Rewriting distance︎︎︎
This is a performance workshop creating an open space for allowing time to be felt and measured by our own looking—where the cadences of time improvise themselves within various art practices simultaneously. Thus Rewriting Distance generates “a world that is crescent rather than created; that is always in the making rather than ready-made” Creativity and Cultural Improvisation, Hallam & Ingold, 2007, pp. 2—3.

The original form has three participants: a performer, a witness seated in a chair and an audience person seated behind the witness chair. The practice begins as the performer in an open space, with a table and paper for drawing or writing, who begins to move, speak or write. The witness can join the performer at any point they choose, and the performer can leave the space at any point they choose. The audience person moves into the witness chair when the witness enters the performance space and the event unravels in this manner; as each participant moves through the various roles. The table with paper and pen creates an island inside the open space where people are free to write, draw, read, sculpt, etc. The form can take on many participants (one to 20) and in larger group settings there are more participants in the audience position who pass through into the performance through the threshold of the witness chair.

︎︎︎from Rewriting Distance, a long durational arts practice and exchange between dramaturg Guy Cools and choreographer, dancer Lin Snellng