INCESTICA

A post-performance experimental text by Ian Deleón, Agrofemme, and Mr. Thursday

 

INCESTICA

A performance collaboration exploring incest, insects, anal/menstrual preoccupations, and the Oedipal family drama.

The Viscose Factory, Art Rat Studios, Roanoke Virginia, USA
September 17 2016

  FATHER                                          Mr. Thursday
SISTER AND MOTHER                  Agrofemme
BROTHER AND PROGENY           Ian Deleón

 

Prologue

“In her, I entered into Hades; with her, I traveled all the way into the oceanic silt, tangled myself in the seaweed, petrified myself into the limestone, circulated into the veins of coral” – Gabrielle Wittkop, The Necrophiliac

“Down for the wedding, my dear brother?” – attributed to Catherine of Siena, speaking to a man on the gallows

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Scene I: The Bedside Prayer and a Shadow Eating an Apple

Father stands in an invisible doorway looking severe in a suit jacket while slowly eating a red apple. Behind him, a large, padded wheelchair with an attached spotlight casts his long shadow across the bedroom as he watches his children kneel in prayer. The pale-faced siblings repeat the Bedtime Prayer, alternating between gazing downwards, at each other, and at the imposing shadow along the wall.

Our voices whisper to one another: Now I Lay me Down, I pray the Lord my soul to keep … And If I Die before I Wake, I pray thee Lord my Soul to take….

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Scene II: The Chair and the Matchbox

Sitting back in the large, padded chair as if on the lap of a monstrous grandparent, Father shuts off the spotlight and ignites a colder, vignetting beam from a headlamp. The children, who have now ceased their prayers and lie still in bed next to one another,  can no longer see him but he continues to watch, and to eat his apple.

Mechanically entreated. Only the Core of knowing sin, plump petaled still, is left to eat. Slowly, savor the last pulp of apple on the pate eternal. I am sitting now, the projected halo of my panoptic dirge rounds m-eye children. Their matches hatch conspiracies but eye am not paranoid – the banquet awaits the pronouncement of their temerity. I own th-eye-m. I don’t know that eye still own silhouettes under sheets stained in my-or-our cereal histories, can’t cover nothing, can’t cover sins unbelieved and unseeing.

With hands at first folded politely above the bed sheet, the star-gazing children begin to loosen and steal flashing glances at one another beneath the turquoise glow of this intimate nocturnal distance. They slowly begin pulling the sheet above their heads, sitting up in bed facing each other, creating a tent with their bodies. Between them a match is stricken, and the siblings begin an exchange of vows, longings and misgivings that culminate in an intimate embrace and a building sense of shame.

Camphor burns my nostrils as I struggle to read the text. My eyes water and voice hoarsely falters as if with true emotion. Match after match is struck, as we take turns striking, reading, striking, reading.

I Fear we will literally ignite the stage in this dramatic re-framing of our true-to-life passion.

“ Here is the house, where it all happens … Body and soul come together, as we come closer together … Death is everywhere. There are flies on the windscreen, for a start, reminding us we could be torn apart tonight … I want to take you in my arms, forgetting all I couldn’t do today … With or without words, I’ll confide everything … He says it’s for her only that he lusts. She doesn’t trust him. Nothing is true, but he will do in a world full of nothing … It’s easy to slip away and believe it all … Apologies are all you seem to get from me … It’s a question of lust, it’s a question of trust … It is all of these things and more that keep us together … It frightens me … We feel like pioneers .. Wounds aren’t healing inside of me. Though it feels good now, I know it’s only for now … ”[1]

Brother wrestles the sheet from his sibling and uses it to cover himself as he retreats away from the bed into a nearby bathroom.

He leaves me, a stain between my legs. An incontinence of his, a menses of my own, a miscarriage of bodily fluids, a visible humiliation.

At some point, Father has finished his apple.

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Scene III: The Transformation & The Dinner Table

Sister exits the bedroom and joins the Father, who is now in the adjacent dining room area, a hooded figure sitting at the end of a long table. Sister becomes Mother, and upon their messy array of a dinner table, the parents communicate with howling nags and jabs.

Our table is laid with indian corn, likker, peanut shells, floggers, processed meats and briny things.

Father attempts to eat raw beef franks and peaches through his hood while Mother fixes her hair.

I crack eggs into a dish after mixing a vodka, not gin, martini, gulping at it as I beat the eggs with a bristle brush. Combing egg into my ratty head, I roll beer cans from the audience into my hair. Mr. Thursday and I argue, snipping at each other in guttural and whining barks, a simulation of language, a hurling of absurdist accusations what cause the audience laughter, “SHIBBERSHITSKULLIUNKK”, I gesture at his pathetic hole. Struggling to keep the Miller Highlifes in my hair, I blow-dry the egg to stiffen the curl. [How quickly the uncanny becomes the comedic].

The bi-partisan feast of our larges. Her and I. Watch us eat. Watch meat n’ peach dream through the black grid of worm poop, strung together like the meted fists of state gluttony that gloss m-eye continents. Crackle-click. All mine(d). She has her part to play, amorphous blob, will in and out besides bleated piglets we produced, and she is. The taper’s out again. The blabbing and skirted language of rotted seductions peels ever so. What is that? I’ll spit the shells pleb-wise and yell about the bathroom. What takes him so long? Crackle-crack. The knife, watch the knife. Crackle-scratch. Closer… What’s that yelling from the blob now!?[2]

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Scene IV: The Insect The Broom & The Apples

Meanwhile, in the cavernous lavatory, the “head”, brother has undergone a visible and dramatic transformation into the ill-equipped seed of the siblings’ union.  He has become something more earthly, though shrouded in pr(e/o)scription — the imundo.[3]

Within the chapel of excrement, I found myself changed. Where once was an adept and wrinkle-less hand there now protruded a brilliant obsidian flipper, more capable of shoveling motions than the discrete digital flurries of before. I discovered my body to be incapable of prolonged vertical jaunts, preferring the cold proximity of the concrete under hind foot — I was a horizontal animal. Vision blurred and aural sensibilities deferred, I now sensed with every extremity. Where once pain was localized, now excruciation grew to a totalizing body-mapped experience. What WE now found most unusual and somehow most serene was a small perturbance, an asymmetrical eruption around the lip of our rear quarters. Our sphin(x)cter had become engorged with a sense of its own importance, and thus, we resolved to dispel that riddling gatekeeper and open the portal to our (in/ex)ternal worlds once again.

The Progeny now emerges, a voice-less rattle of chains and tightened physical constraints, a hand transformed into a digit-less mitten. Shiny, leathery skin, Anus protruding for all to see. Scurrying about the dining room, it attempts to garner the attention of its (GRAND)parents, mostly through the uncoordinated display of its dilated anus. Clutching a container of Rx Proctozone, it inserts the conical applicator tip into the rectum and squeezes out/in a significant amount of the Doctor’s white.

The parents remain focused on their asinine activities. Still unnoticed, it crawls underneath the tablecloth and approached Mother from an intimate angle. Here, with the still recognizable human hand, the insect reaches up to touch the mother’s drinking glass, causing her to relax her grip on it as if setting it down on a table. It is now that she catches sight of the creature, in multiple ways, her progeny.

I awoke from this mundanity to a gigantic insect, it’s domelike brown belly rubbing over my bare toes, it’s fingers on the base of my martini glass, slowly pulling the drink from my grip. I recoiled in horror, screeching at my husband, gesturing; “Kill this thing!”.

What is it!? The son of so-called night shifts under the sheet they hid. The dream-child in chitin, shit-wielded. Formed of ME!? Formed of illicit, formed of empire’s leavings, formed of inceC-ssssst! Not mine… no, no, NO bed eye made. Halo saw all… but not this… How ma-me screams so! Antenna-ed like father though, leathered like of wandering days… yet family-ALL!!! OUT, OUT, sOUTh… What for armament…. The scold of lost nights neurotic and fruit of labors dead. The pate of cousin-ed desires, cold-membered APPLE’s for artillery and deathly work to exorcize this sONE in the alley!

Clutching a broom worn to a frazzled nub, I gain boozy courage, jabbing at the heinous figure skittering at our feet. We chase It out the door to a narrow alley, pushing it towards a drainage man-hole.

The pitiful creature struggles to approach something like a normal gait amidst a torrent of physical and “verbal” abuse from the ‘rents. The Mother with her broom and the Father with his apples — p(u/o)mmeling it into submission.

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Scene V:  The Sewer Grate

Bwa ha ha HA – return to the sOUTh you scurrier! No son a m-eye-n! What fear we played up to ensure our continued benevolence. Her, dappled now like ma-me used to be, loverly dough-ter… her and I. M-eye self the light, hersELF the foil of their error passivity, pathetic wrangled mob of indifferent soomers of our CON.

The Progeny continues to gaze up at the parents, pleading for recognition, only to be met with derision. They finally coax the creature into a six-foot-under sewer drain, taunting and sneering at it while they pull the lid over its head. Shamelessly and coolly smoking a cigarette at the foot of this victory, they jest while the vermin whimpers from the darkness below.

HA! Like leafs in the wake of a train they followed the cumbat. Regal we laugh and share a fag and limp back to the ordered reek-bench of OUR continued progress.

Parents stagger off down the alley. Father is gone. The Incestica trapped.

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Scene VI: The Deflation

I am alone. The bed is before me, and I drop my robe.

Standing before the amber stain on white sheets, I am naked.

A “lacanian Shroud of Turin”.[4]

  1. Release Valve, 2. Lock Knees, 3. Fall Flat: the air mattress socking my nose like a collapsing lung and my body bouncing once like a stiff timbered pine. Air wheezes out from between my toes and I sink for four minutes until my cheek presses to the cool cement floor. When I lift my body the orange stain has transferred to my thighs.[5]

A body-lithography, a recalcitrant memory from a Night of Faith.

Epilogue

“To a strange land he soon shall grope his way.
And of the children, inmates of his home,
He shall be proved the brother and the sire,
Of her who bare him son and husband both,
Co-partner, and assassin of his sire.
Go in and ponder this, and if thou find
That I have missed the mark, henceforth declare
I have no wit nor skill in prophecy.” –Oedipus the King (454-461)

 

 

 

[1] Lyrics from Depeche Mode’s Black Celebration

[2] The dinner gave me not only an opportunity to contribute to the meat poem tradition by shoving hotdogs through a black, silk pillowcase; the pillowcase echoes our continuing social imperialism, especially in visual state performance, via various hoodings: spectacular, digital, militarily practical, etc., but also a chance to fondle peaches. Across the table Agrofemme and I conversed in an ur-language, a familial jest, a replicant of more vigorous times, like museum fremen, we were a tribe tied and gagged in its own history. In Vivant Denon’s terms “Desires are reproduced through their images,” in this case a gastronomic/cosmetic duel, both awaiting a feared and hoped for interruption from returning child lovers; read memories.

[3] Portuguese, from im- ‎(“without, not”) + mundus ‎(“clean, elegant; upright”)

[4] Mira Schor, Wet

[5] After six days, [the stain] remains. I wash twice a day and it remains.

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