More than words can say: VARIATIONS ON CLOSER by Margrét Sara Gudjónsdóttir on Kampnagel Nordwind Festival.

Since I am usually living in an over-articulated world I always feel sort of lost whenever I am confronted with other forms of expression than words. Dance-performances for instance. Last night was such an occasion: VARIATIONS ON CLOSER by Margrét Sara Gudjónsdóttir.

Three incredible performer – Laura Siegmund, Johanna Chemnitz, Angela Schubot – “investigate different variations of closeness between an individual and his observers.” That’s what the written announcement tells me. But what did I see? First Laura Siegmund stares intensely at the audience, shoots looks at individuals, than starts to do some movements, all a bit weird or strange. When Angela Schubot comes out, the movements become even stranger, the weirdness increases. As one might sense I always find it very hard to describe dance-performances – so I won’t even try it any further. My words wouldn’t say anything anyway. But during the whole performance I felt very weird: What are they doing? Is this very good or just strange? Do I like it or do I consider it as arty-farty? I soon crossed out the last option when Johanna Chemnitz began an excessive performance of violently dancing, only in bright-pink underwear. The interesting aspect was that on her extremely well-trained body the pink bra seemed to be so wrong, so false. Like a prop of a drag-show. It reminded me very much of an incredible performance by Marlene Monteiro Freitas in [M]IMOSA – Twenty Looks or Paris is Burning at The Judsons Church [M]: She did a bare-breasted Prince-impersonation that was very intense and confusing and raising more questions on gender-representation than Judith Butler. And that’s maybe the fascinating aspect of dance: The possibility of articulating something without explicitly saying it. What exactly it is that VARIATIONS ON CLOSER is saying – well, I couldn’t tell. But VARIATIONS ON CLOSER left me confused and feeling weird, like in those strange dream-scenes in David-Lynch-films, where you can’t make out what it means, but you have the feeling it must mean something, that something must be behind all this weirdness.


Choreografie: Margrét Sara Gudjónsdóttir
Künstler/ in: Laura Siegmund, Johanna Chemnitz, Angela Schubot
Music: Peter Rehberg

Margrét Sara Gudjónsdóttir worked with Johanna Chemnitz before, maybe SOFT TARGET gives you an idea of what I was writing about before:

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