. . . what comes to pass only once, only one time, a single time, a first and last time, in an always singular, unique, exceptional, irreplaceable, unforeseeable, and incalculable fashion, of what happens or who happens by precisely there were – and this is the end of the horizon, of teleology, the calculable program, foresight, and providence – one no longer sees it coming, no longer horizontally: without prospect of horizon. (Rogues 135) However, it is reason, and not as obscure irrationalism, that gives us a thought of the event. The event is possible only as im-possible and must announce itself as impossible (without pre-warnings). It is un-mostrable and if we can give account of the conditions that produced it, is no longer an event (Rogues 152). This is why the gap between the event and its saying, is also a fruitful space to reflect on the relation between dance, critical discourses and theory. In a conference published after his death4 Derrida states that “this saying of the event is always somewhat problematical because the structure of saying is such that it always comes after the event (…) it always misses the singularity of the event” (qtd. in Wortham 121-122). Focusing in the experience of creative research processes, I kept considering how to enable the exposure to the event, to enter a creative exploration of an unpredictable character. Perhaps it has to do with finding a way of questioning through dance and without clues of the possible answers I would meet throughout the bodily investigation. Improvisation technique is one of the tools I identified as adequate to approach this dance-thinking (or body thinking) about difference. Instantaneous composition – as improvisation is also called - creates a difference in the heart of every instantiation of 4
Derrida, Jacques. A Certain Impossible Possibility of Saying the Event, Critical Inquiry 33. Winter, 2007. Quoted in Wortham (121-122).
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