Lab 4 – Body in Performance – Dr. João da Silva


Reflect on previous sessions and feedforward: how does all of this relate to the ‘body of work’ of each one student?

The body in my practice is:

  • fragile
  • not imposing
  • vulnerable
  • textured
  • open
  • imaginative
  • is there
  • challenged
  • playful
  • thoughtful
  • sensitive
  • not ready
  • full
  • revealing
  • unstable
  • flexible
  • surprised
  • generous
  • limited
  • a failure
  • curious
  • light
  • heavy
  • searching
  • powerful
  • listening
  • daring
  • mutating
  • responsive

The body in my artistic practice is conditioned by …

  • the performer’s psycho-physical states
  • the presence of everything that is in the “real”, visual register in a specific event
  • the materiality of everyone/ everything present in a specific event
  • the thoughts/ imagination of the performer as a response to the presence and materiality of what is visible
  • the smells noticed by the performer in a specific event
  • information received by the performer via pineal gland (antena) – which can be thoughts and desires of the beings present and any other signal coming from within the performance space or the outside. These cannot be fully grasped and therefore resist categorization.
  • information received through the skin
  • the desire to make vibration visible
  • speculations around the desires and expectations of the beings present in a specific event

The body in my practice is willing to risk …

  • its current identity
  • its rationality
  • its expectations
  • its ready-made answers
  • its need to predict the future
  • its ontological category
  • its fear
  • its appropriateness

The body in my artistic practice is received by the audience as

  • weird
  • searching
  • at times moved by internal forces
  • at times taken over by external forces
  • a body that makes them perceive the constant movement in their own bodies
  • a body that follows the movement of their thoughts
  • a sensitive body
  • a noisy body

The body in my artistic practice invites the audience to …

  • micro-move
  • perceive their breath
  • look around and at each other
  • be bored at times
  • be active
  • listen
  • think about why their are there
  • question WTF is going on
  • zoom in and zoom out

The body in my artistic practice demands …

  • air
  • love
  • trust
  • imagination
  • connection
  • madness
  • courage
  • superpowers
  • faith

Gifts for the sisters (based on their presentations):

  • Eryfili – anxiety, need to move
  • Jessica – sponteneity, group celebration
  • Ella – mystery, tactile
  • Anushka – empathy, honesty
  • Irina – freaky, compelling
  • Foivi – searching for something, distributed attention
  • Barbara – power distribution, proximity
  • Emily – thick air, zoom of attention both on my and your body
  • Luiza – engaging, disturbing
  • Antrianna – fun experience, charismatic


My gifts from sisters:

  • Jess – trance, spiritual medium
  • Foivi – CO (chemical element), own movement
  • Eryfili – connection, commitemnet (to us, from us)
  • Antrianna – eye contact
  • Ella – unknowing waves
  • Barbara – dynamic connectivity
  • Luisa – drawing, own contact
  • Irina – control in out, for us, through us, safe. is it for real?
  • João – small, tinier, precision

About the compositional conditions we see the performer/ creator worked with: verbal instructions towards the audience (in relation to attention, how to be in space, invitations, requests, directions). How to embody the verbal instructions? How to use manipulation in the frame of ethics to create empathy?

To make it clear what kind of experience you want from the audience to have. I think this is also connected to the question of when does the work begin and when does it end? It is an encounter. How to create conditions so that the encounter you want to have happens. (see Ana Vujanovic text in Post-Dance book)

Wifi practice: oracle, telepathy, object tarot