Читать книгу Declarations - Jordan Tannahill - Страница 6

Three years ago my mother was told she had less than three years to live. The news shattered me. My grief was all-consuming and yet I knew it wasn’t special. We all live with the inevitability of losing everyone and everything. But how do we do this? It suddenly struck me as the most impossible task. And that we should continue living in the face of this impossibility seemed to me both an exquisite and somewhat absurd act of defiance.

Shortly after receiving my mother’s news, I was on a six-hour plane ride home to visit her. While 35,000 feet in the air, I looked down at my hand and thought: this is my left hand. I whispered it to myself. This is my left hand. It felt edifying. As if, with those words, I was declaring: for now, this too still exists. I wrote Declarations in a single, fevered sitting on that plane ride, as if by picking through the fragments of myself – images, sounds, sensations – I would come to understand what constituted a life. Perhaps so as to better understand what it meant to lose one.

Declarations is driven by the desire to articulate the entirety of a life and the inherent impossibility of doing so. In a sense, all art occupies the space between human experience and our sublime failure to fully articulate human experience. I wanted to create a piece that spoke to that. To create an archive, fated to be woefully incomplete, of a life lived. In this case the life is mine, but through their embodiment of the text it also becomes that of the five performers.

Accompanying the text is a gestural score: the performers spontaneously generate gestures that embody and further illuminate each declaration. While the text is fixed, the performers’ improvised movement keeps this archive a living one, changing night after night. In this way, the text passes through the prism of each performer’s lived experience and refracts back a wholly unique and personal vision of a life.

A younger, more cynical version of myself would have been reluctant to say this, but fuck it: for me, live performance is a spiritual act. I do think of the theatre as a kind of temple. We go to the temple to grapple with the fundamental questions of the human condition. And for me, Declarations is a ritual for the temple. A means of processing the terror of death through the joyful evocation of life.

Jordan Tannahill

December 2017