So, Art being, well, whatever you want it to be, but undeniably about creation, criticism (of life), rearrangement, progression and personal gain (self development and healing) it’s inevitable that it would be centred on the study of people and behaviour. For me it’s a very natural direction to want to master a skill in which all these above developments can be used. The improvised and frantic dialogue I perform allows me to do this. The discussion I often have with myself on this way of performing is always on the topic of ‘for me or for the audience?’ Feed back has taught me that the audience is divided on this; either they find it brave and compelling or it is commented on as self indulgence.
I am then reminded that I unavoidably judge myself and others on genuineness in performance – though who am I to judge or to know somebody else’s authentic dedication? If a performer seems to be uninvolved in their action, bored or clearly reading out a text which they have grown tired of then of course you can hazard a guess as to their real emotions being one of wanting to be else where or wishing they were playing another part in the drama. For me, the most transparently honest performances take on both a clear spiritual nature and a willingness to leave yourself vulnerable in what you are doing – you have no choice but to lend yourself completely to it. This is the direction and continued challenge in my own work.
Returning to the point of self indulgence, I suppose this too is unavoidable as I cannot filter my speech, and therefore my dialogue and therefore my thoughts cannot be subject matters which I think, or would guess, would be relevant to the spectator. However, in this abstract expressionism the words are recognized, the sentences are accepted, even if they are not logically linked together and the images created by the spectator differ from one individual to the next. Imagery and text aside it is on a very basic level that I might relate to the audience, one in which they can find attractive my presence of spontaneity, my physical and verbal recovery, my confusions, wit and aggression, because they too are human beings who have all these qualities.
Everything that emanates from the unconscious is symbolic. Those who do not react emotionally to our antics are cold and calculating, certainly wrapped up in some intellectual framework. They are incapable of enjoying life.
Though Savays’ Grand Magic Circus may have moments in which they themselves, or their audience members, act in an unconscious fashion, completely unaware of their actions, my own efforts are to encourage subconscious behaviour. I am not intentionally saying a particular comment or aware of what verbal declaration will follow but I do hear myself speak and I catch on to the suggestions in my imagery to therefore respond to it and link those comments later through out the piece. I do agree with Savays’ point that encouraging alternate states of play other than conscious action from performer or participant are important within any Art. It is in this domain, as I have formerly suggested that I may find a shared energy with those that watch me.
Without our knowledge, the life of the unconscious is going on within us. The more the critical reason dominates, the more the impoverished life becomes; but the more of the unconscious, and the more of myths we are capable of making conscious, the more of life we integrate.