13 Variables to Dance in the Sun with Chryse
An Open Score for Performance
I was not meant to generate an individual project; the macro event Event/Horizons seemed a big enough task.
The extended lockdown restrictions in Athens made me crave a reason to move, in a big space (the small studio in my home no longer able to contain the overflow of energy).
There is no space, site, area, nook, and cranny, in the neighbourhood of Kypselis that my video camera has not recorded. Together with Zoom meetings, live stream performances and homemade videos are beginning to flat line.
The government in Greece announces that as part of the easing of lockdown, we will be able to visit open air archaeological sites (museums, restaurants, studios, theatre still closed at the time of writing this).
You can visit by using code 6, in the tracking app, permission to exercise outdoors.
Chryse Allen has been following Event/Horizons, particularly The Crossings project; this is not a non-sequitur.
We have exchanged short messages.
The last exchange saw me stating ‘may we dance in the sun soon’… a reference to the last time we danced together, summer 2019 as part of Seven to the Seventh at the Stavros Niarchos Cultural Centre here in Athens.
There are thirteen open air archaeological sites in Athens.
If you connect the dots above, you arrive at ….
Thirteen sites, thirteen actions, structured around a thirteen-minutes audio score, and a thirteen-task performance score.
The project has genetic material from all projects before, recoding a heritage of artistic practice within my body:
from J[us]t 5, the rule-based methodology,
from Micropolies: Invisible Cities: the open public performance score, published for all to perform, dispensing the artist as performer, dispensing with audience, all are actants,
from Seven to the Seventh: dancing with Chryse,
from 1[-1] Materiality of Exile: Jonah exiting from the cave of the whale into hostile territory she used to call home,
from thirty years of work with the artists that have shaped Theatre enCorps, the richest context for my development as an artist, I will wear red, the colour of the company. Through this simple emblematic gesture all artists that have ever collaborated under the umbrella of Theatre enCorps, stand and dance with me in each event. It also refers to a favourite book (of course there must be a book), The Night Circus, and chromatically linked to The Crossings.
I, we, you, they, started on the 1st of May, 13:00, at the Pnyx, the site of the birth of participatory democracy, beautifully hidden in the hills of the nymphs.
From there onwards, the site of the next action will be published midnight of the day before, 13:00 hours before it occurs. A pattern will eventually emerge, we may or may not make it to thirteen, but you must discover it, it will not be given.
It may all be down to weather vectors, as there must be sun to dance in the sun with Chryse.