When I read the introduction of “Stones of Water” by Julia Varley, written in feminine I was shocked, this book suddenly opened for me another possible reality: a world where we, women, are considered and named in the evocative words. The text is also an invitation for men to feel themselves included in these feminine words. An excellent politic action, to make us visible – I thought.
Quando li a introdução do livro Pedras d'água de Julia Varley escrito no feminino, me ocorreu de repente de me encontrar diante de outra realidade possível: um mundo onde nós mulheres também existimos nas palavras e um convite aos homens para se sentirem incluídos nas palavras femininas. Um excelente ato político para nos tornar visíveis, pensei.
Cuando leí la introducción del libro Piedras de Agua de Julia Varley escrita en femenino me golpeó para ubicarme de súbito frente a otra posible realidad: un mundo donde también nosotras, mujeres existimos en la palabra y una invitación a los hombres a sentirse incluidos en vocablos femeninos. Un excelente acto político para visibilizarnos, pensé.
Adapting performance work and research into an experimental digital form due to Covid-19 affected not only the creative processes, but also the encounter between the three performers/researchers (Madeleine Worrall, John Dean and myself) who, having only met online, set up to explore how to retain liveness in (current) digital performance practice between August and October 2020.
"The last but one Magdalena At Home, the one I attended, gave me a lot to think about. I think the aha-moment for me came when one woman spoke of her practice – something she does every day. I like that. Very much. At the heart of theatre is – daily practice" writes Barbara Schaefer.
What, I hear you ask, what does a 365-day flip calendar of positive quotations convey from Julian, the 14th century mystic of Norwich, to the Magdalenas, on this the 21st day in the 21st year of the 21st century?