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Kunstenaarsbijdrage: Bryana Fritz Ter introductie van Bryana Fritz’ kunstenaarsbijdrage herschrijft Tom Engels de opening van The Autobiography of Alice B. Toklas van de Amerikaanse auteur Gertrude Stein. Stein schreef een autobiografie van haar levenspartner Alice B. Toklas, die uiteindelijk haar eigen biografie bleek te zijn. Doorheen het verweven van elkaars denken, werk en inspiratiebronnen, ontmoeten Engels en Fritz elkaar in het werk van Stein. De tekst vormt geen correct portret van Fritz. Toch is het haar portret door Engels. Twee schrijvers ontmoeten elkaar in Steins vorm, herhaling en stilering.

THE AUTOBIOGRAPHY OF BRYANA FRITZ by Tom Engels (and Gertrude Stein) I. Before I Came to Brussels I was born in Naperville, Illinois. I have in consequence always preferred living in a temperate climate but it is difficult, on the continent of Europe or even in America, to find a temperate climate and live in it. My mother’s father was a soldier, he came to Chicago in ‘64, he married my grandmother who was very fond of music. She was born in what is now called Serbia and was proficient in 5 languages. My mother was an opinionated but charming woman named Krystyna. My father came of Slovakian and English methodist stock. His great-aunt was a music teacher. His father left his wife before their marriage, to fight at the barricades in Europe, but his wife having cut off his supplies, he soon returned and led the life of a well behaved businessman. I myself have had no liking for violence and have always enjoyed

the pleasures of writing and dancing. I am fond of paintings, furniture, tapestry, houses and flowers even vegetables and fruittrees. I like a view but I like to sit with my back turned to it. I led in my childhood and youth the gently bred existence of my class and kind. I had some intellectual adventures at this period but very quiet ones. When I was about eighteen years of age I was a great admirer of Trisha Brown. I felt that the score of Set and Reset would generate a very remarkable text and I wrote to Trisha Brown suggesting that I transform it. I had from her a delightful letter on the subject and then, when I felt my inadequacy, rather blushed for myself and did not keep the letter. Perhaps at that time I did not feel that I was justified in preserving it, at any rate it no longer exists. From then on for about one year I was well occupied. I led a pleasant life, I had many friends, I was still in school, much amusement many interests, my life was reasonably full and I enjoyed it but I was not very realistic at that time. This brings me to the Minneapolis performance of Missa Brevis which had as a consequence that a member of the Jose Limon company and I shared a birthday celebration and this led to a complete change in my life. I was at this time living with my close friends. My bedroommate was a social woman who took things lightly, although she felt them deeply. The first terrible morning of the Chicago fire I woke her and told her, the city has been rocked by an earthquake and is now on fire. That will give us a black eye in the East, she replied turning and going to sleep again. I remember that once when my sister and a friend had gone


horse-back riding, one of the horses returned riderless to the stables, the mother of the other girl began to make a terrible scene. Be calm madam, said my father, perhaps it is my daughter who has been killed. One of his axioms I always remember, if you must do a thing do it graciously. He also told me that a hostess should never apologise for any failure in her household arrangements, if there is a hostess there is insofar as there is a hostess no failure. From my twentieth year I was seriously interested in writing. I studied and practised dance assiduously but shortly then it seemed futile, I had decided to leave Germany knowing that there was no unconquerable homesickness, but there was no real need to stay in Europe either. My story Blue in Relentless by Tom Engels has given a very good description of me as I was at that time.

Tom Engels is actief als curator, schrijver, dramaturg en docent. Zijn recentste project is de performance reeks another name, spoken in Jan Mot (Brussel). Momenteel werkt hij als dramaturg voor Alexandra Bachzetsis (documenta 14) en Mette Ingvartsen. Bryana Fritz is schrijfster, performancekunstenares en danseres. Ze studeerde dans in Minneapolis in de VS en Essen in Duitsland. In 2014 studeerde ze af aan de Brusselse dansschool P.A.R.T.S. Ze danste in voorstellingen van Anne Teresa de Keerstmaeker, Salva Sanchis, David Hernandez en Xavier Le Roy. Daarnaast maakt ze haar eigen werk, alleen of samen met anderen zoals Christoffer Forbes Schieche.


Etcetera 148  

Etcetera schrijft met veel liefde en een kritische pen over podiumkunsten. Theater, dans, performance, circus, mime, muziektheater en jeugdt...

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