Exercises and Proposals

To fully understand this final stage, it is important to keep in mind the different dimensions of the text we have explored throughout the course. The attitude with which we approach this experience must take into account both the physical presence of the performer and the multiple dimensions of the creative object. Subject and object are present simultaneously, merging to allow a deeper understanding and practice of the phenomenon.

The ideas and proposals presented here are intended as a substitute for an in-person workshop. The best way to explore these tools is simply to take the plunge and create live: at poetry readings, in self-organized events, in public spaces, or even in open virtual spaces as experimental rehearsals.

It is advisable to prepare through some form of physical practice—sports, yoga, meditation, introspective exercises, singing, dancing, or any activity that enhances awareness of the active body during the creative process and encourages concentration.

Whenever possible, it is also recommended to work collaboratively with other artists and creators. On the one hand, multiple perspectives make it possible to approach a creative work from different angles. On the other, collaboration helps develop comfort with vulnerability, public exposure, and constructive evaluation.

The purpose of the following exercises is not to produce finished works but to provide starting points for exploring the performative dimensions of text. They are intended to encourage the flexibility of the body, voice, and image in the search for new expressive languages that can enrich the presentation of a text.

1.

Choose a poem or any other text. Divide it into fragments. Create or search for images that correspond to each fragment according to criteria unrelated to the content (for example: color, depth, texture, or structure). Observe the images while reading the text aloud, allowing the two experiences to overlap.

2.

Choose a poem or any other text. Divide it into fragments. Associate each fragment with a specific body position or gesture to create a choreography. Practice this sequence in front of a mirror. Perform it silently, then simultaneously with reading the text aloud, and finally while observing its written form.

3.

Choose a poem or any other text. Divide it into fragments. Create or find musical or sound recordings that you associate with each fragment. Play these sounds in sequence, both with and without the spoken text.

4.

Combine elements from the previous exercises. Listen. Observe. Feel.

Námskeiðsmat

• Do you consider poetic performance to be primarily a hybrid discipline or a literary one?
• What do you think are the most significant challenges involved in the public presentation of texts today?
• Did you discover or perceive any aspect of the original text that you had not noticed before completing these exercises?