[ THE FRAME ]
An attempt to capture what is happening when apparently nothing is happenings apart from people, cars, clouds, time.
CREATION PROCESS STARTING IN FEBRUARY 2019; FIRST TRYOUT AT FITTÓNIC 2018 (Tarragona)
[ THE FRAME ] is the working title of the new project. It is an attempt to make something like an inventory of things and people within a cutout of street or a square that is a social and performative space. Our main inspiration and reference in terms of style is the French writer and everyday life-lover Georges Perec, especially his works Species of Spaces and Other Pieces (1974) and An Attempt at Exhausting a Place in Paris (1975).
Just as Perec, we are interested in the ordinary, the trite and the tangible that is happening in front of us. Perec achieves to maintain his readers’ attention although actually “nothing” is happening in his books. With [ The Frame ] we want to get to the bottom of this Perecian “nothingness”; this “nothingness” without main characters, without a plot, without constant changes of space, without the notion of good or bad. We want to discover this “nothingess” for ourselves and develop a means of selection, a systematic procedure of observation, of giving focus and deal with the paradox of intervening as performers and describing simultaneity. And most likely, this undertaking will provoke encounters and thoughts about social coexistence and the uses of public space.
We claim that the Perecian practice of observing and designating banal happenings in the present in a specific space is more than a poetic action or a meditation that constantly makes us return to the present. It is a little act of rebellion against the capitalist thought of increase, comparison and rush. We will train ourselves and the audience in the skill of being present and see what is in front of us; walking, rolling, clothes, colours, numbers, furniture, nature, animals, etc. The list is long and the categories are totally exchangeable and always personal.
THE INTERVENTION or THE GAME
4 characters enter the framed picture and disappear again, describing little things that happen with their bodies, signs and sounds that guide the audience’s focus. By their subtle but uncommon presence in urban everyday life, they get in contact with the picture, the people and the passers-by, who themselves suddenly become actresses and actors for the audience.
In doing so, it is important to the characters that daily life continues; the people in the frame should not stop to see a show. However, they might alternate their speed or even stop because they feel that something is happening that is not as common as a dog on a lead. Something that alters the everyday scene but cannot be categorised easily; something that suddenly questions their anonymity and the use of this space because suddenly it is not used according to a familiar or “normal” scheme. Maybe they also realise that they are being observed by a group of people and react in one way or another.
In that sense the picture stares back, it reacts to its observers and vice-versa. A game emerges in an extended scenic space between the people (and animals) inside the picture, the people in the adjacent space on the edges of the frame, the audience in their roles of observers and the actresses and actors. A playful space, a poetic space, a space for surprises and spontaneous actions, a space of the immediate present that questions the uses of public space and conventions of theatre. A space for encounters as a result of a seemingly simple game that moves the ordinary, the banal, into the light of the poetic, of the extraordinary.