“The role of the sight”
“Look at it from the other side too…”
I bring to the Kitchen a reflection of the role of the sight in my life; especially because it essentially concerns everyone who is engaged in the performing arts and because it is so common that it merges within ordinary language so naturally that it is not as self-evident (that is, visible) as the non-self-evident can be its influence.
I don’t want to talk about the sight in terms of the exclusivity of a genius “artist” who sees what others do not see. For me, the view is the closeness between those who “show” and those who receive, regardless on the demands of their understanding. It is also an activity, a place, a relationship…
I am also fascinated by the fact that when I create, I see what is not yet present, more clearly than what is actually around. So the sight is also an opportunity to see things that are just coming towards us.
And the last reason for this culinary contribution is the fantastic idea that a beloved person is “looking” at me, which leads to a total transformation of myself. The stage production is necessarily exposed to the starving eyes of the other, written with a capital O. The notion of extreme intensity of the sight can thus be extended to all viewers, the sight ceases to be – never was – anonymous and neutral acceptance of some givens that make sense but as in quantum physics, it changes what is observed. And I share with you, dear reader, how this metamorphosis takes place at the level of my body.
During the intensive movement workshop, I made a few remarks about looking inwards.
As a ritual object, it is used to express belonging to the cosmic order, as a thank you or a request. It is sensitive and hard. In many ways similar to two small skulls, but vulnerable. A practical tool, the immobilization of which evokes the feeling of a diagonal.
The center of female strength and self-confidence. Deep spine stabilization system. Similar to the seabed with its unknown aspect.
It is necessary to open and close. Hips pain indicates an imbalance of a mental nature.
Used for gripping. Opening the door. The subject of shame.
“Fly away, birds of my weakness!”
Fine and long, or bold and flat, often covered with fine hairs. Extremely human matter. Contrasting against other fingers.
Nobody notices it.
Terrain explorer. In any case, it goes first.
Special skin situation. Box for scars. Soft to the touch. The most sensitive part of the body.
Place of beating. Place of work. A place of friendly touch. Extremely sensitive.
. . .
Belly, vocal cords, heart
Parking for kisses.
A comprehensive and perfect organ. Thermoregulatory issue. It is necessary to distinguish between the inner and outer ear, as well as the middle ear and its edges.
“Four symbols four sides four seasons four hands
four feet four halves of the lungs four ears but also four children
it’s all waiting for us
you can’t be dead it can’t be
four elements four evangels four shoulder blades
that’s enough for a smaller building”
Creation of the world. The cause of laughter. But also the place of the color of singing. After all – a favorite food.
When a stranger’s hand grabs me, I turn into a little teddy bear. Reminiscent of the grandeur of horses. It serves as a vehicle for young children.
The fastest organ in the body.
Noting the role of the view, its causality… made me start working on a new manuscript…
… I was standing by the window, looking out. Across the courtyard, a lady was dancing in the kitchen. The kitchen seemed Provencal to me, I know I noticed … I noticed it and I kept my back to him, my sight dissolved in the dancing woman. I felt as if the skin on my back was tensing to bursting, I could feel his eyes sliding over me, stopping in specific places like fingers, breathing calmly and slowly as he looked at me. I liked being so calmly impaled on the spit of his sight.
I also realized that he realized that I was aware of this, and that I was aware that he was aware that I was aware of it.
I know where I am and who I am, exactly, I know exactly what I’m doing, so I think, I think faster and faster about everything that can happen, and this acceleration is already part of physical excitement.
When I feel a fingertip in my hair, I take a breath.
The path of pleasure: a slight movement first appears under the tips of the toes, moves within the tendon of the foot, circles around heels and squeezes my toe on both sides. The pleasure then shoots, completely unexpectedly, up the inside of the thigh. My body shakes like having the biggest shivering.
I’ll look back –
Anna Luňáková (*1993)
Studied philosophy at the Faculty of Arts at Charles University in Prague, and currently is a PhD. student engaged in romance literature. So far, she has published two books, the novel Three (2020) and the collection of poems I just lose my name (2020). She also translates from French (Letter to D., 2021) and Portuguese. She creates authorial performances, i.e. Bohemia, performed in 2018 in Paris, Elevation 2018 in Casablanca, Přeslice 2019 in Setúbal or Odposlech 2020 in Malovice. The last mentioned, Odposlech, was created under the newly emerging collective HERONS VECTOR, of which she is a co-founder, together with Jakub Štourač and Ondřej Macl. She is also the co-founder of the open platform Nothing is a problem here, which organizes authorial readings, events and cabaret.