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“In Psychomagic, [...] we need the individual’s understanding instead of his superstitious beliefs. THe patient should know the reason for each of his actions. The psychomagician makes the transition from witch doctor to adviser. Using psychomagic prescriptions, the patient becomes his own healer.”11 Eventually you find another person, and the relationship between the Idiot and the Witch is formed. The Witch demands abundance, the Witch demands swapping of clothes. The Idiot allows himself permission to go somewhere, and the Witch controls the way. It was easier to have your eyes closed in order to find your own notion of abundance, but we did not have enough time to find the idiot. “Can we both be the Witch?” If you are both the Witch, then you have to locate the Idiot. Make space for the Idiot. The Witch becomes the Idiotic Witch. Leticia preferred this role. The Witch requires a throne, and the Idiot needs to make a headdress for her. It takes time to practice this, to kill the patterns, the education, the quotes, the modes of behaviour of these characters, and the preconceptions we have of them. Abundant garlands. Abundant headdresses. Jack and Lynda introduce dark red lipstick into the score. “I was pretending to be the idiot, but not really the idiot because I care about my t-shirt. He got lipstick on my shirt.” We then meet the priest, who has become a slave to the witch. This is a strange space, this international theatre. Locate the flashing light. Liam is constructing a complex soundscape of Baroque Dub-step, but not instructing the movement as much as he felt he did last time. We need to negotiate this balance between informing/feeding information and receiving. There are still loops and rhythms. There is still space for the inner rave. Everyone is prompted with the idea that only one body in the space harbours the witch in her body. “Locate that body. Locate that person.” Leticia is identified as the body that houses the witch. Give her abundance. All the bodies in the space begin to surround Leticia, as they begin to give her abundance. Everyone begins to touch Leticia. Decision-making. How did we know it was her?
We gradually return to the power of non-verbal agreements. How did the group know which body in the space was harbouring the witch without having decided beforehand on it? The group must be able to interact outside of their “performative” states; and so meals tend to be good places for these social exchanges to take place. Each and every one gradually begins to create some kind of understanding or idea of who everyone else in the group is, which characters are present, what role each person might have within the construction of a an archetypal performance. All of these unspoken observations, judgements and reflections informed their decision on locating the witch within one of their colleague’s bodies. The scope of this score is to reveal these subconscious decisions, but first they need to pass through inevitable stereotypes of embodying idiosyncratic roles in tender playtime. 090