a body without organs

The impossible thing about making work is that you cannot change the context.  whether in the conventional theatre space or outside it even if I trick you and surprise attack you with a performance, there is still the context of a performance.  Therefore, the spectator always comes into the performance with this context in mind.

how to dissolve that so there is a possibility of making a new relationship between performer:spectator?

I wonder if the only way to do this is to create impossible problems that have no solution. there was a philosopher who did this/talked about doing this (i cant remember the name) but he and a group, for example, took a map of France and used it to get around London.not possible. but changing the context.

Our bodies are constructed a certain way- two arms two legs one head heart lungs etc…that is the context of the body.  is it possible to still have a human body but with a different organization of the organs within it? as in-lungs where the spleen is, heart where the kidney is….well, no, but-is there a way to create a dance with that same idea? im stuck with the body/context of a dance performance holding some kind of automatic expectation for the spectator-but how can i rearrange the organs so to speak within the dance so that it functions differently?

I have to say that i don’t usually think in such conceptual terms as an artist, but the projects I am part of here at PARTS have been making me approach the creation of work/movement vocabulary/material from a very brainy place.  This is not very comfortable for me, and I don’t even necessarily believe that it leads to the kind of work I want to present, but it certainly is stretching me, challenging me, and actually amusing me.

There is something intrinsically healthy feeling about being forced to create with a completely foreign set of tools. it emphasizes the importance of having an outside force that breaks the patterns of our lives- Both from our personal relationships with other humans and from our relationship with our creative process.

I leave you with this question: Is the responsibility of an artist to create the possibility for a new response? Not to actually create the new response or idea, but simply create the opportunity?

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