legs in running shoes, lemon branches, a burning house, a palm tree. A landscape of mountains. “He will think he is watching an action, but what happens [...] is always fictional.”2
The action of drawing, not performing, makes for a staging that refuses embodiment. The action is an illustration. The transposition creates a necessary distance– it is not possible to hold and possess, yet it possesses an impulse to do so.
The orange wedge holds open doors, simultaneously suggests caution.
Information hidden in a vase, the mise-en-scène holds concealed data.
Confined to a space, imagine the distance between performing and depiction as two points—while traveling from A to B the movement dredges up particles from mountains, plains, air, bodies of water. Upon arrival things are still missing.
This list of actions implies a progression of events, its development is a construct both real and false: screen hide filter construct arrange rearrange display unmake confound fictionalize.
We smuggle ourselves in.
- Stacey Ho, Danielle St-Amour
Notes :
- The Screens (French: Les Paravents) Jean Genet, 1961
- Genet's New Play: "The Screens" Pierret, Marc & Rima Drell Reck; The Tulane Drama Review; Vol. 7, No. 3 (Spring, 1963), pp. 93-97
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