Dispositifs 3.1

Bringing into presence three generations of women (Laurence Louppe, Claudia Triozzi, Anne Laurent) and a man (Alain Buffard) reiterates the experience of the stranger as a modifying test of one- self, an experiment which faces disorders, the unnamed and the unknown. Mixtures are to be disentangled: subject matters that produce other forms. We will speak perhaps less of a difference of the sexes than about the gaps or the potentials between them.

A learning supposes a model or at least a reference. This condition imposes a framework of control, of conformity and efficiency. It is then for the subject to find its marks, sometimes holding on to the margin, and sometimes also, playing with its shifts vis-à-vis to the constraints. These are the frameworks that Dispositifs 3.1 seeks to disturb, or to return to a disorder. To learn supposes time but also a space: that is the level to which the subject must yield. Can one unveil the bodies and scramble their geography? We deal, starting from the first sequence, with four figures, four figures put into uniformity by a costume and a wig. The paradox of this uniformity is to make even more sensitive the singular spaces of these bodies. Their course crosses the fundamental learnings (movements, language, food). The methods of the incorporation of the gestures and the language are bound, in a word, with(in) the discipline, but they can also be diverted, interpreted or played. This is the game that we wanted to explore; not so much to check that the lesson is well learned, but rather to take into account the multiple inventions that our singularities force us to find.

The result from this should be a great instability of the order of things: dissolution of the limits, the bringing in tension of the bodies and materials. As many questions which agitate the same subject, the characteristic, the self and the non-self, the relation of the otherness towards the other and towards the group should come out.

Alain Buffard [June 2000]