inter-be-ing
rare eye contact | bare improvisation
making music
upon eye-contact
inter-be-ing is a performance exploring the interconnectedness of human identities. It examines the complex non-verbal exchanges in human relationships and provides room for a deeper mutual connection.
To allow the audience to take part in the composition, the musicians and the participants confront each other, sitting face to face. After holding eye contact for a while, the music emerges from the interpersonal exchange. All improvised!
To be announced
- Can we define new communication gateways that transcend language and analytical thinking?
- Can we process the personal, intellectual, emotional and even intimate information that we exchange during our interactions, through a medium that moves beyond our social conditioning?
- Can we learn to recognize the subtle connectedness of our human experiences and eventually come closer to each other?
These are the questions we are asking ourselves during the performance, trying to explore the boundaries of our individual identity in relation to that of others.
more than a concert!
The Musicians who have shaped inter-be-ing so far:
qazal tabandeh / friederike von oppeln ingeborg freytag / torsten pfeffer johannes von buttlar / malo moray
Eye-contact is one of the most intimate areas in human interaction. However, many of us avoid it during our communications and rely mostly on verbal skills and intellect.
By prohibiting such common conditionings and demanding a higher reliance on the inner aspects of interaction, inter-be-ing intends to open new pathways for a more intuitive interpersonal connection, and explores its transformative effect on our sense of belonging to a whole.
Maintaining eye-contact with a person we meet for the first time can be very difficult. In such occasioans, we usually tend to move our eyes away to avoid direct sight exchange over longer periods. Such boundaries are likely to be distorted during this performance, requiring the participants to step out of their comfort zone, confront eachother without preparation and be open to what emerges in the process.
How much of “I” lives in “you” and vice versa?
Could it be that our identities expand into a wider spectrum, probably even intangible to ourselves? How authentic are other dimensions of us which are re-created during interpersonal exchange through subjective interpretations of others? Where and how do these parallel identities exist in the realm of time and space? And how do they co-exist with other identities?
During the project, shared qualities of performance art and music improvisation consolidate in an interdisciplinary context, entirely dependent on the participation of the audience. Here too, as in real life, personal boundaries merge with that of others, not only in pairs of two, but also in larger groups which are inevitably interwined: at times taking distance from, at times moving parallel to, and at times dissolving in one another.
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