The observation of a particulary quality of scenic presence has led us to differentiate
between daily techniques, and extra-daily techniques. It is these latter wich concern
the performer.They are characteristic of the performer`s life even before anything
is represented or expressed. This is not easy for an Occidental to accept. How is it posible
that there exist a level of the performer`s art in wich he or she is alive and present
without either representing anything or having any meaning?. For a performer, this state
of being powerfully present while not yet representing anything is an oximoruon,
a contradiction in terms.Moriaky Watanabe define the oximoron of the performer`s pure
presence in this way: "the situation of the performer representing their own absence".
Eugene Barba
I had been see diferents Butoh performance this year without own absence but fixed
on form and daily aesthetics and not open to the sacred ritual of dance and there
implications of transformation :( in words of Mircea Eliada) "performer-individual
inhabitan of a home-body-cosmos and susceptible to recibe a superior opening that
make posible the way to other world".
Keep absence from form and esthetic will not open a superior hole and cut the posibility
of transformation and meet the simbol ,because dont have risk that is beyond any
interpretation. It is part and inhabit the sacred of all dances sometimes explicit is some
ceremonys and not explicitly in some others, but with a comùn ancestral path for
who walk thourgh and who recibe the performance too.
Nube Alix