You can now stream BORGESTRIPTYCH, my second play, written and directed by me at Swatch Art Peace Hotel, Shanghai in 2014
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Рухването на една сграда или на нейните функции
може да се разглежда като освобождение или поробване,
или като компресирано време. Зависи.
Трябва да се приближим, за да разпознаем лицата зад праха,
със запушени усти и ръце в празните джобове, неспособни да реагират,
телевизионни зрители на собствения си живот,
казва им се да празнуват и да пазаруват,
трябва да се приближим до рафтовете, да сложим или да махнем очила,
да разчетем малките букви по етикетите, измерват се в човешки животи,
така плащат и на журналистите, когато произвеждат статии – буква по буква.
Вече се издигат нови сгради, смесица от кич и носталгия.
Защо да не се приближим,
има риск да се изцапаме, но никога няма да ни сбъркат,
изглеждаме като изрезки върху тази картина,
друга естетика, има риск да се отвратим,
но защо да не се приближим?

NUTRICULA – statement


The movements are not a translation of meaning and should not be interpreted as such even though the performance does have a dramaturgical ark – a beginning, middle and end with a certain progression. I guess it can be viewed as a story but it was not our intention. However, I understand that we humans are meaning-making machines that tend to always search for explanation and logical conclusion. The movements were generated in improvisation and rehearsal inspired by different concepts and topics we have been interested in (including the immortal jellyfish) but they do not try to illustrate, represent or explain these concepts. All the movements were created by Philip as reponse to these texts, what I did was to select and organize them. All the ideas remained underneath so the movements are a completely separate reality on their own and should be viewed and experienced as such. As you have seen, there is no acting, everything is real and is done in complete and brutal honesty. That is the reason also why we have no set, lighting design, music or costumes that would only have been distractions for the audience. How the performer moves and how the audience reacts, feels, experiences and lives through this movement is the piece. The emotional response is an instinct and intuition that comes before the interpretation and I am very interested in these moments when we can be present, connected and alive without the need to explain. Understanding is there on a very deep level that is not language. The first part (before the introduction of noise) was focused on movement that isolates certain body parts which do not perform their functions as we are used to see them. In that sense this first part is more distant and somehow non- or posthuman. In the second part of the show we can all more easily relate and identify with the psychological experience and memory because it is human essence that we all know. I am aware the show makes people feel uncomfortable. I didn’t want to do a product or a pleasurable aesthetic experience that can be easily consumed. I wanted a real, raw, honest, bare essence on stage that can affect us directly and remind us that we are alive. I have been trying to do that with words for quite a long time but language, even in its most abstract or surreal manifestations, pushes us in the direction of meaning-making. However, I still felt like writing poetry when I was directing this performance.