The artwork “Things to do after you die” is part of a personal research project in which I try to investigate the intersections between writing and performativity on stage, in academia and in words. What is it like to write on stage? How do you find the desired writing in the scene? The process of creation also involves the psychophysical procedures for entering the scene and preparing the body and mind for writing. Not only activating the mind, but also understanding how else the body should be worked with in this context. The work was conceived in São Paulo, Brazil, and developed during Kuca Klajn’s artistic residency in Klanjec, Croatia. 

With this interest in exploring language, I thought of a theme that could reach all people, of all nationalities, ages and genders. Of course, the subject of death came up. There are some people who need to think more about death, others who need to think less. But somehow, everyone thinks about it often. Death is the mystery, the unknown, the fear.

I’ve already taken part in a creative process, a theater spectacle, in which I wrote obituaries of dogs based on reports from the audience. The experience was good and the desire to explore writing poetic obituaries continued. In addition to the theme that is capable of crossing everyone’s mind, the performance also seeks to awaken sensations in the audience with the coffin. The experience is not only that of the writer-performer, but also of the person who lies in a coffin while alive and must remain there, waiting for a stranger to write about their death. 

One-to-one art is another way of reaching out to the public, breaking down the boundaries between stage and audience and allowing both sides to open up to an intimate experience. It’s when the artist and the audience allow each other to open up and get to know the other’s particularities. I think it takes courage to be a one-to-one performer, but it takes even more courage to be the audience of a one-to-one performance. It’s an act of generosity on the part of those who choose to be solo spectators, those who choose to donate their time and attention to the other person’s work and be stuck there in a dark room with an artist they don’t know. Above all, it’s a great deal of trust in the artistic process. One-to-one art allows us to see the other individual as a subject. 

I would like to thank everyone who came to the festival for their courage and generosity, and that they allowed themselves to feel in their bodies and minds what each of the artworks had to offer. Enjoy the experiences!