MOVEMENT C © Ulf Langheinrich
This performance addresses each of its viewers as individuals, not as members of an audience. When experiencing MOVEMENT C, each viewer is at first preoccupied with the dancer, but eventually loses this awareness.
No aspect of MOVEMENT C is designed to be spectacular; rather the intention is to cause a subtle sense of drift in the viewer's perception; to act as a seductive attraction by means of aesthetic clarity, tranquility and depth.
The show starts with movement only on a horizontal screen on the floor, with a dancer, light and sound. 3D projection and stroboscopic flickering articulates its steady continuum. At the end of the show only the vertical screen is left glowing. However, Movement C is less about the images projected by the projector, but more about the images projected onto these screens by the viewers' imagination.
Two fields, the central elements of the stage set up, are not simply an environment but the core element of the physicality of MOVEMENT C, two isolated objects in an otherwise pitch- black space.
Both fields are also divided as stages of action by an intermission of absolute darkness; the cinematic field in the rear is actually invisible in the first part.
The image on the floor is the real dancer apparently embedded and actually almost obscured in an oscillating, breathing, pulsing and flickering field. In addition this field appears as if infested with swarms of noise and with all the time based oscillations and the random high definition of the noise the field is weirdly uncertain in its opacity and stability, it fluctuates in a 3 dimensional area. This field is the performers dance floor.
The result is the impression of a dancer swimming in field. This is considered the “real” field, although this field is already a complex blend of a real person and an illusion of reality.
The apparently random and endless repetition of patterns of the performer’s movement induces a drift between boredom and uneasiness, as the viewer follows the never stopping high intensity minimalism of the performer’s movement, actually, the overall feel of MOVEMENT C is of being in a constant oscillation, strangely pleasant as if lying calm with high fewer and subtle pain.
There is also a drift away from the dancer towards the watching person. The dancer functions as the alter ego, the representative of the audience.
The second field mirrors the first field but is completely virtual. The dancer is projected, in a - hyper real yet hollow - reformation of movements. If there was any dance before that remoulding is not.
On the floor the dancer is already embedded in a projected-image
On the mirroring screen the dancer is the projection.
Luminance of both projection fields, is in constant synchronous and asynchronous drift and oscillation.
Sound is constant and constantly drifting towards a loss of orientation.
Premiere: 12 September 2012, Opening of TRANSART Festival, Bolzano (IT)
Concept, sound, light, image, meta-choreography: Ulf Langheinrich
Improvised dance performance: Luo Yuebing
Softwares: Matthias Härtig & Ardrian Hardjono
Production: Epidemic, Paris
Co-production: Hellerau - Europäisches Zentrum der Künste, Dresden
With the support of CYNETART Festival, Dresden and the City University of Hong Kong School of Creative Media
