Concert Performance 1

In the days before the performance I work with the musician Malcolm Goldstein in the Rigiblick theatre space. Sources of our explorations are on the one hand the stage space with black curtains and the tribune for the audience, on the other hand the exchange about the current focuses of our own works. In addition, our attitude towards dance, music and performance is based on a common interest and background in postmodern dance. The performances and «Dance Concerts» of the Judson Dance Theater in New York in the 1960s, which Malcolm partly experienced as an active member, have lost nothing of their fascination as a time phenomenon even today - their affinity to current performance and art strategiescan be read again and again. This results in the structure and scenario of connecting the performance space with other imagined spaces by means of a branch, language and text written on white sheets of paper.

At the beginning I enter the stage space from the side while balancing a tree branch; very quietly the musician starts with linguistic sounds and violin sounds. The branch brings me out of balance and into unsteady movements, because I try to keep it in balance. So I let myself navigate by the tree branch randomly through the room, sometimes landing very closely to the audience, catching the branch just above their heads. This balance-play continues without a branch, only with body movements and becomes a challenging in-between-steps-falling and catching oneself again in improvisation. It builds further up until I try to overcome my own movements, so to speak. Movement thus becomes gesture and action.

Over the years Malcolm Goldstein has developed his own compositional language and art of improvisation. The approach is both conceptual and physical. Full of nuances, he juggles between immediate, linguistically loud and gestural sound composition. The physical-spatial approach of his violin playing - he moves on stage, the weight shifts of the violin bow consciously influence the sound production - have repeatedly led to collaboration with dancers*. He not only listens to the sound, likewise he observes the movements and actions in space. Also in this collaboration for «Concert Performance 1», the acoustic and gestural aspects of movement and music-sound tracks lie side by side and interlock without losing their own contours. They create something like the texture of an imaginary landscape. We extend this with a fictitious, temporary map, which we outline with words written on white A4 sheets of paper. On the palm of my left hand the sheets are stacked; with my right hand I take sheet after sheet, hold each one up and then let it fall to the ground, directed by elastic movements which shifts my body axis. The words each written on one sheet of paper form the sentence: I ... we ... walk... run... swim... over... the... Alps... through... Italy... via... Sicily ... Lampedusa... to ... North Africa... and... through... the... desert... into... the... heart... of... Africa... Malcolm underlays these gestures with a repetitive sound pattern.

Finally, I 'spear' the leaves onto the pointed twigs of the branch, holding it up into the air and shaking it noisily above the heads of the spectators, like in a ghost summoning. The paper-sheet-leaves trickle down on them.