I call the agency of enactment to modifications or transformations that are necessary to make into a technique to more possibilities of decision. Going from embodiment to enactment gives the autonomy to move from those conceived ideas of the actor as an interpreter to the performer itself, exploring performing arts as a matrix (Dubatti, 2015) where creation is far away from text and representation.
What is a circus body? What is a theatrical body? How can it be seen in circus or theater as singular? What are the possibilities of experience in the transmission of a method or a technique in circus and theatre? This condition of singularity begins with the issue of virtuosity onstage and ends with the necessity of finding “that” which no matter the character or performer, becomes political between the relationship of the spectator’s affects transforming or altering the performer’s states.
Can personal techniques or methods be transmitted? If so, how is it possible? Do they operate while constructing the personal style, or directly in the performer’s body? How can a body be experienced as a conceptual, ethical, and political space? (McCormack, 2008).
Summer 2018/2021
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