CIGDEM Y MIROL
BOOKPERFORMANCE

Pre-script: When appro­pri­ate I do call “BookPer­for­mance” equally as “AuthorRe­ader Per­for­mance” or “Read­erAuthor Per­for­mance”. There are seven items of my man­i­festo, because I know that seven is a sig­nif­i­cant number.
 
 

BOOKPERFORMANCE MANIFESTO
11.11.11

1- The book, here and now, with its author and reader, either uttered or silent, is a per­for­mance. Bookper­for­mance is a naked, fixed and tex­tual body. If move­ment is impos­si­ble for a fixed body, to turn the impos­si­ble into the pos­si­ble, it is nec­es­sary to attempt the weird and the absurd. In order to suc­cess­fully attempt the weird and the absurd, you must pos­sess not only a con­sid­er­able intel­li­gence but also an extra­or­di­nary courage for real­iz­ing and accept­ing the sig­nif­i­cant power of the weird and the absurd. To be able to do all these it is nec­es­sary to be a good reader.

2- Reader­ship is an evolution. Authorship is a revolution.  In this specific context, as is true in every context, evo­lu­tion takes place within revolution. For readership and author­ship, evo­lu­tion is an arche­typical jour­ney whereas revolution is a narcissistic form. The prerequisite of the two is the self: the absolute self.

3- To be or not to be is a state­ment about consciousness. This sit­u­a­tional field, apart from its very self, activates the following forms and turns into their correspond­ing action-fields: to nar­rate or not to narrate, to read or not to read, to understand or not to understand. In bookperformance, to under­stand or not to under­stand means to enjoy or not to enjoy. Just as giving pleasure can­not be limited to being funny, joy cannot be lim­ited to laughter.

4- To be real­is­tic is a mat­ter of choice, but to be truth­ful is essen­tial. To imag­ine is a mat­ter of pref­er­ence but to fic­tion­al­ize is an oblig­a­tion. Because the objec­tive is to cre­ate a truth­ful fic­tion. This guide­line does not at all oppose the attempt at the weird and the absurd.

5- The protagonized reader’s expe­ri­ence of fic­tion­al­iza­tion not only cor­re­sponds to the fic­tion­al­ized reader’s expe­ri­ence of protagonization, but is even its equivalent. In both cases, the reader is the intra-conscious reader of the bookperformance author, who can turn the impos­si­ble into the pos­si­ble. No one except the intra-conscious reader could (or should) rec­og­nize who the intra-conscious reader is.

6- Creativity is an orphaned phenomenon in bookperformance. How and when it occurs deter­mines the first and the only con­di­tion of how and when bookperformance is activated.

7- Love, here and now, between the reader and the author, is not a fac­tual but a tex­tual mat­ter. This love mixes the act of read­ing with the act of writ­ing. In this love, the spaces are filled in with imag­in­ings. In this love, the nega­tions are hid­den. It is an impossible possibility to deduce a fixed meaning (!) from this love. This love may be acted out in various ways. Such diver­sity will ren­der the author authentic and the reader individualistic.

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"Bookperformance Manifesto" was transparented by Andrew Carruthers and Cigdem y Mirol from Turkish into English after it appeared as the closing scene of Yüzüm Kitap,  July 2012 that was published in Turkish in Turkey.  So, it was published both in Turkish and in English, on the Mascara Literary Review, June 2013 and then took its place as closing scene of MyFace Book, March 2014 (p.404). 

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Annick - 04 Jan 2016 14:47
wauvv! Incroyable.