Sound Column I, II, III

The architecture of a circle puts a special choreographic concept in motion that develops largely independently of the axis-oriented proscenium stage principle. Steel columns form irregular centres in the surrounding space, thus subdividing it into smaller dimensions.

Developing the dance piece itself may be compared to the chaos-like assembling of elements of different kinetic character that in term refer to the geometry of the circle.

This material is directly aligned with the complex personality of the dancer and is repeatedly rehearsed in different improvisations. The aesthetic selection occurs only through kinetic-repetitive exercises rather than previously determined content. This results in brief stories depending largely on the dancer’s mood. The malleable and even the faulty aspects become the key to the work on the piece. Complex combinations called KATAs serve as stimuli for the rehearsals and become important elements of the piece itself.

concept/choreography: Sebastian Prantl
composition: Friedrich Cerha
sculpture: Karl Prantl
music concept/piano: Cecilia Li
dancers: Peter Antalik, Ziya Azazi, Robert Eugene, Herbert Gottschlich, Günther Grollitsch, István Horváth, Stephan Marb, Sebastian Prantl, Beverly Sandwith, Shih Kun-Chen
costumes: Du Fei
light/technical works: Martin Walitza, Markus Pega
sound/ technical works: Michael Renner
organization: Klaudia Reichenbacher, Herwig Hofmeister, Monika Schwarzäugl, Katharina Rosenstingl

[An event for sculpture, music and dance, Traisen Pavilion St. Pölten, Lower Austria, October 1993; Odeon Vienna, November 1994; Opera House Krakow, June 1995]

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