No End - The Wait #5 So far TEST, STILL, Figure This and Face On have explored waiting in countless dimensions - the figure and the human condition; doing, not doing and being, seduction & intimacy, depth and distancing versus the transient immediacy of the postmodern, the merging of installation and the theatrical stage, the verticality of embodied layering with the horizontal juxtaposing of forms and mediums. Now No End reveals unadulterated thoughts on life, performance and art and in doing so delves closer than close to test the limits of what can be eliminated without compromising reason nor expression. No End is both and ending and a new beginning. The figure performs a continuous act lasting 60 minutes. The aim, to create an act of movement that is not divided into sections over its full length. The movement comprises of a continuous transference of weight from one foot to another - this side to side shifting also echoes the horizontal pathway of her transition across the stage, a progressive emptying out of the space she once occupied. Within this continuous movement additional actions occur, a series of accumulating leg lifts, gestures, bounces & dips. The actions belong to a preparatory state, the performer warming up, with only occasional gestural hints at what may actually be the ‘show’ to be performed. As she crosses the centre point, the number of actions begin to decrease until she has fully completed her journey and is left transformed. On a single monitor, placed atop a table, multiple black and white close up shots of the figures face is observed. Unlike the continuousness of the live action the video comprises of many sections and divisions within the whole. The close ups are shot from 5 distinct angles ranging from left profile through a fontal centre to right profile. These shots are evocative of screen tests endured by actors before casting. During each shot the figure delivers a 4 line quote - ‘Art as art is art, everything else is everything else, the end of art is art as art, the end of art is not the end’ (Ad Reinhardt). Her focus is direct and her delivery is straight forward and without animation. Each shot lasts for 1 minute. Over the duration of the first 30 minutes the frame narrows every 5 minutes moving from the original close up frame to an extreme close up of the eyes, creating a fabricated slow motion zoom. As the frame narrows details of the face transform, some are lost and new ones appear. The face is at once a recognisable detail and an abstract landscape. At the mid point this narrowing process reverses, and over the second half (30 minutes) we see the frame open up once more to the original close up frame. This time the images of the face are inter-cut with images of a mountain range. The rugged quality of the mountains juxtaposed with the serenity of the face creates a tension between a deep interior and monumental exterior. Both images reflect on notions of time. The last minute, after the blackout, comprises of a sequence in which the figure is captured off guard, relaxed, laughing and spontaneous. The sound-score comprises of sounds that are not commonly heard but exist all around us at all times. These ‘hidden’ sounds are brought into aural range with each sound lasting for 1 minute accentuating the edited sequencing of the video. At intervals the figures voice asks simple yet profound questions (What is time? What is movement? What is in-between? What is Chance? What is Authenticity? What is Truth? What is Reality? What is Morality?). These questions are a running stream of consciousness and at times her actions seem to tangentially hint at possible answers. Underlying this sound-score a continuous sound emanates from a lap top. This sound is composed of multi layered recordings of the figures voice as she reads out loud continuously for 1 hour. The layering of her voice obliterates what is being read and creates a sound akin to the white noise first explored in TEST. Concept/Choreography/Performance Anna Krzystek Original Sound-Score Tom Murray Video Daniela de Paulis, Anna Krzystek, Tim Nunn (editing) Photography Tim Nunn Commissioned by Tramway, Glasgow and CCN Grenoble Funding and support from Creative Scotland, The Work Room, Catalyst Dance Management and Oblivia Premiere Tramway, Glasgow 2013 Subsequent performances Traverse Theatre, Edinburgh 2013, Scottish Ballet for British Dance Edition, Glasgow 2014, Rise Dance Festival , Findhorn 2014 and as part of a mini retrospective of The Wait Series at Tramway 2015