 |
|
 |
(in german means: layer (geol),
pile, shift, spell, class, rank, put in layers, in layers of
the soul)
Minako Seki
Dance, choreography
Martin Karl-Wagner, Zam Johnson
Composer
Zam Johnson, Nils Willers
Music and live realisation
Uwe Renken
Light design
Gustav Gisiger (1949-2002)
Concept Light-painting, slide projections
first performance Dec. 1999
SCHICHT combines the energy fields of different media and art-forms
into a theatre experience which breaks through normal borders.
Butoh dance, Scene, Music, Light-painting/projections are woven
into finely-drawn poetic structures, through which the audience
is drawn into the labyrinth of their own souls by the balanced
double-meanings.
We follow the dancer, how she
as a person breaks through the many layers on the seach for
her own self? Or do we experience own layers of perception;
which says which is the inner and which is the outer? We wander
through the sedimentary layers of evolution in SCHICHT which
our cells have stored over the last millions of years and which
are still being formed.
Only through the imaginative potential of the audience is the
tissue of SCHICHT finished. SCHICHT is a binding game on the
scale of the real break - through of the condition of the soul.
Through this SCHICHT makes the ambivalence between the protecting
and simultaneously the inward-goeing experience of covering
and dis-covering.
SCHICHT is a living, transformable art-experience which speaks
against an ofter only loudly considered world - rather a tender
theatre performance which pulls the observer into the spell
of the primitive strength of dance and stage-art in largely
satisfied art and consumer world.
|
|
|
| |
|
|
|
|
|
|
| |
Press
...................................................................U
L M E R Z E LT
..........................................................................12.
06. 2001
Performance with Minako Seki
In the dance corset
Minako Seki's dance performance "Schicht"
("Layer") in the Ulmer Zelt touched the existential question
on origin and existence in 55 minutes. Wonderful transformations
towards the inside.
.....................................................................Christina
Mayer
It clicks and cracks, jerks and tears. Scratching sounds from
the speakers. Truly no melodious sounds, but crunching friction.
Then our eye is drawn to a cage of glass in which cowers a
living being. Ducking, cramped, frozen, Minako Seki started
her performance "Schicht" in a state of casting of the skin.
Layer by layer she seemed to free herself from the inside
out, without shedding visible coverings. The struggle took
place in the interior, and that's also where it was solved.
Petrified knuckles started their dance piece by piece. Waves
of vital jerks passed through the body, the stiff became alive.
The so born individual pumped in spherical energy, devoured
its fill and was ready for aggression. The audience in the
tent saw picture-puzzles. The dancer, her body painted in
white, romped full of energy behind a transparent curtain,
on which the reflection of her sharply sketched shadow left
the same demonic grimace dances. The dance style of the delicate
Japanese was peculiar. The 40 year old didn't dance to the
outside, but like in a suction to the inside. There were no
large leaps into space in this self chosen dance corset. Instead
many small movements. Tripping, vibrating and scraping, for
example, she imitated an insect. The costume from rags and
paper whispered to these movements.
In an especially dense moment she concentrated all attention
on the jerking of her facial muscles or her chin protruding.
There all of a sudden she was evil and in a bad mood. The
light was of great importance in this performance. The slide
proyections by Gustav Gisinger weaved through the cloudy stage
curtains with threads thin like from cobwebs. Sometimes will-o'-the-wisp
went astray in the different layers of the scenery. The composer
Zam Johnson played his keyboard with austerity and focus.
Minako Seki did not go beyond, but into herself. The audience
was kept at a distance, like sitting on another star, rubbing
their eyes in astonishment. What happened in this performance
was neither significant nor without significance. It simply
flew by. What remained was a notion of the eternal circulation
of life.
|
|
|
| |
download PDF
|
| |
|
|
|
|
