Trusting some of the team will report about the performance and all the preparation for it, I’m going to talk about what happened afterwards: So, as the NST day was not happening, we found ourselves with two days available for working. Saturday we slept over, had a rich branch with a long and detailed talk analysing all the possible aspects of the previous day performance, then in the afternoon we turned operative setting up for rehearsing/recording; we also thought about shooting a couple of videos to post on YouTube, if possible. A clear recall of GD happened already as I walked in the house, building site-like, but the essence of GD for me came about when we began to work on circulations and on the pieces we planned to record. The intensity during the Saturday afternoon-evening sessions grew pretty high and, after a couple of takes of Calliope, we decided to have one standing: in a moment, still with the flavour of GD in my mouth, I could observe the tension taking over my body according to a specific pattern, I couldn’t really help with it, I could observe the event while it was happening for long enough to leave a permanent (I hope) trace in my experiential system; I don’t know yet what to do with it but I do hope I’ll be able to make a good use of it. Later on and for the whole following day we’ve been working just the way we do: bringing care and attention to all the different element of the playing and interacting, treating even simple details as utterly relevant. This again pulled me back to the GD days, more specifically to my L3 and the following Winter Project (2002), when this way of working was presented to me in such an extensive way for the first time. According to Hernan that’s very much related to the fact that, like in GD, we’re now using “our own house” (i.e. we’re not paying a rent to someone outside our community), and so we’re free from certain pressures; I agree completely with this.
Directed by Hernán Nuñez Local Coordination by Romain Castagnet
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