in collaboration with Wen Chin Fu, Matteo Marangoni, Ibelisse Guardia Ferragutti, Jochem van Tol, Harpo ’t Hart
How to Defend Yourself From Danger is a participatory performance inviting the audience to take part in a self-defense workshop. Combining elements of slapstick comedy and gestalt psychology, the concept of safety is explored by examining how threats are perceived from the standpoint of our bodies and our senses. The Chinese proverb of the three wise monkeys states “see no evil, hear no evil, speak no evil”. Can we take control of our fears by taking control of our perceptions?
A cocoon lies on stage, barely recognisable in the dim light. An almost static chord is sounding in the space. The light changes in color – the chord is changing slowly in pitch and texture. The cocoon seems to move – the light seems to get brighter and gradually shift color. Suddenly a fast movement – a sound erupts into the space, the light flashes – then again everything quiets down – the movement, the sound, the light.
Wezen is a music-theatre work where I try to explore the relationship between theatrical gesture and musical instrument, between the body and the sonic world. In Gewording (Becoming) the link between physical and sonic gesture is explored during a live performance, combining movement of the body and live coding.
The title of the piece refers both to wind instruments as a category of musical instruments, and wind instruments as devices to measure the wind speed.
Flying and steering a kite, give you a sense of the wind not just as a measurement, but in its details, its variations at different heights, and changes in time. To fly a kite is playing an instrument, where subtle gestures with the hands can have profound changes in the direction that a kite is flying.
or livecode embodied
Livecoding performance with SuperCollider, using the laptop and the act of livecoding as the sole material.
be, character, creature, essence, gist, nature, being, intelligence,
Wezen is a solo music-theatre work where I try to explore the relationship between theatrical gesture and musical instrument, between the body and the sonic world.
Collaboration with Attakkalari Center for Movement Arts, Bangalore, India
Chronotopia is a dance theater re-imagining of the one of the oldest Indian epic poems: the Tamil epic Silappatikaram. Attakkalari’s multi-media dance production is an episodical journey, which explores the movement of five performers through a physical and emotional landscape of contemporary life: birth, love, marriage, war, devastation, death and transformation. Establishing a link, between the landscape and the emotional as well as spiritual mindset of the protagonist, images from ordinary human existence encounter the intervention of inexplicable forces.
In collaboration with Chris Salter and Michael Schumacher
Schwelle II is a live dance theater performance with master improviser and former William Forsythe/Ballett Frankfurt dancer Michael Schumacher. During the fifty minute work, the spectators experience a person undergoing the traumatic transformation of the body in the period between death and rebirth. At first, the spectators witness an almost immobile Schumacher sitting at a table, condemned to execute a series of futile, minute tasks. Violent physical spasms and vocal outbursts interrupt this stasis, overtaking the performer’s body.
Sampling theorem, total playing time: 43 minutes.
Live performance at Büro Friedrich, Berlin (DE), 24 July 2004.
Nord Micromodular, low-fi samplers, custom built controllers – overall performance interface.