Three figures. Three islands.
Three figures act on three linear stage islands: An actress, a dancer and an actor with a camera. Their pictures are projected onto the back wall of the space, uncensored in real-time, detailed and fragmented. The three do not wish to tell a stringent story. Independent of one another, yet all present at once in a constant and puzzling correlation as seen by the outsider, they simultaneously reflect distance and proximity – facet and aphorism in the review of life.
One can keep hold of nothing captured as a whole – neither linguistically, nor by dance: figuratively, everything stays a fraction of itself. The choice of the angular field of the camera, the words and the sequence of dance must always take a subjective approach.
It is only an attempt to maintain something which can not be maintained. In the moment of rendition everything is already in the past. Present has past into the moment of reflection.
The stage is sparse, chilly, presented in a dark blue. The figures are defined but changeable in the dimness. Changing pictures – symbols of strangeness.
Stage squares, which can allegorize anything, stick to the floor: a part of a forest, a glade, a construction site, a music room, a working room......the meaning is scarce, the rooms are freely arranged, so that the performers have the possibility to become facets of the other as they repeatedly enter the inexistent doors.
A dance/ theater/ evening of specific inner rhythm: despite its constant peace it is disrupted, distracted, discontinuous and intractably poetic. One can hear a good deal although no music sounds – one can see plenty, although the stage is barely illuminated.
The images and tales obtain a catalyst through that what takes place on stage – the viewer basically develops it himself.
Concpept, Staging, Text, Stage, Light
Andrea K. Schlehwein
Chandana M. Hörmann
Millstatt (AT), 2010:
Stift Millstatt / Rittersaal
Köln (DT), 2010:
Theater in der Orangerie