“She Wolf” arose out of my interest in similar transcendental meditation techniques. I mean stopping the flow of thinking, shifting away from evaluative, stopping self-talk. I could determine it as a “blind space of the feeling”.
It is something from my childhood sensations when I imagined the forest as a fully alive, a single whole, and a sentient creature. What would happen to a human in this fairy forest? Would a man become its part, dissolve in it? Would a man turn into “a human animal”?
“She-Wolf” is a play for five musicians. I divided it into two equal parts:
The Other is the performance on the outside (or inside the large sheltered space). Musicians play the score determining their existence — including the start of the special non-thinking state. The score also notices the artists’ movement during the piece. One musician shoots video recording and reacts by ear.
It — after the outside performance the musicians move to the concert hall. Now the second part begins. The artists’ memories organized what they play (intuitive time feeling): the play begins with meditation followed by acting the entire text. All the events should match what has happened with musicians in the past. The audience perceives both the scenic acting of musicians and video from the past that is projected in parallel so that this combination allows to trace the coincidence and causality of past and present. This motor is driven by memories.
Vladimir Gorlinsky
