There are two motivational orientations which my work on Extemporaneous performance is based on, one stems from a personal point of view and the other social economic and cultural. In reality these two environments are closely related.
The personal reasons refer to a need which I have always had in my life, the desire for freedom, a clear but also generic term in some ways. One of the forms in which this yearning has come out is on a dreamlike level, as a spontaneous movement, changeable, feeling free to do what one wants, in various situations, more or less on a daily basis. The transition from dream to the process of doing becomes essential in order to start from the reflection of creating a transforming and evolving process when one wakes up.
In realty, as I have already said, the two personal and general spheres are linked together, because there is the realization that the concealed prison of false democracy and false progress is becoming always more tangible and that it is invading every walk of life. The daily clashes with strong powers, which make every right of rule invalid, denying whatever concept of equality, reduces the individual to a state of impotence, of semi-slavery, which one debates on an unequal footing. Even if the majority of people probably live their lives thanks to the placebo effect of a better life, for example if one possesses great wealth which can be represented by their art, for example an artist, they then have lots of free space for autonomy, to express themselves. However art is often bound up, imprisoned, not only by personal conditioning, but by what is the institution stands for, planning, public, money, financing, spaces for performances etc.
The possibility of having a kind of mediation as regards evolving forces, which have channeled humanity and organization in all the fields into well defined paths determined by powerful economic powers, hardly exists any more. The need of a break, of a dismantling at all levels, naturally starting from the most difficult which is one’s inner self , this has become a pressing need which is always more difficult to curb.
“It is necessary to take on the responsibility of one’s freedom” this is the phrase that one day suddenly hit me, together with that need, it gradually dawned on me that I needed to experience the poetic impulse which at that moment came to mind.
Starting from this, I took on a technique of letting these desires flow freely in complete improvisation, in whatever place or moment caught my attention or attracted me. If one wishes to theorize it means, taking poetry in all areas of daily life, to find and discover that every corner of the world is a stage, not only to recite a stereotyped role, but to experience one’s own essential and poetic nature.
The performance takes place, it is realized as an absolute coincidence as far as performer, passers by and actions are concerned.
It is an unrepeatable act because of the uncontrollable conditions, as it has not been planned, in the sense that it has been decided an hour before or the day before going out to carry out the action, without knowing which place one would be attracted to. The first impulse is that of the performer who acts out his own poetic needs; then later changes may be made as regards the space. The echoing of the place together with how the person feels. The performance is unforeseeable because it does not come from a performance which is more or less established before; the relationship with a space, which has never been experienced previously as far as a performance goes, makes this encounter something which is totally unplanned. It can be described as a coincidence of pure circumstance, of an unaccountable rendezvous, which at the same time could be defined as a place where elements come together, people who, if they so desire, can take part and they remain fascinated. It is a possibility that something can happen and a sort of appointment can be created, which is valid only for those who are passing by the place where the action is taking place.
It is of “significant consequence” and also of primary importance before whatever circumstance, because of the fact it is an appointment with oneself.
URBAN EXTEMPORANE0US PERFORMANCE