"Man is not intelligent.Only what sourrounds him is intelligent."
God becomes man becomes fish becomes barnacle goose becomes featherbed mountain. Dead breaths I living breathe, tread dead dust, devour a urinous offal from all dead. James Joyce, "Ulysses".
a performance for a male performer, 3 women performers, a female chorus, (with references to Thesmophoria , a celebration of Sporetos ,"Seed-time", the autumn sowing,
using hidden technological apparatus through which space becomes a field of interaction: a thermal camera,
simulation still- large scale
the ground consists of sulphuric yellowish soil; the male performer is made up like a pan rather than a satyr, a cross-species creature in blue skin (newborn animal-bird with extended legs). He uses hidden electrodes to activate an electrovalve mechanism for letting mercury enter the glass triangle and mix with saliva. The male performers' transformed genitalia recalls the androgyny of Dionysos, when young men carrying brances were dressed as women.
the first female performer appears to be slightly mutated. She lies on the sulphuric ground. On her body She spits saliva which moves to the central part
the second and the third female performers hide the organic-like silicone sculptures in the ground
the thyrsus acts as musical instrument: the male performer gets periodically the thyrsus (a pole carried by Dionysus, and by Satyrs, Maenades, and others who engaged in Bacchic festivities and rites) and scans the performance space; a hidden thermal camera is concealed inside the thyrsus. The thermal camera measures the temperature of the female performer and the space
The shamans' thyrsus is constructed in accordance to the scourge made of morotton or thyrsus,(woven bark) which was used from participants whipping each other at the 'Thesmophoria'. This celebration of autumn sowing was dedicated to Demeter and restricted to women in ancient Greece. The women also engaged in Aiskhrologia (Foul language. abuse), hurling insults at one another to commemorate the way in which Iambe made the grieving Demeter laugh.
glass sculptures schematised in the form of tears, host colonies of the transgenic flies.
duration of the performance might be 2 - 3 days as a continuous event (see below: During the Thesmophoria proper the women
All performers look neither male or female, with their genitals covered up by silicone skin.
3 women lay on the sulphuric ground. They also appear slightly mutated with the aid of silicone extensions. They occasionally
the performance lasts with a "miisis"(=induction)of the third woman which takes a kneeling stance, with the two other women holding her from the arms, while forming with raw silicone
an extract on her forehead. This stance recalls the death of Pentheus, are torn to pieces by Theban women because he did not allow the worship of Dionysos. In this performance, the silicone extracts are a reversal of this dismemberment.
drawing (above) and synthetic clay sculpture (below) of the male performer
the glass sculpture where mercury mixes with saliva and drips on the sulphuric ground
Notes and references
1. '...Zeus and Apollo are often named as the father of Pan, but Hermes (Mercury) had the best claim...In Greek mythology, Pan was a familiar of herdsmen and nymphs, he haunted the upland pastures and the shadowy places of siesta and his music was that of the countrymen...For his mother we hear of the nymph Penelope, who could get confused with the wife of Odysseus and even give rise to the story- by the fact that the Greek word pan means 'all' -that he was fathered by the conbined attentions of all her suitors. However, his name does not derive from the Greek pan, but comes from the root pa~, a contracted form of pa~on meaning herdsman...Although Pan came to be confused with satyrs in antiquity as he did in Renaissance, there was a basic difference, because the satyrs start as essentially human, and acquire animal features in varying degrees as time passes, while Pan starts as all animal. '
3.The primary rite of Dionysiac religion is that of ecstatic mountain dancing. The culmination of this rite was an ecstatic frenzy in which the dancers tore apart and devoured raw an animal such as a goat or a fawn . These two acts are called sparagmos `tearing' and omophagia `act of eating raw flesh'. The rite of omophagia was seen as a communion with the god in that the worshiper consumed a part of raw nature which was identified with Dionysus himself. The primitive rites of sparagmos and omophagia were still practiced in various areas in the fifth century and even down into Roman times, but at Athens Dionysus was a much tamer god. His worship was there channeled into more civilized forms, such as the Anthesteria , a spring wine festival, and, of course, the City Dionysia. The Athenians seem to have concentrated on the pleasanter and more civilized aspects of Dionysus as a god of wine and of dramatic performances. (http://depthome.brooklyn.cuny.edu/classics/dunkle/studyguide/bacchae.htm)
All content is Copyright © 2005 Melanitis Yiannis.