Phrases

This show might offer a tour.

We might meet at the entrance of stage P1 and walk towards the central foyer. The tour will be accompanied by a description of the space. Maybe some stories will be heard of what might have been here before now. Stories about a former crane factory, where large machines were constructed for lifting heavy objects, moving far beyond the normal capability of a human. A space for steel, iron, ropes and chains to perform. Narrations published in a novel from the perspec- tive of the workers, depicting an uprising against the Weimar Republic. About weapons and wars, when “the here” was shifted in producing armaments. Or stories about artists, innovative theatre groups and open rehearsals. About shows that were canceled or shows that changed the dance scene.

We might then enter the restaurant. It may still appear by the name Casino. A place where people meet to talk or not talk after the shows. Knives, forks, spoons, tables and chairs. Fragile glasses. Whispers. Ceramic, non-metallic, heat-resistant plates. Loud voices. All interact. A candle. A thin rope enclosed in paraffin wax. Non-luminous, blue, dark and outer zones organise a flame. Wishes and promis- es. Take-offs and landings.

We will exit from the door that leads to Alabama Kino and then share the out- side space together. Maybe there will be sun. Maybe we will walk towards the Piazza, taking our time around the Kasse. If we are lucky, the door from the garden will not be locked. We enter back in squeezing between two semicircles, walking between a straight and a dashed line towards a triangle, crossing stage K1 to enter the central foyer. We leave our coats, jackets, bags or other items at the Garderobe. A space that will store them for now.

Moving towards where we first met. We enter hall P1 from the door that is next to the restrooms. We are now on stage facing your seats. Stage lights turn off. House lights turn on. We are standing on a black plywood floor. Width: 13 m. Depth: 10 m. Surrounded by white brick walls. Cables, sockets, speakers, micro- phones. In front of us, chairs climb up between two fire exits. A control booth stands in the middle. In the background, four large windows with black ribbed frames. The light from the street lamp enters dimly. An unseen dome of cosmic matter uniformly fills the empty space.

[UNCANNY, DARK SOUND]

Outside, the water floats down the Osterbekkanal, merging with all waterways. There, at the harbour, where the container era began and colourful boxes inhab- ited the river. We are here just to observe.

We now exit from the door that leads to K3, the place that hosted the rehearsals for this show. During the performance, feel free to enter and exit at any time, to change seats or to ask each other questions when something is not clear. I in- form you that a text will be gradually projected on multiple gray vinyl screens and aluminium Venetian blinds of different sizes, most of them hanging from the stage rig. There is no use of strobe lights. Some changes between projections might be fast. I will use seven microphones from different positions on and
off stage. What is said and what is done will not always agree. What is seen and what is heard may sometimes meet with a delay. Words and phrases will appear before, after or simultaneously with actions. They are here to highlight, describe, explain, define, clarify and maybe to confuse. At some point you will recognise the sound of a blender. A vegetable smoothie will then be ready. I will leave you to prepare myself. Scan your tickets. Find your seat and sit. I will soon enter the stage.

[RHYTHMICAL PERCUSSION. BASS, VOICES, SYNTHS]

I step. I sit.
I push. I stand. I roll. I lift.
I jump. I enter. I exit.

Lips touch. Softly.
Labium Superius Oris meets Labium Inferius Oris.
Upper lip meets lower lip.
We gently collide.
Together we shape the Vermilion Zone.
It is a border between our red thin skin and the pale skin of the face. On our flesh, our territory, blood vessels are closer to the surface. There is a line between us.
There is a hard and soft palate inside us.
We collaborate with teeth and tongue.

I say: We collaborate with teeth and tongue. I use the microphone.
I am wearing black trousers and a T-shirt.
I unfold a projector screen.

I see a projector screen unfolding.
I am wearing my favourite jumper and a protective face mask.
I read the text, “I unfold a projector screen. I am wearing black trousers and a T-shirt”.
I am sitting on a gray chair with metallic arms.

[SARCASTIC VOICES. WHISPERS. EASTERN MELODIC SCALE]

To sit, is to adopt or be in a position in which one’s weight is supported by one’s buttocks, rather than one’s feet. To sit is to perch, to plunge, to flop, to collapse. Next to me there is an empty chair. I hear a voice saying: “There is a line be- tween us”.

Next to you there is an empty chair.

On my wrist, a blue paper bracelet.
Behind a glass window I ask for your ticket and give you a blue paper bracelet. I am dressed in black, I always wear a hat and a protective face mask.
I wait for you inside. Holding a QR code device.
I am standing next to the stairs right outside the theatre, having a cigarette.
I exit the Kasse with my ticket.

[RITUALISTIC GONGS, FRAGILE VOICES, LOW SYNTHS]

Exit is to leave a place such as a building, room, or a large vehicle.
The act of leaving a main road, to turn onto a smaller one.
Exit is a door. You may use it accordingly.
An instruction written in a play meaning that a character leaves the stage.

I am sitting on a chair typing: “I am sitting on a chair different from the one I am sitting now”.
Fingers input characters into a screen. Characters of this story.
We follow patterns, word chains.

We coordinate in order to spell ‘coordinate’. Accompanied by the sound of nine different keys.
‘OO’, twice.
Middle fingers. We hit letters, I, N, E. We are the tallest.

Ring is in charge of A. Index fingers strike C, O, O, R, D, T.
We carry the nails.
We synchronise the Distal Phalanx, the Middle Phalanx and the Proximal Pha- lanx with the Deep Flexor and the Superficial Flexor to express ourselves.
We are together, (but) there is always a gap between us.
We might seem independent, (but) when one moves we all slightly move.
We are touched, while we touch.
Index meets T and C. Middle strokes O,U and H.
Fingers form a TOUCH. The word appears in front of me.
I am sitting on a chair typing: “Fingers form a touch”.

[NOISE. STUTTERING VOICE]

Sitting to standing:
1. Flexion Momentum: Trunk flexion, hip rotation, ankle dorsiflexion.
2. Momentum transfer: Activation of Quadriceps Femoris. Tibialis Anterior in- creases ankle dorsiflexion. Co-activation of the antagonist, the Soleus.
3. Extension
4. Stabilisation
5. Maintain standing.

I fold all the projector screens. I am wearing a female body.
I jump off bus 17.

To jump is to spring, is to bound, is to hop, is to bounce, is to skip, is to bob, is to prance, is to dance.

[ELECTRONIC, LAYERS IN AND OUT]

Walking on Jarrestrasse.
In front of her an extended yellow label. In red capital letters: “LOTTO”.

It is almost six thirty.
She had the oddest sense, of being herself invisible; unseen; unknown; (Phrase borrowed from the first part of Virginia Wolfs Mrs.Dalloway)
And then comes an imposing white sign with blue letters “ELLAS TAVERN”. “Dine like the gods”, “Speisen wie die Götter”, “Δειπνήστε όπως οι θεοί.”A kind remind- er of her roots.

[NOSTALGIC]

Square root of 25, 5

Root: is the origin or source of something.
A part of a plant which grows down into the earth.

The basic form of a word, to which prefixes or endings can be added. Parts of hair, teeth, or nails that are under the skin.

Route is a particular way or direction between places. It is sometimes confused with Root.

A trajectory from where I was before to where I am now.

Approaching the building.
I enter the Kasse to collect my ticket for tonight’s show. You stand behind the glass. You are dressed in black.
I can’t read your lips (behind the glass, behind the mask). I am tall. Brown hair, black nail polish.

Enjoying the evening with you.
If you feel like falling asleep, let yourself sink into your chair.

[NATURE SOUNDS]

We reached a long balcony. From there we saw a vast landscape, a composition of diverse elements of nature: green plateaus, mountains with impressive for- mations, narrow and wide rivers that form waterfalls. Small islands with white, black or blue rocks and endless trees emerge from a body of water. A strong wind occasionally shakes those trees, blurs the water or sweeps away snowflakes. Then, an absolute calmness.

Usually only maintained for a while, until a new incident happens again, setting in motion what we observe. Although the landscape seems real, we are soon giv- en the impression that something like a screen is separating us from it. We see the movements of nature, but we can not feel the blast of wind.

We were there, fooled by the timetable screen. Next train will arrive in 1 minute.

[ JOYFUL MARIMBA, VIBRAPHONE]

Line U3 from Schlump to Borgweg. Not too busy.
Not so available either.
I raise my handbag and enter the lift.

[IMPOSING SINGING VOICE]

To lift, keep a wide base of support. Your feet should be shoulder-width apart, with one foot slightly ahead of the other.
Squat down, bending at the hips and knees only.
Keep good posture. Look ahead. Keep your back straight, your chest out, and your shoulders back.

Slowly lift by straightening your hips and knees. Keep in mind:
Do not attempt to lift by bending forward. Never lift a heavy object above shoulder level. Avoid turning or twisting your body.

Walking on Barmbeker Strasse. I push the button. Waiting for the lights to turn green.
I hear a repeated sound.
I hear a repeated sound.

I hear a repeated sound. I cross.
I Enter the Kasse.
I Exit.

Approaching the stage.

[UNCANNY DARK SOUND. ORGAN]

I Step. Sit. Push. Stand. Roll.

Fifth row.
I step backwards to find my seat. A gray chair with metallic arms.

A step is made by raising the foot and bringing it down elsewhere. A combina- tion of foot or foot and body movements constituting a unit or a repeated pat- tern.(Heel-Strike) Foot hits the ground. Heel first. Gluteus Maximus acts on the hip to decelerate the forward motion of the lower limb. Quadriceps Femoris keeps the leg extended at the knee. The thigh flexed at the hip. Anterior com- partment of the leg maintains the ankle dorsiflexion, positioning the heel for the strike. The rest of the leading foot hits the ground, supporting the weight of the body. Foot Invertors and Evertors contract in a balanced manner to stabilise the base. Gluteus Minimus, Gluteus Medius and Tensor Fascia Latae abduct the low- er limb. The foot prepares to leave the ground. Heel first, Toes last. Hamstring Muscles extend the thigh at the hip, Quadriceps Femoris maintains the position of the knee and the posterior compartment of the leg plantarflexes the ankle. The lower limb is raised in preparation for the swing stage. Iliopsoas and Rectus Femoris flexes the thigh at the hip, driving the knee forwards. Hamstring Mus- cles flexes the leg at the knee joint. Swing. The raised leg is propelled forward. Iliopsoas and Rectus Femoris keep the thigh flexed at the hip, resisting gravity as it tries to pull the lower extremity down. Quadriceps Femoris extends the leg at the knee, positioning the foot for landing.

I step backwards to relax the toes. Foot hits the ground. Toes first. Displacing weight.
Transferring weight.
Relocating, removing, repositioning weight.

Disturbing weight.

Wait.
Close your eyes.
I read the text.
To me.
To you.
Lips touch. Softly.

Microphones off Projectors off Lights off

Almost Black

Hamburg, 2022

Venetsiana Kalampaliki