Prelude to "Another Other: A dance of two people"
The artist, or in this case, the dancer - has as part of his or her undertaking the task of arousing in oneself a prior experienced feeling, and then by means of presentation, of movement- conveys it in such a way as to make known this feeling or experience again. But Art expressly reveals itself so it can transfer its nature to others, in order to make others able to feel its presence, this dream awoke.
The power the dancer possesses is that which conveys something that the spectator in turn unconsciously receives. The viewer is not always aware that he has been moved by what is shown. But there is resonance. In the everyday life of the mind, it is this same latent resonance that takes hold of us and makes us nervous around others, this transference that binds us to and repels us from our fellow man. Our relationships are consequences of our mute reaction to it, that is, how to respond to what has been received. This is difficult - a game - as it is never wholly apparent to us how we perceive others, how we see another perceiving us, or how they perceive us. But none the less we follow, we imitate. And so does the other.
It is this beautiful dance of mimicry that happens at first skittishly among strangers. It is the voice of your friend, the intonations and words that you take in to your grammar, disinterestedly, unaware. It is how lovers ACTUALLY do “finish each others sentences”.
Those events that catch us, and remind us, sometimes traumatically, that we are not the masters of our own homes, that we are inextricably part of the world outside of us, the world of people and minds not ourselves, the world of the other. This occurrence, which constantly happens, if and when it is finally perceived consciously, moves the individual, the viewer, from an action of looking (I look, look, look) to -aha- an action of seeing, in which one abruptly and finally sees that movement, that consciousness, is outside of themselves, outside of their own world of phenomena.Viscerally moved and physiologically embodied, the subject finds that, in fact, they are in the face of the other, on a stage.