Running with scenography

Day 2. Saturday. I used to be a professional dancer and for many years I was in such good shape. This is no longer the case. I like my body, but at the same time I am on the verge of being overweight, and I do feel I need some excercise. So: I run, short distance, sort of around the block, slowly. Feet on asphalt, 1970's buildings, huge trees, sounds from crying children, an old water cistern, and a lot of men walking dogs (how odd, do women not do these things?). Layers of history vibrating. To me this is a scenographic situation played out in time and space. 

This is running in a rather relaxed way with expanded scenography theory. I remember when the field sort of exploded and became more generous, creative, and exciting than before (at least that was my impression). This is one of my favourite and perhaps overused quotes on expanded scenography: 

"We perform scenographies and they perform us. Our roles change with these scenographies. Environments conspire and collude to construct scenographies for our actions, and sites, places and locations are subverted, co-opted, occupied, translated and mutated for the needs of our performances. Everything we do and almost everything comprehend scenic formation - landscape, site and setting - but also a way of constructing the physical, perceptual and emotional environment of/for the event." (Lotker, Sodja, and Richard Gough 2013, "On Scenography: Editorial," Performance Research 18:3, 2013, p.3). 

Now, I perform scenography by the computer, and it performs me.