1: Flute bass, Tin whistles /audio player, Megaphone, Metal pipes with electronic sustain and Video Camera
2: Flute bass, Saxophone baritone, Piano, Guitar and Cello
“She-Wolf” arose out of my interest to techniques similar to transcendental meditation (stopping the flow of thinking, shifting away from evaluativity, stopping self-talk). I could determine it as “blind space of the feeling”.
It is something from my childhood sensations when I imagined the forest as a fully alive, a single whole, and a sentient creature. What would happen with a human in this fairy forest? Would a man become its part, dissolve in it? Would a man turn to “a human animal”?
“She-Wolf” is a play for five musicians. It is divided into two equal parts:
The Other is the performance in the open space (or inside the large sheltered space). Musicians have the rules that determine the existence of every one of them – the rules initiate a special non-thinking state, and also create the necessity for movement of artists during the play. Everything is recorded on the camera by one of the musicians shooting solely aurally.
It – after street performance the musicians move to the concert hall where the second part of the play begins. It is entirely organized by the artists’ memories (intuitive akashic records): the play begins with meditation followed by acting the whole text. All the events therein should match in length with what has happened with musicians in the past. The audience perceives both scenic acting of musicians and video from the past that is projected in parallel so that this combination allows to trace coincidence and causality of past and present. This motor is driven by the memories.
On video — The Other: Fort Liefkenshoek, Kallo, 15 April 2013 | It: Cologne, 3 May 2013