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. When movement is impossible for a fixed body, turning the impossible into the possible requires attempting the weird and the absurd. One is called to cultivate attuned intelligence and courage to realize and embrace the life force carried by the weird and the absurd. Only then does the good reader intuitively unfold through these seven nuanced layers converging into one.
2- Readership is an evolution. Authorship is a revolution. Evolution infuses sonic transparency into semantic translation within revolution. In this entwinement, while evolution is an archetypical progression, revolution is a reflexive (de)construction. 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 being its very self, engages the corresponding action-fields: to narrate or not to narrate, to read or not to read, to understand or not to understand. To understand or not to understand means to enjoy or not to enjoy, not as synonyms but as homonyms: just like the sounds made when meaning and joy arise together while transcending through the other.
4- To be realistic is a matter of choice, whereas to be truthful remains essential. To imagine is a matter of preference, yet to fictionalize remains a necessity. The objective is to (co)create a truthful fiction, which affirms the weird and the absurd through the potential absence of all that is present.
5- The protagonized reader’s experience of fictionalization not only corresponds to the fictionalized reader’s experience of protagonization, but is even its equivalent. This dynamic is embodied as Author-Reader-Performance and Reader-Author-Performance, becoming complementary axes of a multi-sensory orientation. In both cases, the Bookperformance reader is the intra-conscious reader of the Bookperformance author, the only one 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. How, when and why it occurs determines the first and only condition of how, when and why Bookperformance is activated. This activation temporarily manifests through the Body & Sound of I & Eye (U), on pages and stages of life, where the intra-consciousness embodies unveiled resonance and invokes expressive presence.
7- Love, here and now, between the reader and the author, is not an extended fact but is embedded in the text. This love merges the act of reading with the act of writing. In this love, the spaces are filled in with imaginings. Within this love, the negations are hidden. It is an impossible possibility to deduce a fixed-meaning (!) from this love. This love may be enacted in various ways. Such diversity renders the author authentic and the reader individualistic.
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P.s."Bookperformance Manifesto" originated as an outcome of Cy Mirol’s MA thesis on self-reflective narratives, which she also regards as artistic performances. It foregrounds Mirol’s PhD thesis, constructing the theory and practice of Bookperformance through a process of reciprocality in knowledge-making: realization on stages and reflection back upon the pages of life.