This is a brochure for the deserted puppet theater
THE DESERTED ISLAND, THE EGG BEFORE THE FORMATION OF THE ORGANISM
These were made up words that used to define things that existed or did not exist in the face of an urgent need The need to abolish the imagination and its myth and instead let the thundering manifestation of this explosive necessity rule: to expand the body of my inner night of the inner nothing my I, that is night, Irreflexion And what remains? That I'm choked, speechless And then I let everything explode because they will never touch my body
we are shown a piece of paper, but we see all kinds of different things: a person, an ocean, a chair, a package of cigarettes.
The
Puppet
is
a
Lines of Flight are lines of freedom. And indeed, flying along the abstract line is freedom to Deleuze. He considers Kleist as one of the first writers showing how to escape the condition of a private, psychological subject. Expressing feelings in favor of a radical plane of teriority through which affects make us more than we make them. Deleuze and Guattari write, “Kleist offers a wonderful explanation on how norms and persons are only appearance produced by the displacement of a center of gravity on an abstract line”
thing
to
think
with.
Scene 1 ME, THE ISLAND These last days have been so strange I remember that until some time ago, I still counted the days But the concept of time is changing when you are so far away when you find yourself in this unfamiliar frame The more I think about it, the less I seem to even remember how I got here or what has happened to me like my narrative is disrupted On days like today i can only recall fragments of my past, my identity, my nature but it‘s not important who I am because I am just your imagination
“The essence of the deserted island is imaginary and not actual, mythological and not geographical. At the same time, its destiny is subject to those human conditions that make mythology possible.”
Scene 2 ARRIVAL 20th of March, 6pm. I arrived at the island yesterday. A fresh breeze of wind on my skin and seagulls circling above me. the island: its highest point is 14 meters, it looks just like a Plateau in midst of it: the lighthouse, 28 meters high. In the night, A ratio of ten seconds dark to one second of light On the island, I cannot see the light of the lighthouse, but I can feel something above my head getting lighter. I am certain that my other senses will be my navigating tool. I have read that in the Winter, the island sometimes disappears completely. Swallowed by these stormy waves, the sea takes control. Indeed. I quickly realised that Psathoura is a sea island; it is not just embraced by it, it comes from it. I am getting hungry. I will talk more tomorrow. 3
Psathoura 39° 11´N, 23° 54´O
14 meters high Plateau Lighthouse 28 meters high 17 nautical miles of radius Every ten seconds one second of light “Sound of metronome”_https://www.youtube. com/watch?v=gsJEMH_ emBM&t=16s Winter “Sound of waves”_ https:// www.youtube.com/watch?v=G_ kc_VR30VI Invisible Island cycle Visible island spring Google earth Sound of mouse and computer_ https://www.youtube.com/ watch?v=J5wBPfpzJgE Two dimensional island Invisible island imagination Inner deserted island
1500m 11900m
250m 1100m
Scene 3 LIGHTHOUSE 8th of April, 9pm. Full moon night. I sit in front of the computer and write. But in my mind, my two eyes are going out of the lighthouse, moving away and looking at me outside the lighted kitchen window. I see myself trying to write a few words on the keyboard. I realized that this is the only light that exists here. Bodies of water, islands, heavy sky, sleeping creatures, flying creatures, an alive but silent world, bathed in moonlight.
Scene 4 AROUND i am starting to turn around myself looking at what is around, thinking, how far is this how far is my around if when it turns, when i turn i make a circle, Then what is its radius? thinking of the last days trying to put them into an order in my head but with every round it seems like it is getting harder to differentiate between them It is almost impossible to associate myself with my youth or childhood that have long disappeared sometimes it‘s harder to remember who I was last year because I live so strongly in a change that change itself is life and sometimes I think that today I am someone else than I was yesterday. Also for you the story gets difficult to grasp to put into order If this “I” is dissolving Who am? Who will be for you?
PSATHOURA ISLAND BUFFER ZONE OF 10 METERS VISIBLE AS SEA WATER
BUFFER ZONE OF 1000 METERS CAN BE UNDERSTOOD AS SEA WATER
BUFFER ZONE OF 100 METERS VISIBLE AS SEA WATER
A round area often delimits the place where the person that is to say, the Figure is seated, lying down, doubled over, or in some other position. This round or oval area
Paintings: Francis Bacon
takes up more or less space. (Gilles Deleuze, Logic of sensation)
Scene 5 SEA AND SKY For my dear beloved one One morning they looked at the ocean around the island, Noticing that the horizon line between sky and sea was dissolving With no control the line is blurring It seems as the longer they look the blurrier it gets Transforming into an endless blue desert They realized they are standing on an egg Enveloped by this deserted unity of sky and sea
„Whenever someone makes love, really makes love, that person constitutes a body without organs, alone and with the other person or people.“
le mepris, jean luc godard
Deleuze‘s Egg before the formation of the organism
„WHEN YOU SAY THAT YOU NOT ONLY LOVE MY BODY, BUT ALSO SOMETHING INNER, SOMETHING AGELESS, LIKE THE SOUL AND THE HEART, THEN I ASK MYSELF WHY I DO NOT FIND THIS SENTENCE TO BE DEEPLY INHUMAN. HE COMPLETELY IGNORES WHAT IS IN FRONT OF YOU: THE SOUL, THE BECOMING, THE DEAD. ALL BODIES HAVE IN COMMON THAT THEY ARE VULNERABLE. IT IS ABOUT A BREAKING UP OF THE BODY INTO ALL BODIES“
Scene 6 THE HAND Again while waking up, i found myself in a state of inbetween: Again I asked myself: who does this hand that scratches me at night belong to? Again in the same dream, i am in a state of inbetween, and that hand that scratches me speaks to me: After we see an object several times We begin to recognize it The object is in front of us and we know about it. But we do not see it We cannot say anything significant about it Because it is its context that we look at This is how we look at the bodies We don‘t see the bodies, but the soul And that creates a consolation that is not consolation It is always the same subject, and it doesn‘t matter what material it is printed on Again I fall asleep Again I am trapped in my over- automatisation
Scene 7 REORGANISING Shock this morning! I got up and started to climb on the roof of the lighthouse and searched to find my binoculars! I searched, I searched again, nowhere! They were lost, unknown how, I do not understand where. Did they fall down? Did I leave them at some weird place and forgot about it? No Binoculars. No Table. No Lamp. No Pot. No TV. No Towel. No Bottle. No Camera. No Cigarettes. No Computer. No Fruits. No Bowl. No Book. No Bag. No Toilet Paper. No Chair. No dish soap. No cabinet. No stove. No Sink. No Cup. No Cable. No Spoon. I have been looking at the things in my kitchen really looking at them and I realised that all this time I have been looking through them I had noticed their existence i had used them for each one of them I had a name and a function but they were silhouettes Looking at them a strong need to re-organise the things in my kitchen is rising in me And with every thing that I re- move I feel like I re- move a part of my body first my eyes then my feet then my bladder my teeth fingers tongue knees heart ears bowel kidney No mouth. No tongue. No teeth. No larynx. No esophagus. No belly. No anus. No floor. No walls. No ceiling. No room. No place. No space. No life. No world. No time. No light. No shadow.
In the theatre, the production is not only shaped by the actors, but also by the light, the music, the stage, the venue it is performed in, the program book that accompanies it, the mood of the spectator, the quality of the seating. Although they are all ›actors‹ and play a crucial part in the performance most of them however are neglected, or understood as subordinate or servile to the human actions. In the puppet theater however, it is different: While looking human, puppets actually are not, so what you see there are always those actors, which live only through the imagination of the spectator: things.
NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO NO
BINOCULARS. TABLE. LAMP. NO POT. TV. TOWEL. BOTTLE. CAMERA. CIGARETTES. COMPUTER. FRUITS. BOWL. BOOK. BAG. TOILET PAPER. CHAIR. DISH SOAP. CABINET. STOVE. SINK. CUP. CABLE. SPOON. TV. WINDOW.
all falls apart all disconnects and every connection between them dissolves the organisation the infrastructure the sense the logic is gone te lgik gis nok wdpk ksit kré puc te kré puk te pek li le kre pek ti le ea vi kruk pte