|
KUNSTRASEN is artificial raging on an artificial lawn (which the German word means both). It is a selfsufficient universe which creates itself: movement creates sound and all performance items feed each other. Composer Willy Daum and choreografer Britta Lieberknecht have created a new and manyfold connection of music and action. An experimental biosphere expressing as well the fascination for artificiality as its ambiguity with highly dynamical physical action and strong imagery.
In KUNSTRASEN dance, music and visual arts are so closely connected like in rarely any other performance. With the help of an interactive computerized soundinstallation the sounds of the physical actions with the decor are formed into musical soundcompositions. The dancers and the musican create with their bodies the acoustic level of the stage set which the computer transforms. With crazy dances on the scratchy ground, smashing of chairs and visually composed actions with chipboards the slowly boosting performance goes far beyond the serving of interactive technology and provides an intense statement as a stagepiece. The music remains closely to the acoustic sound and physicality of the actions of the performers and amplifies the plasticity of the scenes. It is as well Musique Concrète as New Electronic Music. A strong avantgarde piece of the early 90s. Description of the performance: KUNSTRASEN plays with the lawfulness of an artificial universe. A prickly green ground covers the empty stage with a chipboard mounted. A performer shoots onstage and throws a chair with a bang at the board, which falls over. The plate shifted over the scratchy ground provokes scrunchy sounds until the musician rubs it with the wooden chair evoking sounding frequences. Dancers stamp, drag and scrape with their bodies acoustic sounds out of the green „artificial meadow“ which are amplified and run through a computer creating the composition. The dance itself makes the music. The powerful choreography is enriched through stepping on chipboards and actions with single plastic doormatts forming the green stage ground. Also the loudspeakers are part of the sounduniverse: the musician uses the feedback effect moving the loudspeaker related to a microphone formulating with speechfragments a message for the dancers. A microphone records the touch of a dancer hanging on a chipboard, she seems to float in the air her skin holdings a sensuous audible dialogue with the board. The computer installed onstage modulates sound from the touch. Followed by a calm passage, when rhythmic clapping of the chipboards on the ground in a spacious composition creates the music there is also a scene where dancing on the ground in silence creates an interesting acoustic sounding. The dance- and bodyimages relate to the square, captured in it or breaking it. Until the wooden chair is crashed on the chipboard, doormatts fly through the air, boards are beaten on the ground, the stage set comes into forceful motion.At the end of the piece the performers roll the green ground up to a big roll and uncover the net of microphones. With a laconic gesture they unveal the secret and leave behind a dramatic image of the earth ripped open. Kölner Stadtanzeigerby Birgit Kirchner“The face of the performance is determined through a new friction oriented and sometimes nearly provocative combination of sounds, movements and elements of the stage set....where bodylanguage is directly tranformed into sound the aesthetic of the avantgarde finds its most meaningful expression.“ POSITIONEN, Zeitschrift für Neue Musik, Berlinby Sandra Kellein“What seems to be an artistic adventure is a consequent presentation in which dance and music find a new connection: the stage as a musical instrument. The dancer is a tool, a sounding body, a resonance space and an active person at the same time. ...Balance in the difference of the space, of the bodies, of the tools, of the sounds. The overall impression: a well thought through collage on new ground, going far beyond the experimental.” Kölnische Rundschauby Christoph Zimmermann“The face of the performance is determined by a new friction oriented and sometimes nearly provocative combination of movements, sounds and elements of the stage decor. In a sportive artistic Solo of Britta Lieberknecht hanging on a vertical board where bodylanguage is directly transformed to acoustics the aesthetic of the avantgarde finds its most meaningful expression. The richness of the inventiveness of the gestures is striking.” |
ARTIFICIAL RAGING / ARTIFICIAL LAWNComposition for sounding Stage Decor and Dance-action
Duration: 60 Min.
|
