The money is gone. The brain is shot. But the liquor, we still got.

The description of the lover’s discourse has been replaced by its simulation, and to that discourse has been restored its fundamental person, the I, in order to stage an utterance, not an analysis. What is proposed, then, is a portrait – but not a psychological portrait: instead, a structural one which offers the reader a discursive site: the site of someone speaking within himself, amorously, confronting the other (the loved object), who does not speak.

(From: Fragments of a Lover’s discourse, by Roland Barthes)

The performance reflects on the various meanings of the word “performing”, built from the genius loci of the place, creating an overlapping between fiction and reality. The observer is driven through a narrative, from the voice of a bartender that is reflecting on these issues in the first person. Self referential elements are mixed with excerpts from the book ‘Fragments of a Lover’s discourse’, by Roland Barthes and cinematographic references. The performance also explores the potential of the monologue in the first person as an exercise of performative speech and as a means of triggering mechanisms of recognition and self awareness in the viewer.

(As part of Une matinée des rejetés, integrated in 24uurcultuurrotterdam)

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