Voice of S: “Yes, that’s clear, but this film is interesting only if in practice this gap you continue to devise – which separates reality from its representation – can be ‘bridged’ so we are no longer in the situation of people staging something ‘from the outside,’ but in the position of the subjects of the story, directly and completely inside their dynamics. And you know very well that it has to be like that.”
“You emphasize the word ‘position.’ I have the impression you’re trying to tell me something…”
“Indeed, I want to tell you that your position now has to be on your knees before me, and not because it’s in the script, but because I want it, and I am giving you an order.”
At this point viewers of the film will hear a faint sound, like bodies moving.
The voice of S resumes: “You know the spot. First you have to lick me, keeping your tongue rather wide, as if you were licking a surface, slowly, gently… your tongue should not be stiff, it should move smoothly, fluidly. There, like that… at length… slowly (the voice of S will become gradually more sporadic, alternating with deep breaths; it will be clear to the view that S is experience building pleasure). Then… you have to start to touch with the tip of your tongue… right there… but just a hint, for now, and after a while… now… you have to speed up the movement, make it rhythmical, let me feel how you go over and under, from one side to the other… don’t stop… don’t stop…”
M’s voice will be muffled, it will be hard to understand what he is saying: “I am convinced that the tongue… feels pleasure when it pronounces words, because pronunciation is associated with a contact, an encounter with the inside of the teeth… Speaking brings erotic pleasure, touching yourself with the tongue… it is like the way I’m licking you, now… to feel the tip of my tongue that touches you, where there is this little obstacle… which the tongue finds, and then… passes over… to speak… to touch you… do you understand? It is important… the symbolic meets the sensitive… and both have pleasure… us…”
“Keep going, don’t stop… you can talk, but don’t stop licking…”
During a short break in the dialogue, on the white screen, somewhat surprisingly, a phrase from a phonetics manual appears.
In the production of consonant sounds the air moves outward through a kind of obstacle course created by different configurations of the speech organs, with narrow passageways or occlusions. The encounter between the expiratory flow and these obstacles is what produces the typical sound of each phoneme. Without these obstacles, the expiration is utterly silent.”
“If you want to have a dialogue – it will seem as if S has begun to speak in a more linear way – that is as exciting for the listener as it is for us, first of all you will have to explore the aural aspects: you can whisper, as I am doing now, producing words without using your vocal cords, but making it easy to hear the sound produced by the movement of the tongue that seems to struggle to separate from the palate and, for example, makes a little clack; a sound that expresses sensuality not just in the ear that hears it, but also in the mouth: the idea of reproducing that clack makes the viewer’s mouth water. Then we could suggest images, for example by describing what is happening now: you, kneeling in front of me, licking me precisely in… the right spot. But you will never be able to produce a film theory that is exciting for the listener.”
M will speak, seeming more at ease, more confident: “A child very quickly learns the concept of the forbidden: he is told that certain things cannot be touched, that others cannot be done: that the mother’s body is not always available to him. Every prohibition starts with a word that expresses a denial: ‘No!’ ‘Don’t…’ Every prohibition is an act of speech, an interdiction.
So-called perversion is the erotization of interdiction, the tendency to link sexual desire to the prohibition precisely of what is desired: to get excited by the verbal expression of a prohibition.”
“In effect it excites me very much to see that you desire me, and to play with that desire of yours, to keep you at a distance, to forbid you to touch me: my words, spoken in a certain way, excite you and me even more.”
“Yes, we can reach pleasure through physical contact; but if we make good use of the tongue, we can also get enjoyment from listening to, or uttering, words that express the prohibition of that contact.”
“And does this have something to do with our film?”
“I think so. You said it is impossible to manage to lick the sensitive parts of viewers, to make them feel the physical nature of the work. That’s true. But if the film manages to play with their desire to enter the work and to understand it, provoking that desire and then expressing its prohibition (‘You cannot see!’), we might increase their arousal.”
On the screen, still completely white, a phrase will appear: Avant-garde art has attempted to go beyond the erotization of the ‘no!’ and the gap between viewer and work; it has attempted to make the encounter between languages and subjects real, authentic and positive.”
“I like your… tongue. But now be quiet, and continue to lick my pussy.”
Translated from Italian by Steve Piccolo
Lu Cafausu is a collaborative art project initiated by Emilio Fantin, Luigi Negro, Giancarlo Norese, and Cesare Pietroiusti in 2006, then joined by Luigi Presicce in 2010. Lu Cafausu, an old coffeehouse located in a small town in the south of Italy, has become the inspiration for stories, performances and actions in different European and American cities.