»In my work«, so Claudia Triozzi, »the question ›Doing what ?‹ has always been present; the body engaged in manufacture, the craftsman’s body, the body anticipating the mistakes of the machines in the factory, the body rehearsing day after day all the well-known and familiar gestures. So the question arises: what is a faithful representation of this body?«
Pour une thèse vivante (For a living Thesis)
Doing what? Che fare?
»In my work«, so Claudia Triozzi, »the question ›Doing what ?‹ has always been present; the body engaged in manufacture, the craftsman’s body, the body anticipating the mistakes of the machines in the factory, the body rehearsing day after day all the well-known and familiar gestures. So the question arises: what is a faithful representation of this body? Mine is an invitation to a dialog weaving links with some of my earlier work which has been drawing from the play ›Dolled-Up‹, where I am engaged in learning handcrafts different from mine, performed in the Soréal factory in Rennes; turned toward the question of the Thesis as a form and as the material for the possible, within a representation of my know-how.
The issue of producing a written text, the body of the thesis, arose as a reaction to the implementation of the master’s degree in the art schools and in dancing design, in the centres for choreography. Theory seems to be turning into a requirement in the arts professions, and, given my level of education, I have a Bac+5(master degree), the next best I could do was to do a thesis! The project started in a critical perspective regarding the new orientation toward theory, but this does by no means imply that I am opposed to writing. Still, if I am to register in the research laboratory of a university for a thesis, which I certainly wish to do, this thesis must not follow the logic and the format of theses in art today. I realized that the working processes proper to all of my creations were part of a research process which I have been conducting for the past fifteen years.
The question would be: why would practice as such not provide an important basis for a thesis in art ? Why not see practice, in some sense, as a form of research? This question would not necessarily push aside writing.
This research constitutes the framework for my invitations to the theorists and to the practical workers. I want to avoid the conference format, their practice and mine should instead converge. My experiments with theory aim at integrating practice as a form of research.«
With Claudia Triozzi, performer/choreographer, Paris; Pascal Buffard, butcher, Paris; Michl Schmidt, visual artist/stonesculptor, Stuttgart; N. N., male nude model. With Lukas, the donkey and the kind support of Annette Wohlfahrt.
Lecture in French with consecutive interpreting in English.
Free Entry!
participated in