mic with languages in body. Try with stethoscope- dr. dr. can't you see im bleeding..(song?) 2- Rhythm of a nomad – 3- 3 – 6 – 8 -0.8 – 0.3 – 0.8- 8 -3- 3- 5/6
places/ geology/ movements, steps, gestures, steps, or structure of the show?
3-tel aviv, 3- Florance, 6- Paris, 8- tel aviv, 0.8- new york, 0.3- amsterdam, 0.8- paris, 8- London,
3- dresden, 3- paris, 5/6- Brighton
Eva- 9- warsaw poland, 1- bialistok russia, 1- sibiria, 5- kirgistan russia 4- lodge poland, 1- gan shmuel, 5-harel, Israel, tel aviv, 1-firenze-italy, 6- tel aviv, 3- florence, 6- Paris, 30- tel-aviv. (8 schools) polish idish russia Aiby- 2- levov- austro hungaria, 10- manchester, 4- levov, 1-bitanya cineret ?-Israel, ?- tel aviv. 3- border/split/in between- (which story works best?)
Draw a line on the floor, one side one language, the other side another language, then stay in the middle both- topic of conversation- patriotism, where do you come from?, a journey through a place paris/london.
4- parallele stories about multiculturalism ???? one story faster and faster english- abot socrates greek- american born in the states to parents who speak only greek, he came to london his best friends were a german and a venesuelain, the later was maried to a frech beautiful woman... desiree... in frief he lived with an israely woman in a shared tiny flat, studying photography, he eventualy married and israely performer, but she left him and went to germany to work with a russian and a japanese company.
French about noa and izhar in the party at the iraniana, there were afew frech people and a couple of israeli people, their best friends were italian, they met in London, but she was also british, and he was also german,
Italian -about the kitchen affinities between japan and italy.
Hebrew- saba eibi's story? Veima? Veaba?
Brazil- (african, indian, european, portuguese.. ) football..? face changes when I change language, explore filming.
4a- movement sequence- -i often feel I have the eyes of the desert, French neck, israeli chest, Italian hands, Portuguese hips, polish legs, a British spine, and my heart where is my heart?
5- questions!!- in the rhythm of my heart.. play with the rhythm of my heart as I say it with stethoscope? 6- Interview -
eventually ask for a performance a song or poem.. barbara/ omrim shahaya po sameach/kan noladeti
have you packed this poem yourself? Is there anything sharp in this poem? (immigration questions)
7-good evening & welcome 5-10 languages. 8- google map- from one country to another, one house in tel- aviv to florance, to paris to brighton. Entering into one of the houses, a book shelves, a book, inside a picture of people standing in the sea (antony gromley) (drawing the path with eyes closed in the space) 9- walks- with or without lamp, on the spot and around as a dance.- julie london – fly me to the moon. 10- I was born- edit text, try different genres – pathy smith, buirocratic with face..11- I speak in english, I dream in hebrew, I think in french, I write poetry in portuguise, recepies in italian, novels in russian, I forget in polish and now I will dance for you in Japanese.
12- immigration officers- through images & footage.??? 13- exaggerate- over dramatize, enter with suitcase, have an eifel tower and a david apron 14- Lottery (the beginning is by chance, later its by choice but with a tendency to repeat the chance bit) 15- Point of view- Looking from inside then outside 16- Languages dance- collected with carl. 17- my mothers life- walking on head. 18- funny walks- pakistan with indian border control, (+questions?) border ceremony 19- paths- drawing of lines 20- champagne!- clichés call out 21- representations game- in this piece the body represents the world+ heart beats as rhythm. 22- counting and numbering/ numbers in general- as people come in put them in a specific place english here, european there or by any absurd formation, then change in the middle of the show. 23- how it relates to the audience!? 24- Welcome & good evening -with la ribot dresses on hangers for each language..? 25- tapeing the body to the ground- what can I do with this..? balance.. dance with upper body. 26- numbers! The number, the years, the age that doesn't fit! 27- Rumi- in Cairo dreaming of Baghdad, in Baghdad dreaming of Cairo. 28- Jean Jenet--pathy smith style- dark with a base and a bit rock and roll (but held most of the way) taking part of jean jenet story. multiple points of views, using the language of the enemies works
Exercises/ research 1- dance 15 mins now and here
2- why do you dance? To who do you dance? Everyday by dancing no words
3-timed pieces!!!! (1 minute, 3 etc..)
4- not always 100%, body on & off the movement questioning,
5-natsu nakajima exercises!
6- geneology the ground under our feet in each place
Agatha christy, virginia woolf, jane aire, james joyc, becket, harold pinter, the beattles, the rolling stones, david bowy, dv8, complicite theatre, the national theatre, south bank, oxford, london, brighton, the tate gallery, house of common, house of lords, the queen, charlie chapline, blake, lager, punk, margaret tatcher, waterloo, chirchill, oxford street, queen victoria, rain, thank you, not to bad, allright, cheers, fish and cheaps, sunday roast, fish pie, cup cake, toni blaire, jude law, laurence olivier, tommy couper, max wall, spice girls, bekman, mike lee, salman rushdi, kubrik, cary grant, michael kane,monty phyton, michael clark, mathew bourne, aimy whinehouse, sid visciouse, terry guilliam, ewan mcgregor, garry oldman, tilda swinton, dungenesse, emma thompson, jully andrews,
charle guinsbourg, pirouette, plier, relever, simone de bauvoire, erik satie, rousseau, jean luck godard, miteran, paris, le champs elisee, charle de gaule, beaubourg, louvre, aussman, la bagette, le vin rouge, le fromage, la france, la froncoffony, edit piaff, charle aznavour, jeack brell, jean paule belmondo, silvie guillemme, truffeau, matisse, henri cartier bresson, antoine de saint exupery, sartre, jean cocteau, yve montant, yves saint laurent, isabelle hupert, citroene, guitane, les crepes, champagne, bravo, fait chier, merde, renoire, antonin arteau, marcel marceau, la coupole, pigalle, chantalle, c'est pas l'eure, moulain rouge, brigitte bardeau, la commedie francaise, molliere, je t'aime moi non plus, decoration, intelectualization, proportion, definision, jeaque prevert, les fable de la fontaine, le petit prince, bourgogne, bordeau, toulouse, canne, micheau, pierot, fuqeaut, marcelle prouste,
melanzane, pasta, michelangello, antonioni, marcelo mastroyani, federico fellini, modiliani, leonardo da vinci, pouchini, pergolesi, pavaroti, paese, agricultura, magari, ma qhe voi, chochacolo chon la chanucha, chlassicho, chavalo, armani, versache, cecilia, roma, firenze, prato, radicondoli, musollini, machiavelli, parmigianno, ricotta, opera, cucina, pricipessa, assisi, verdi, la traviata, de sica, antonioni, la dolce vita, va fan culo, pinoccio, il duomo, medici, palazo vecio, santa crocce, dante aligieri, la divina comedia, bandiera rossa, zukero, capuccino, pizza, belle done, vino bianco, pisa, berlusconi, alfa romeo, soffia laurene, anna maniani, giulietta masina, bienalle di venezia, maradona, comedia del'arte, margarita, mozzarella, polenta, tiramissu, colloseo, milano, chinque chento, mafia, famillia, nona, bombolone, imbecile, mama, la strada,
I was born in tel aviv I mean they were born in tel aviv, or maybe your were born in tel aviv, no we we did, tov nu lo tsarich lherchiv al ze achshav kadima.. sea, sun, war, peace?, jerusalem, the dead sea... and then at the age of 3 no 6 no, at the age of 3 yes, then they moved, I moved, we moved to italy, florance, tov nu kadima tagii lanekida..,
describe the route from my homes in tel aviv, to the one in brighton, to the one in paris, to the onein brazil, Italy, the one in poland doesnt exist any more....
Another early and very influential Greek philosopher was Pythagoras, who led a rather bizarre religious sectand essentially believed that all of reality was governed by numbers, and that its essence could be encountered through the study ofmathematics.
Socrateswas more concerned with how people should behave, and so was perhaps the first major philosopher of Ethics. He developed a system of critical reasoningin order to work out how to live properlyand to tell the difference between rightand wrong. His system, sometimes referred to as the Socratic Method, was to break problems down into a series of questions, the answers to which would gradually distilla solution. Although he was careful to claim not to have all the answers himself, his constant questioningmade him many enemies among the authorities of Athens who eventually had him put to death.
Patriotism “They wrote in the old days that it is sweet and fitting to die for one's country. But in modern war, there is nothing sweet nor fitting in your dying. You will die like a dog for no good reason.” Ernst Hemingway ASSEMBLAGE:
An assemblage is any number of "things" or pieces of "things" gathered into a single context. An assemblage can bring about any number of "effects"—aesthetic, machinic, productive, destructive, consumptive, informatic, etc. Deleuze and Guattari's discussion of the book provides a number of insights into this loosely defined term:
In a book, as in all things, there are lines of articulation or segmentarity, strata and territories; but also lines of flight, movements of deterritorialization and destratification. Comparative rates of flow on these lines produce phenomena of relative slowness and viscosity, or, on the contrary, of acceleration and rupture. All this, lines and measurable speeds constitutes anassemblage. A book is an assemblage of this kind, and as such is unattributable. It is a multiplicity—but we don't know yet what the multiple entails when it is no longer attributed, that is, after it has been elevated to the status of the substantive. On side of a machinic assemblage faces the strata, which doubtless make it a kind of organism, or signifying totality, or determination attributable to a subject; it also has a side facing a body without organs, which is continually dismantling the organism, causing asignifying particles or pure intensities or circulate, and attributing to itself subjects what it leaves with nothing more than a name as the trace of an intensity... Literature is an assemblage. It has nothing to do with ideology. There is no ideology and never has been. (3-4)
The book, as described above, is a jumbling together of discrete parts or pieces that is capable of producing any number effects, rather than a tightly organized and coherent whole producing one dominant reading.
The beauty of the assemblage is that, since it lacks organization, it can draw into its body any number of disparate elements. The book itself can be an assemblage, but its status as an assemblage does not prevent it from containing assemblages within itself or entering into new assemblages with readers, libraries, bonfires, bookstores, etc.
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"Becoming-" is a process of change, flight, or movement within an assemblage. Rather than conceive of the pieces of an assemblage as an organic whole, within which the specific elements are held in place by the organization of a unity, the process of "becoming-" serves to account for relationships between the "discrete" elements of the assemblage. In "becoming-" one piece of the assemblage is drawn into the territory of another piece, changing its value as an element and bringing about a new unity. An example of this principle might be best illustrated in the way in which atoms are drawn into an assemblage with nearby atoms through affinities rather than an organizational purpose. The process is one of deterritorialization in which the properties of the constituent element disappear and are replaced by the new properties of the assemblage—"becomings-molecular of all kinds, becomings-particles" (D&G 272). The discussion of "little Hans" introduces the wide range of possible "becomings-":
Hans is also taken up in an assemblage: his mother's bed, the paternal element, the house, the cafe across the street, the nearby warehouse, the street, the right to go out onto the street, the winning of this right, the pride of winning it, but also the dangers of winning it, the fall, shame...These are not phantasies or subjective reveries: it is not a question of imitating a horse, "playing" horse, identifying with one, or even experiencing feelings of pity or sympathy. Neither does it have to do with an objective analogy between assemblages. The question is whether Little Hans can endow his own elements with the relations of movement and rest, the affects, that would make it become horse, forms and subjects aside. Is there an as yet unknown assemblage that would be neither Hans's nor the horse's, but that of the becoming-horse of Hans? An assemblage, for example in which the horse would bare its teeth and Hans might show something else, his feet, his legs, his peepee-maker, whatever? (D&G 257-58)
As Deleuze and Guattari explain, the process of "becoming-" is not one of imitation or analogy, it is generative of a new way of being that is a function of influences rather than resemblances. The process is one of removing the element from its original functions and bringing about new ones.
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BODY WITHOUT ORGANS:
The "Body without Organs" or BwO is a term Deleuze and Guattari have taken from Antonin Artaud which consists of an assemblage or body with no underlying organizational principles, and hence no organs within it. The BwO is a post-Enlightenment entity, a body but not an organism.
You never reach the Body without Organs, you can't reach it, you are forever attaining it, it is a limit. People ask, So what is this BwO?—But you're already on it, scurrying like a vermin, groping like a blind person, or running like a lunatic; desert traveler and nomad of the steppes. On it we sleep, live our waking lives, fight—fight and are fought—seek our place, experience untold happiness and fabulous defeats; on it we penetrate and are penetrated; on it we love...The BwO: it is already under way the moment the body has had enough of organs and wants to slough them off, or loses them. (D&G 150)
The Body without Organs is thus, as Deleuze and Guattari explain, also a "plane of consistency," which, concretely ties together heterogeneous or disparate elements" (507). In other words, the BwO provides the smooth space through which movement can occur. Rather than the unifying principles of a system of organization, the BwO's system of embodiment is constituted through principles of consolidation.
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"Nomadism" is a way of life that exists outside of the organizational "State." The nomadic way of life is characterized by movement across space which exists in sharp contrast to the rigid and static boundaries of the State. Deleuze and Guattari explain:
The nomad has a territory; he follows customary paths; he goes from one point to another; he is not ignorant of points (water points, dwelling points, assembly points, etc.). But the question is what in nomad life is a principle and what is only a consequence. To begin with, although the points determine paths, they are strictly subordinated to the paths they determine, the reverse happens with the sedentary. The water point is reached only in order to be left behind; every point is a relay and exists only as a relay. A path is always between two points, but the in-between has taken on all the consistency and enjoys both an autonomy and a direction of its own. The life of the nomad is the intermezzo. (380)
The nomad, is thus, a way of being in the middle or between points. It is characterized by movement and change, and is unfettered by systems of organization. The goal of the nomad is only to continue to move within the "intermezzo."
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"Rhizome: A prostrate or subterranean root-like stem emitting roots and usually producing leaves at its apex; a
—Oxford English Dictionary Online.
As a model for culture, the rhizome resists the organizational structure of the root-tree system which charts causality along chronological lines and looks for the originary source of "things" and looks towards the pinnacle or conclusion of those "things." "A rhizome, on the other hand, "ceaselessly established connections between semiotic chains, organizations of power, and circumstances relative to the arts, sciences, and social struggles" (D&G 7). Rather than narrativize history and culture, the rhizome presents history and culture as a map or wide array of attractions and influences with no specific origin or genesis, for a "rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo" (D&G 25). The planar movement of the rhizome resists chronology and organization, instead favoring a nomadic system of growth and propagation.
In this model, culture spreads like the surface of a body of water, spreading towards available spaces or trickling downwards towards new spaces through fissures and gaps, eroding what is in its way. The surface can be interrupted and moved, but these disturbances leave no trace, as the water is charged with pressure and potential to always seek its equilibrium, and thereby establish smooth space.
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"Smooth space" exists in contrast to "striated space"— a partitioned field of movement which prohibits free motion. Smooth space refers to an environment, a landscape (vast or microscopic) in which a subject operates. Deleuze and Guattari explain:
Smooth space is filled by events or haecceities, far more than by formed and perceived things. It is a space of affects, more than one of properties. It is haptic rather than optical perception. Whereas in striated forms organize a matter, in the smooth materials signal forces and serve as symptoms for them. It is an intensive rather than extensive space, one of distances, not of measures and properties. Intense Spatium instead of Extensio. A Body without Organs instead of an organism and organization. (479)
Conducive to rhizomatic growth and nomadic movement, smooth space consists of disorganized matter and tends to provoke a sensual or tactical response rather than a starkly rational method of operation or a planned trajectory.
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One of the fundamental tasks of the State is to striate the space over which it reigns, or to utilize smooth spaces as a means of communication in the service of striated space. It is a vital concern of every State not only to vanquish nomadism but to control migrations and more generally, to establish a zone of rights over an entire "exterior," over all flows traversing the ecumenon. If it can help it, the State does not dissociate itself from a process of capture of flows of all kinds, populations, commodities or commerce, money or capital, etc. There is still a need for fixed paths in well-defined directions, which restrict speed, regulate circulation, relativize movement, and measure in detail the relative movements of subjects and objects. (D+G 385-85)
In other words, "the State" operates through the capture of movement and the partition of space. Similarly, the State is also concerned with striating space or building into it a hierarchical system of relations which places the occupants of each strata at odds with those of other strata. As Deleuze and Guattari describe it, the State is concerned chiefly with creating structures or constructs through which lines of flight can be harnessed and controlled. The State, thus, harnesses energy by creating inequalities.
Interestingly, Deleuze and Guattari mention the necessity of "smooth space as a means of communication" in the service of the State. But, as information becomes more and more central to the economy and as the exploding telecommunications market becomes more central not only to the workings of capital, but to its very creation, it would seem that the organization of the State itself could be subject to disruption or deterritorialization. If the "striated space" that "smooth space" is enlisted to serve is itself being replaced by "smooth space" of an information-based economy, and freedom to navigate the channels of communication without inhibition becomes itself a commodity, then "the State" is in a precarious situation. The State must become nomadic, and subject itself to deterritorialization.
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The "War Machine" is a tool of the nomad through which capture can be avoided and smooth space preserved. Rather than the military (which is a State appropriation of the war machine), the war machine is a collection of nomad-warriors engaged in resistance to control, war being only a consequence—not the intended object. The military on the other hand, is an organization formed by the State formed specifically to wage wars and immobilize adversaries (which are determined by the State):
The question is therefore less the realization of war than the appropriation of the war machine. It is at the same time that the State apparatus appropriates the war machine, subordinates it to its "political" aims, and gives it war as its direct object. (D&G 420)
Unlike the military, the war machine is not influenced by the economic and political concerns of the State. The war machine is a "grass roots" affair which bubbles up from common concerns for freedom to move, and as a result it is part and parcel of nomadic life.