Dress Book - The No Book

By Tamar Raban 


The No Book is the third part of a trilogy of performances on the theme of “Dress”. A dress that represents the body.
The first performance, “Kahor” (S/Bubblue) I unstitch the dress I am wearing and it’s unstitched parts change their objective. The dress is re-sewn in a cyclic activity of unstitching and sewing, while the story of the cycle of generation is re-told, the growth of the daughter’s body parallel to the wearing out of the mother’s body.
In the second performance, “Dinner Dress - Tales About Dora”, the audience of 24 people dines out of an enormous dress that I wear and listens to stories about Dora, my mother.
This is a meal with courses of memory, which is served by my dress/body’ is eaten and digested in the digestive system and memory of the participants.
The third part of the trilogy will be the story which turns into a dress or the dress which turns into the story. The dress becomes the text. The dress is the pages of a book. The dress is a book which contains and carries the body and the body contains and carries books.
In the centre of the work there will be the big book, the book of content. Its’ size, when closed, will be 135/75/50 cm. This is a book/a case/ a stage/ a sound-producing instrument/ a dress.
The movement of the head during reading is similar to the “No” movement, the No movement is similar to watching a body in a back and forth motion which acquires knowledge and experience, eventually proceeding towards cessation. The reading motion is similar to the cessation motion. None/No.
The reading/cessation motion is my motion in my work since “Kahor” with an ambition to achieve nullify of The Object while reading it.
The contents of the performance, the stage and its’ surrounding, its objects and sounds and myself will materialize within the pages of the book.
 
Eventually, during the performance, the pages of the book will be unstitched and re-sewn as a dress, my dress. Between the performance the dress will be unstitched again and sewn as the pages of the book, and the public will be invited to visit during this process.
Seven small books will be hidden inside the big book, in a way similar to the seven unstitched parts of the dress in “Kahor”’ and relate to the seven energy centers of the body (the chakras). The small books are chapters of the big book, the book of content. The seven small books will find their place in relation to my body and will tell the actions and memories of my body.
The stories that will be told will be the biography of the process of working on the performance: the stay in Berlin, the place where my mother was born and which she was forced to flee’ and to which I return, searching for denied roots, re-learning the German study of traditional book binding methods, conversations with people pertaining to the content or to the preparation of the work, and all of the coincidences which point to movement in a preordained course.
This is a text which will include words, materials, images and sounds.
This will be a book that will be written in first person but also a person, for whom the pages of the book and its content will become his body.
The book is an object full of hallucinatory, non-tangible, imagined and verbal objects. It will also be two-dimensional, binded pages which can transform into worlds and objects without taking up space and with no additional weight.

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