An Interview with Chaya Czernowin

“I think that in “Infinite Now” I discovered different kinds of time. I call it “the time within the wrinkle”—I am listening to something which is happening in real time, but as I am listening to it, I realize that at the end of my field of listening there is something that is almost unrecognizable but that takes my ear.”

“In “Infinite Now” everything is building, building, building, and from the middle point on (where the breathing comes in) you begin to understand its direction, even though the flow is not at a constant rate. From a certain point (...) everything becomes more and more alien, suddenly the two texts begin to relate to each other, and you end up on the smallest island of strangeness that you have never been able to see because it’s so hidden from your eye, but you are very safely getting to it.”

“You have elements A, B, C, and variations of these. Moving between these As-Bs-Cs you begin to get something which is linear and not linear at the same time because you are basically repeating them, but repetitions are just not the same. So, the sameness, the not sameness, and the repetition find a kind of a new meaning. That something is a huge structure that is repeated and it’s reinterpreted and then it’s reinterpreted again.”

“In the fourth act the two material sources begin to work together, and at a certain point they even kind of answer each other; suddenly they find themselves in the same universe. From there, that universe is beginning to act. That is what I call living architecture—it’s not enough that you build this huge space, palace, hollow, whatever you want to call it, at a certain point it or they begin to wake up and move, they begin to do something, which is why they were created.”

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