Page 487 - Amechanon_vol1_2016-18

Amechanon, Vol. I / 2016-2018, ISSN: 2459-2846

I was about to ask you how can you be sure about an improvisation which is that good,

because you cannot really judge it but an improvisation that goes somewhere and
something that really disturbs the whole thing. So, how do you know when you
improvise, especially with children, the risky thing let's say, it's you may go somewhere

really wonderful or somewhere like there's completely mess. Am I right?

I think so that in a way could be right, but I think that this is not a problem because all life

is in that way...

It is. True. Yes.

Also, your lesson, your regular lessons, your regular discourses also, you regular work is in

that way. You don't know if what you choose in the moment to do could be good or not.
You have a component of risk. What avoid the risk transforms itself in danger: is just the

fact that you are a technician. You are not completely without a mean, without instrument,
you are a technician, you studied a lot what could be a good discourse, you try, you try, you

try, you try the way of discourse. You are always thinking about that in all your life, you are
always try to recognize the discourse and try to copy that, to imitate - and so when you are

in your moment, you are not doing whatever could happen. You are chosen the better way,
even if it could not be the better way but you are inside this commitment. And when people

perceive that you are inside the commitment and you are trying to do something together
that could be successful, you can continue the improvisation until the better end of it. I

think it’s similar with dialogue where you can say, «we are not agree… we have to stop this
dialogue»… you know that you can also stop the dialogue but try to transform what's

happening, to have another opportunity to reflect on and so on; also a bad dialogue could
be good in another time, so you cannot define in the moment if an improvisation was good

or not. You are just to leave it, leave the moment, it’s about jumping in the empty. Jump in
the empty is a disposition that you have, but you jump in the empty with a lot of experience

before. You have a repertory. Your life is a repertory of experiences.

And what is important is that people that are involving in this procedure could perceive

themselves as really full of experiences that could be put into the activity and contribute
to the meaning of the dialogue that is the polyphony, which is better for me than dialogue,

because Ι am preparing to escape the monologue of teaching but also to overcome the
dialogue in order to reach the polyphony. Polyphony is really a creative topic in the sense

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