ABSTRACT
The bow and the arrow are absent (cf. Omission), and yet, when we look at a sequence of static images (ill.17-25), we are able to perceive an equivalent to the tensions and forces necessary for the shooting of the arrow. First of all, a general consideration valid for the entire sequence: in the search for equivalence, the performer dilates her body to the maximum so that the visual image which she offers at each moment of the action can be as dynamic and expansive as possible (cf. The shadow test in Opposition). Each of the positions is intended to underline and amplify the actions as if the performer was working with a real bow and a real arrow. It is a question of restoring the following: the force used to draw the bow, the direction of the shot, and the concentration needed to aim. Let us examine the actions in detail.
