Conversation with Cecilia Zwick Nash

I invited my self to my old friend Cecilia’s place in order to talk about my master project, to be more specific; my work with text and talk. Cecilia is an actor, poet, writer and she grew up in Drakabygget, a spectacular artist community, among painters and poets in the seventies and eighties in the south of Sweeden.
I wanted her response to my test sequences of voice replacement. She found it interesting; the visual style the way of acting.
She encouraged me to let the sound follow the image, like what I did in the scene where a cello follows the old man on the beach.
She suggested me to think about the actors/characters having an argument where the timing and speed of lines increases and decreases, like a verbal fight. Where the talking characters create a space while talking from one screen to another.
We talked about using text or not. Cecilia showed me some books of the poem called sound poem. The text is used as visual elements as well as text. The compositions of words are like notes for sound; small size=low sound etc. We talked about having a system or not. Cecilia explained that the idea was not having a system, I mentioned that cut-words, mixed typography, white paper and not having a system are a kind of system.

She liked the three masked men on a line; the tiny difference in their movement and talks. I told her that I one the first hand was annoyed because of the head moves but after found them essential for the sequence. It leads us to talk about chance operation/coincidence. My experiences instruct people, until now, is: say a little and see what happen. Cecilia told about Situationisterne, an art group from 1957 which her parents were part of.
The engine was: spontaneity, improvisations, chaos, turmoil, speech choir, music, etc. and using the unpredictable. The intention was to create a larger living space for an anti-authoritarian dialogue culture by bringing the imagination to power to bring up the rule between ruler and ruler. They were against the fine culture and the convention, the situationists focused on the individual situation and wanted to abolish the difference between the artist and the audience, between everyday life and art.
They infused the concept of “play” as a value criterion in relation to the art

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