This performance trailer is a second research on the Myth of Androgynous (from the Greek philosopher Plato, the origin of Eros).
The first performance research, Your fragility is also your strength ? , is the embodiment of the nostalgic dreamy loneliness state of a woman that has lost her beloved. The mourning of the illusionary soulmate idea, ineluctably ambitious to find her life partner into a corrupted society built on lust, consumerism, superficiality and drama.
(if interested to see more: https://tiffanymcswaker.wixsite.com/website/the-myth-of-the-androgynous)
My biggest ambition for several years now is to create a 45-60 min performance with 10-15 dancers on the Glass works from Philip Glass, musically rich and sensitive, coherently correlating with an organized and orchestrated social chaos, harmonized disharmony, cacophony, canons, dissonances, and disparities within social organizations and interactions as well as relationships. Stageably representing diverse relationship profiles in which the audience would be able to sensitively identify himself due to of the symptomatic relationship profiles preciseness expressively performed. relationship stages and patterns (non-exhaustive list) :
1: Stages: meeting – dating – couple – unfaithfulness – chasing – breaking up – getting back together – arguing – mistreating
2: Patterns: single – couple – friend with benefit – triangular relationship – ambiguous relationship – polyamorous
3: Phases: admiration – seduction – desire – complicity – fusion – toxicity – attachment – detachment – co-dependant – narcissistic pervert – wisdom – forgiveness – possessive
4: Emotional Impacts: falling in love – being in love – disgust – hate – jealousy – frustration – fear – anxiety – pleasing – depression – hope – deception
5: Profiles: asexual – bisexual – homosexual – heterosexual – pansexual
6: Genders: non-binary – female – male – androgyne – transgender
In this second performance research, What is left of us ?, the memories of the complicity and delightful relationship that came to an end because the woman was idealizing her beloved, got emotionally unstable and insecure, feeling she wasn’t deserving him. Teetering between fear, anxiety, sorrowfulness, passion, admiration, and hope, she tried her best to follow the flow of the relationship but she collapsed down to the earth because she has put too much pressure on herself and couldn’t step away from expectations of the future. He hasn’t seen her falling far behind because he always tried to reassure her but they are away from each other most of the time and she was keeping overwhelming emotions for herself to not threaten the relationship. The issues of this specific relationship were the lack of communication, the lack of self-confidence, the overload of attachment, expectations and idealization.
The more the performance is going on, the more she is getting closer to the sea (the water is well known to be correlated with emotions and melancholia), the white dress is representing the wisdom state (or trying as close as possible to maintain the harmony), the red dress is representing the fire, the fatality of an overwhelming passion, the overload of toxic feelings and frustration. My choice of placing the red dress only a few seconds more than half-way through the video, and only as a soloist in the frame, is expressing the unilaterality of the trouble coming from her side and not being the center of the relationship.
I justify the choice of vulnerable lyrism as only coming from the authentic space of deep emotional introspection, acceptance in order to heal from traumas and reach the state of empowerment and resilience. This emotional consciousness is one of the main roots of my philosophy research on the Behind & Beyond – The Embodied Practice, antecedent metaphysical consciousness, and the consequent action phenomenology. (see inspiration from the Psychic Energy by Carl Jung.)
A quick reminder on the Myth of Androgynous as a Platonic idea :
In the golden age, the human figure was round, previously the embodiment of two beings united in one body. Two heads, four arms, and four legs. Two kinds of Eros, feminine and masculine making together a third one: the third entity, the androgynous. The female came from the earth, the male from the sun, and the androgyne from the moon. They were strong and complete. They believed they were as powerful as Gods and decided to attack them. In response, the Gods decided to curse them and divided each androgyne into two halves.
In a terrible war, the halves lost their mates, cursed to be incomplete, cursed to look eternally for their soulmate. Zeus inflicted the divine force of Eros which drives split humans to complete their imperfection into diverse relations between male and male, male and female and male and female. However, these relationships aren’t always fulfilling.