simon jones: mixing it: towards the hermaphroditic in performance

2:
The human event is the occasion of becoming-Human, a profound complicating of the past with the presently encountered environment and all imaginable futures. Since the big bang when space and time were so cleft, the bias of being alive, being inbetween, has always been attending most to becoming-Human, has always been outwards. Paradoxically this move away from being-Human, out towards the Superhuman, is yet another attempt to re-turn to the Subhuman, to answer the fundamental, background mood of Oneness. The flight is away from the home and families of Knowledge, into a New Found Land of New Persons. A leap of faith that cannot necessarily be re-turned to the fold and capitalized. This new person is a monster, who is not necessarily the beginning of a species, for which a way back home has not yet been found. So at first this most becoming-Human “appears” inhuman, strange and discontinuous, not part of “us”; but still it speaks to us at the centre. However, unlike everyday life, which generally attends to the probable and reproducible, in order to cope better with the unpredictable, theatre expresses the Human in one of its most complex forms: an attention to the possible. For the theatre-artist, the most private truth is realized by way of the most public perspective. From his/her eccentric point(s) of view, sex and theatre are about materializing the fugitive mood of the mix mixing. His/her function is to complicate; their mood astonishment. His/her character is the adventurer, who posts letters home, who attempts to put us in his/her place (so then s/he won't feel so alone), who rehearses for us his/her leap (just once more), who domesticates (in Foucault's terms) the future (as the historian does the past), who writes a his/her-story of a future.

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