[D-G] theater performance practitioners?

Liza Kozner liza_kozner at yahoo.co.uk
Sun Oct 16 11:43:47 PDT 2005

hello. i have just on the webbeen and saw excerpts of what you said or what people say what you do. i did found not the part in: how i work yet found part on a dream in madison avenue in the link . 
i liked the way you presented deleuze and guattari on saying we were, as if parts of our unconscious would be revolutionarry and part is fashistic, i think its not what i read as they really said it, but the way said like this pleases my fantasy, and its the first time i tell myself yes me too, part of me is fashist, and in a way you proposed, it was not something i should be frightened with, but something in the way that these facshist molecules or haeceiities were , just "there", floating within me.
its part of the dream therapy. yes it can be interesting. let me come to your laboratory i leave in brussels i can take the tube to london and arrive soon. i can because, well, next, in january i go to Montréal in to work with 3D texture editors and sculpting and etceteri etcetera.
it must be interesting to see and to be in contact with those people you live with your way of life i am curious about it all, as all the culture, and you stands out as doing rhizomes and i wonder if it is interesting, if its the thing that i am looking after. 
i have a tape of the last short i did which is a rather prediting of a movie and i send to your email connection  the portfolio with images are part of a movie a potential for work. a way of working. potential.
i am wondering how much it is revolutionnary, if your actors, how you work with them, i read about words you tell to your mamma, and i was wondering about deleuze's abstract machines etc, if, well you give the actor a possibility to insert lines you give them. what is new is like using the cutup for, what is new to me, i the cut up of text like there, are some poets doing some in interzone, about text that you can insert as an actor, i am wondering how revolutionnary, in the sense that, what exactly is the momentum that helps the actor to determine, this is my choice to say this cutup file now and when i say it, if all character is "being", if you use character at all, like a determination for revolutionar consistance somwhat, you see? but i am curious the way you work will ask you how to make contact.
it is about in the voices you hear also interesting that to be in a gap allows, not enter in a zone of, well like in the posted text on richard pinhas website, the choice, the alternative, or or. deleuze explains there is the dialectic of greece, then the totally different dialectic of present day, hegel, fichte, which par amounts to being as individual opposing the contradicting possibility of the individual which is nature and which allows to think, then there is the expressionist who wants creation, which do not want to think according to nature. and he chosses to think about Nietzsche as a third princincipled version, where you have the choice, see his website. but about, well i wonder if when you say i clap and make a resonant sound, inbetween art and philosophy, you create a choice between the two alternatives, a or .. or.. how is the actor encouraged to choose what is right in the moment: art or philosophy, unknown or known, etc. this is better for me, i should test and come
 to play, is this possible?

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