The Alan Sondheim Mail Archive

(these do not literally reflect the dance/performance video)

liner notes for Crepuscule

sexual projections over dancers and without dancers and sexual
dances on the tentpoles ravens at the four corners of the world.
dancers are below. oh they want to jump on the bodies.
this is dance on deadly earth.
origin of dance
try to make sense of the dialog; they can't. The live dancers may be
are nude, exposed; the dance ends when they cum. They observe
two dancers -
audience and masturbating couple - the dancers sexually aroused - if nude
dance should move from position to position. Anita Berber.
The dancers are reeling, on edge, nervous, difficult, a problem, their
desires constrained by spectacle. The dancers are on exhibit, behavioral
codes thwarted or broken. If a dancer feels comfortable, he or she should
push further on.
sexuality, and horror, interpenetrate. For the dancers, everything is at
the body of the dancer is eternal
exists in relation to the sexuality of the body within the dance, within.
dance is the interiority of the metaphysical,
dance succeeds only by virtue of the interiority of the dancing, only by
the foundation of the world. the foundation of the world lies in dance,
The body of the dancer lies supine, breathless.
storing these things - in the dance itself there's an image of a woman
My Cluttered corner of the dance studio. Cloth, food items, all supine,
is choreography masteranwhile dancers having dancing day debris three.
liner notes for Anita Berber.
point of dance and sexuality dancing is indiscriminate fucking, display -
midnight phone-calls and invitations. one a dancer is pornographic, once
this splay / display, dance, photography, culture, art in general, is
invisible as semen on stage, spurted from dancer, welcomed and returned by
art, of dance, of the body; it is also the most unknown. draw a vector;
appurtenance-appearance; this is what the dancer, photographer, performer,
tensed in our tawdry space of the real. for if the dance-dancer emerge -
Sex dances for one to four people.
The dancers are nude. There are no props.
Male dances alone while masturbating. He dances until he cums.
Female dances alone while masturbating. She dances until she cums.
Tethered: Male dances with one hand holding himself erect.
Tethered: Female dances with one or more  partners' fingers in her.
Variant Tethered: Male dances with one or more partners' fingers in him.
The dance ends when one or both have cum.
Variant Tethered: Female dances with one or more partners' fingers in
her. The dance ends as above. The dance ends when the dance cums. dancers.
So this is a dancer transformed. Role disappears from dance, dance is.
The advantage of a dancer: You'll have your body at the end of the day.
The disadvantage of a dancer: You'll have your body at the end of the
day. dance and culture brings Signs from Worlds eaten by light. Score
restraint, bounded three-dimensional space, against which such dancers
remain authorless in the midst of author/authority, danceless in the
presence of dancers/dancing, human within the post-human, flesh within
dance the doomed Case of doomed, doomed, a-void. Case of A world chaos,
sex, spoken sex, poetics of sex. I may work with dance and sex and
dance-video and sex. I will not work with images of sexual violence. I
dance. Or I'm the material for the dancers; it's really back.

-- sondheim

CREPUSCULE (recorded 2006 Geneve) et. al.

Alan Sondheim, Foofwa d'Imobilite, Azure Carter
at Millennium Film, Saturday March 10th at 8:00
66 East 4th Street
New York City

Telephone 212-673-0090 for more information.

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