MY PRACTICE AS VISUAL DRAMATURGY

PURPOSE

Scan existing artistic projects, drawings and CPPM material to analyse whether visual organisation already functions dramaturgically.

STARTING QUESTIONS

For each relevant project, identify whether the process tends to begin from:

• an image;
• a spatial arrangement;
• an object;
• a material;
• a drawing;
• a body configuration;
• a sound-image relationship;
• a symbolic object;
• a visual constraint;
• a narrative;
• a text.

RECURRING STRATEGIES TO TEST

Do not impose these conclusions if the existing works contradict them.

Investigate whether the practice demonstrates:

• COMPOSITION BEFORE NARRATION;
• IMAGE BEFORE EXPLANATION;
• BODY AS PART OF A MATERIAL CONSTELLATION;
• OBJECT AS DRAMATURGICAL AGENT;
• SPACE AS SCORE;
• DRAWING AS RESEARCH;
• REPETITION AS VISUAL TRANSFORMATION;
• FRAME / CAMERA AS PART OF THE EVENT.

COMPARATIVE METHOD

Compare selectively to:

• Jan Fabre;
• Romeo Castellucci;
• Tadeusz Kantor;
• Robert Wilson;
• William Kentridge;
• Ana Mendieta;
• Joseph Beuys.

Do not say the work “is like” theirs merely because it uses the same material.

Distinguish:

• shared use of material;
• shared compositional logic;
• shared politics;
• shared aesthetics.

CPPM POSITION

Use guest-artist encounters, Weekly Questions, drawings, performances and scenographic experiments as evidence for questions, not as automatic proof of a single method.