'Common-Works No2.3'- Taipei (2019) is part of a work-series which questions how signifier (re-) present themselves in movement and how our social environment is enacted through shared physical memories.
The score-edition was performed in mandarin, on Sunday 22nd December 2019, at 臺藝大造形表演工坊Atelier Transformeurs 

In collaboration with 張勻甄 Yunchen Chang、陳品聿 Piin-Yuh Chen、吉瑞娸 Ruei-Ci CHI (Bast Gi)、許生翰Sheng Han Hsu (Sean Trudi Hsu)、黃郁元 Yu-Yuan Huang、黃柏嘉 Bo-Jia Huang、王思涵 Ssu-Han Wang 、高郁婷 Yu-Ting Kao (Kao)、呂莛 Ting Lu、蔡代琪 Dai-Chi Tsai Concept Timothy Nouzak In conversation with Freda Fiala Supported by 臺藝大造形表演工坊 Atelier Transformeurs, NTUA, National Taiwan University of Arts-台藝大 and 台北國際藝術村 Taipei Artist Village

The following score - split into 5 chapters, reflects, through a semiotic understanding, how “Meaning” and “Memory” relate to the production of movement and tries to illustrate, how the recognition of a signifier can become motion. By speculating about a potential signifier one starts to presuppose a potential signified, the concept which the signifier represents. History and memory are always at stake – both in the enactment as well as in the reception of choreographic movement.

What's the signifier/signified in movement and how does the potential space-in-between look like?
How could a more inclusive afterlife of semiotic thinking look like?

I - From action to action.

Think about your own history and memory as a performer. Observe how you move and what your movements are constituted of. Perceive these movements as part of a vast archive, that lives within you and that is made up through your own history and memory as a performer. Try to identify ways, how to access this inner archive and embody it.

Start to exhibit various chapters and chronicles from your archive. Exhibit one action at a time. If the action is exhausted, start with the next one. Propose clear choices on how to exhibit your inner archive and think about how you transition between your actions, e.g. by ‘stepping out’ of an action, keeping the residue of an action and transforming it, ... Find yourself a space to start and give it a little time. Let the audience come in.

II - It could be [this].

Continue to exhibit one action at a time and observe what the executed action might be. Use the similar sentence structures to illustrate this presupposition.

  • It could be this
  • Potentially also this
  • But not this
  • Moreover, it could be this
  • It could be this [emphasizing an iconic gesture] 
  • ...

Once the first performer starts talking, try to acknowledge that sound will become part of the work from that point onwards. While moving, think about different variations in your voice as well as your executed actions that might help you to access seemingly lost parts of this innner archive.

III - Physical conversations.

While one performer says “It could be [this]” the others emphasize, amplify and copy the executed actions. The respective roles change after each round.

Keep a slow start and raise the energy-level steadily throughout by intensifying the pace of changes as well as the intensity of the executed actions. Try to discover alternative ways how to relate to the others executed actions, e.g. copy/mime the exact action, amplify or emphasize the action, distort certain aspects or underline the complete opposite, ... Try to catch the action as fast as possible and trick yourself into thinking that it was part of your inner archive. 

IV - Collective rave.

Continue with “Physical Conversations” and start to include actions that have a distinct rhythmical outline.

After a while try to enter into a shared communal rhythm and focus on raising the communal energy.

Once the group has arrived at an energy peak, break out of “Physical Conversations” and start emphasizing solely the collective rhythm through repetition and breath. Try to exhale at the same time all together. Start to enliven your inner ghosts, keep pushing it and allow it to exhaust itself.

V - Modulation of words.

Once the group feels that they arrived at an energy peak, start to calm the breath down and enter with “Modulation of Words”.

Before performing: collectively discuss, choose and later on memorize 50 words that are deemed cruial and have to be adressed. Think about how you want to frame/ give shape to what previously occurred in the work. The words should start with the last bit of the previous word (e.g. Keychain – Chainsaw – Sawmill – ...) Thus, they are connected not only through their structures, i.e. their various semantic meanings as well as their usage as idioms but further as well through their value as the communal product the various enacted inner archives.

VI - Accumulation.

Start to collectively speak the words within five different cycles:

  • 1st round: Speak in stillness the 50 words in a collective rhythm in a group into one direction. If needed look out or close your eyes but continue to follow the rhythm and focus on the articulation of the voice
  • 2nd round: Look at each other and speak the 50 words while moving to match the phonic materiality of the word. Start to align up along the space.
  • 3rd round: Speak the 50 words in stillness and continue to look out.
  • 4th round: Change again the posture with every word but enact it with sudden stops in between.

Before the last, 5th round, stop with your actions and leave the space accept one.

  • 5th round: The Epilogue of the work
– Start with an accumulation: the first performer starts to say the first five words. The next one enters and says their words, ...

The end is when the 5th round of 50 Words is over.

photos/video by  臺藝大造形表演工坊 Atelier Transformeurs.