Back to Shop

Act III: Itziar Okariz

5.00 / Sold out

๐—ฃ๐—น๐—ฎ๐˜†๐—ฏ๐—ถ๐—น๐—น: ๐—”๐—ฐ๐˜ ๐—œ๐—œ๐—œ: ๐—œ๐˜๐˜‡๐—ถ๐—ฎ๐—ฟ ๐—ข๐—ธ๐—ฎ๐—ฟ๐—ถ๐˜‡
๐——๐—ฒ๐—ฐ๐—ฒ๐—บ๐—ฏ๐—ฒ๐—ฟ ๐Ÿฎ, ๐Ÿฎ๐Ÿฌ๐Ÿฎ๐Ÿฎ, ๐—ฑ๐—ผ๐—ผ๐—ฟ๐˜€ ๐—ฎ๐˜ ๐Ÿด๐—ฝ๐—บ
๐—ง๐—ผ๐—ฟ๐—ฝ๐—ฒ๐—ฑ๐—ผ ๐—ง๐—ต๐—ฒ๐—ฎ๐˜๐—ฒ๐—ฟ, ๐—”๐—บ๐˜€๐˜๐—ฒ๐—ฟ๐—ฑ๐—ฎ๐—บ

Featuring a spoken word performance by Itziar Okariz

Itziar Okarizโ€™s 2012 performance ๐˜Š๐˜ฉ๐˜ข๐˜ฑ๐˜ต๐˜ฆ๐˜ณ 2 ๐˜.๐˜ž. sees her undertake the repeated reading of a passage from Virginia Woolfโ€™s seminal work ๐˜ˆ ๐˜™๐˜ฐ๐˜ฐ๐˜ฎ ๐˜ฐ๐˜ง ๐˜–๐˜ฏ๐˜ฆโ€™๐˜ด ๐˜–๐˜ธ๐˜ฏ (1929). Over the course of roughly thirty minutes, Okariz will present this work, performing something akin to live editing, whereby the first concept or word of the passage is subtracted in each recitation until the text completely disappears.

๐˜Š๐˜ฉ๐˜ข๐˜ฑ๐˜ต๐˜ฆ๐˜ณ 2 ๐˜.๐˜ž. first arose following an invitation to comment on a fragment from Woolfโ€™s essay, and in this particular fragment Woolf describes a landscape that shrinks with each repetition until it disappears. Each recitation of the fragment by Okariz underlines a different element in the text, drawing the audienceโ€™s awareness to every component, right down to the smallest unit of meaning.

Based off two lectures Woolf delivered at Newnham College and Girton College, both women's colleges at the University of Cambridge, the performative aspect of the spoken wordโ€”one often lost now that the essay is rendered in printโ€”is also repeated here, taking Woolfโ€™s writing off the page and staging it for another attentive audience ninety-three years later. For Okariz, this work sits within a larger practice committed to questioning the rules of language. It also sees Playbill engage with a more overtly literary work, one that draws on Torpedo Theaterโ€™s own programming with the literary and spoken word communities of Amsterdam and beyond.

Please note that Torpedo Theater has a capacity of thirty seats and we unfortunately won't be able to welcome people without tickets and/or sell tickets at the door. The intimacy of the small audience is an inherent part of the setting.

๐˜—๐˜ญ๐˜ข๐˜บ๐˜ฃ๐˜ช๐˜ญ๐˜ญ, ๐˜ฉ๐˜ฐ๐˜ด๐˜ต๐˜ฆ๐˜ฅ ๐˜ฃ๐˜บ ๐˜›๐˜ฐ๐˜ณ๐˜ฑ๐˜ฆ๐˜ฅ๐˜ฐ ๐˜›๐˜ฉ๐˜ฆ๐˜ข๐˜ต๐˜ฆ๐˜ณ, ๐˜ช๐˜ด ๐˜ข๐˜ฏ ๐˜ฆ๐˜ท๐˜ฆ๐˜ฏ๐˜ต-๐˜ฃ๐˜ข๐˜ด๐˜ฆ๐˜ฅ ๐˜ฑ๐˜ณ๐˜ฐ๐˜ซ๐˜ฆ๐˜ค๐˜ต ๐˜ช๐˜ฏ๐˜ท๐˜ฆ๐˜ด๐˜ต๐˜ฆ๐˜ฅ ๐˜ช๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ฑ๐˜ณ๐˜ฆ๐˜ด๐˜ฆ๐˜ฏ๐˜ต๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ ๐˜ฐ๐˜ง ๐˜ฆ๐˜น๐˜ฑ๐˜ฆ๐˜ณ๐˜ช๐˜ฎ๐˜ฆ๐˜ฏ๐˜ต๐˜ข๐˜ญ ๐˜ญ๐˜ข๐˜ฏ๐˜จ๐˜ถ๐˜ข๐˜จ๐˜ฆ ๐˜ข๐˜ฏ๐˜ฅ ๐˜ต๐˜ฆ๐˜น๐˜ต-๐˜ฃ๐˜ข๐˜ด๐˜ฆ๐˜ฅ ๐˜ข๐˜ณ๐˜ต๐˜ช๐˜ด๐˜ต๐˜ช๐˜ค ๐˜ธ๐˜ฐ๐˜ณ๐˜ฌ๐˜ด ๐˜ฐ๐˜ฏ ๐˜ต๐˜ฉ๐˜ฆ (๐˜ด๐˜ฎ๐˜ข๐˜ญ๐˜ญ) ๐˜ด๐˜ต๐˜ข๐˜จ๐˜ฆ. ๐˜๐˜ต ๐˜ช๐˜ด ๐˜ค๐˜ถ๐˜ณ๐˜ข๐˜ต๐˜ฆ๐˜ฅ ๐˜ฃ๐˜บ ๐˜”๐˜ข๐˜ณ๐˜ต๐˜ฉ๐˜ข ๐˜‘๐˜ข๐˜จ๐˜ฆ๐˜ณ ๐˜ข๐˜ฏ๐˜ฅ ๐˜๐˜ด๐˜ข๐˜ฃ๐˜ฆ๐˜ญ๐˜ญ๐˜ฆ ๐˜š๐˜ถ๐˜ญ๐˜ญ๐˜บ, ๐˜ข๐˜ฏ๐˜ฅ ๐˜ฅ๐˜ฆ๐˜ด๐˜ช๐˜จ๐˜ฏ๐˜ฆ๐˜ฅ ๐˜ฃ๐˜บ ๐˜”๐˜ข๐˜ถ๐˜ฅ ๐˜๐˜ฆ๐˜ณ๐˜ท๐˜ฆ๐˜ฏ๐˜ฏ๐˜ฆ. ๐˜—๐˜ญ๐˜ข๐˜บ๐˜ฃ๐˜ช๐˜ญ๐˜ญ: ๐˜ˆ๐˜ค๐˜ต ๐˜๐˜๐˜ ๐˜ฉ๐˜ข๐˜ด ๐˜ฃ๐˜ฆ๐˜ฆ๐˜ฏ ๐˜ฎ๐˜ข๐˜ฅ๐˜ฆ ๐˜ฑ๐˜ฐ๐˜ด๐˜ด๐˜ช๐˜ฃ๐˜ญ๐˜ฆ ๐˜ต๐˜ฉ๐˜ข๐˜ฏ๐˜ฌ๐˜ด ๐˜ต๐˜ฐ ๐˜ต๐˜ฉ๐˜ฆ ๐˜’๐˜ข๐˜ณ๐˜ช๐˜ฏ ๐˜ท๐˜ข๐˜ฏ ๐˜™๐˜ช๐˜ฏ๐˜จ๐˜ฆ๐˜ฏ ๐˜๐˜ฐ๐˜ฏ๐˜ฅ๐˜ด ๐˜ข๐˜ฏ๐˜ฅ ๐˜Ž๐˜ฆ๐˜ฎ๐˜ฆ๐˜ฆ๐˜ฏ๐˜ต๐˜ฆ ๐˜ˆ๐˜ฎ๐˜ด๐˜ต๐˜ฆ๐˜ณ๐˜ฅ๐˜ข๐˜ฎ ๐˜š๐˜ต๐˜ข๐˜ฅ๐˜ด๐˜ฅ๐˜ฆ๐˜ฆ๐˜ญ ๐˜Š๐˜ฆ๐˜ฏ๐˜ต๐˜ณ๐˜ถ๐˜ฎ.