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International Errorista: The revolution through affect. Part 1
by Santiago Garcí­a Navarro

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LG: The idea of Etcetera was always to work with a type of cathartic theater. What was important for us was to generate an instance so that what was asleep inside those who created the "escrache" could come out through theater: anger, pain, fear, hysteria. To let out what had been repressed and what is rationalized in political militancy. We decided that we would represent the murder and not the victim, the conflict and not those in conflict. In that moment, in the escrache we put in play, and in doubt, the relationship that we had as militants, as as those directly affected, the fragile place confronting the enemy. We personified the soldier, the torturer, the doctor who accomodated the children, the a nice guy, very grotesque, very theater of the absurd, and that produced catharsis. The Mothers of Plaza de Mayo began to shout, to talk... the idea was to generate something that the society, in certain measure, needed, above all because people's necessity to express themselves is very controlled . What we realized with Errorism, was that we, as actors, have the fundamental need for theater in our lives. We doní­t get an orgasm going to the museum, nor making graphic actions, but in theater.

FZ: In Kantor, as in Artaud, there is that idea that he who submits himself to a profound state of theater commits suicide, because, by that time, he is another person, he is giving his life for that experience and disappears. Actor-cide is that giving of the performance experience, in the way a suicide gives himself to his mission, completely convinced of what he is doing, and prepared.

SGN: Is there not an idea of distraction in there? Considering that a subject is not a stable thing, but is always transforming, happening, you may also treat it as different states of that same body.

FZ: Yes, but we are talking about a specific operation. In that moment, it is necessary to construct a group of individuals who are equally convinced, prepared, that everyone trusts everyone else, that nobody is going to rat out the other, and that everyone knows exactly what they have to do in the situation. The experience of actor-cide is not a life model, but is effective for the time of that given action.

SGN: So, we are indeed talking about suicide? That one would be killing oneself inside when giving the performance?

FZ: The ego.

Antonio Oí­Higgins: What dies is the part that the person has locked away. He commits suicide because he discovers elements to represent what he has inside.

SGN:Now, if the performance was an exceptional moment, it would give the impression that that time doesní­t affect the rest of the life. On the other hand, if that partial suicide, that of repression, has consequences subsequent to the performance, it is related to a moment of real intensity where there is something that is broken in the structure of the ego, which doesní­t kill the subject, but which, in any event, launches him to a new stage.

LG: I would first like to highlight a difference. The spect-actor is he who submits to the cathartic experience and who casts out what he has repressed. He becomes an actor. It may happen that in everyday life he remains a spectator, and, later, becomes an actor again. He becomes an actor-cide when he becomes conscious of the fact that this theatrical tool is constant.

FZ: One sees to what point this took those who have recently passed through this Errorism activity, writing their own texts, reflecting on such-and-such idea, and how this germinated. Ití­s like love, I think. Errorism is not an ephemeral idea but a commitment. Errorist love is error-free, an Errorist in love is an erratic soul, he doesní­t seek perfection, because he knows that love is a continual coming and going. In the case of this poetic, artistic, or whatever you want to call it, experience, what it leaves behind is the same sensation that is felt in love. Either you get hooked or it passes you by. Those who arení­t artists begin to be, they feel like actors, they recognize it individually, they get into the idea, and it is those companions who passed through the experience who pressure us to continue, they call us and ask us when is the next one.

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About the Author
Santiago García Navarro writes about art, politics and architecture. He was member of the Duplus group, with whom he published El pez, la bicicleta y la máquina de escribir (Buenos Aires, Fundación Proa, 2006). He lives and works in Buenos Aires, Argentina.

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