‘Listening to an extremely gradual process opens my ears to it, but it always  

extends farther than I can hear and that makes me to listen to that musical process again.’ (Steve Reich)

The beauty of seeing

What happens in our brain while seeing?
The brain and its surrounding are undoubtedly in constant exchange.
The brain receives through the sense organs information about the surroundings and reflects immediate response according to structures and information which are already settled in the memory.
Seeing means on the one side conscious and unconscious reception of images which arise in the eye, and on the other hand the interpretation of the brain.
The Selection of outside information, which reaches us, is strongly stamped through our culture and personal biography.
To a large extent seeing consists of recognizing images, which are already printed in our memory. Seeing is defined as recognition.

My research:

My research considers the factors: time & perception.

How does time influences the performing body and how does time relate to the viewer, the time the viewer has to observe?
I see my task to create a piece, which allows the audience to experience time.

I’m busy with observing how we are dealing with the factor ‘time’ in our society today. Everything goes so fast, so quick, so efficient…and how often do we have to say: I don’t have time! There is never enough time, never enough of this, never enough of that. I wonder where the time has strayed, in which one simply can be? In my prayer and meditation I realize each time again, that this time still exists and we have to consciously activate this time.
So the factor ‘time’ is very relative.

‘The slower you go the faster you get’

What we think to do in order to be happy, doesn’t match always with what really allows us to be happy.

In an ‘On Going’ movement study III, I have made my first attempt towards this issue. As I created it, the two white figures are constantly running after their time, while the black figure represents the infinite time landscape of simply being. In between stands the romantic rose-green figure, who is still looking for her place. In my pieces I like to open possibilities to my audience and to make clear that we are ‘free’ to decide which way to go.
In the end of the piece all figures have arrived at the ‘inner peace’ state of mind. As I’m convinced that this possibility is there for every one, I want to show this to my audience.

In order to look deeper into this theme I have chosen to fade down completely and concentrate on the time of slow motion only. The result was:

‘You see what you see!’

Every movement will be executed in slow motion.
I wish to create a landscape where the audience can draw ideas and fantasies into the body and space is given for their own poetry and imagination.
A body to reflect and sustain.
The first part is a pathway through life, through ‘up’s and down’s’, being a woman, an animal or an object, the body transforming constantly into different images. I want to give overall space and time to observe all details of the body or to dream away in a meditative state.
My aim is not to entertain my audience, but to create a field, where reflection and confrontation with one’s self is possible. I want to stop time for a moment in the running society full of expectations and necessities and provide my audience with other possibilities of perceiving time.


Slow motion from outside:

Slow motion allows the observation of the body in a different way than he/she usually does, because there is enough time and space to follow all the body parts and observe how the body is actually transforming from one form to another. During the observation time, the viewer has also the possibility to focus and zoom in his or her personal interest, as for example the articulation of hands and feet or the expression of the face…Details become very important.

‘ the area of every gradual, completely-controlled musical process, where one hears the details of the sound moving out and away from intentions, occurring for their own acoustic reasons, is it.’ S.Reich

‘You see what you see!’

When there is enough time, the perceiver can even create his own landscape on the performers body. A body, which is passing different forms and shapes, which evokes different emotions and feelings in the perceivers mind.
Especially through non-recognizable shapes and forms I can provide the audience with a huge freedom for imagination.

‘Listening to an extremely gradual musical process opens my ears to it, but it always extends farther that I can hear and this makes it interesting to listen to that musical process again.’

From inside:

Entering into the state of slow motion, I allow my body to expand into every single cell and perceive every moment with full attention.
Depending on where I shift my focus, this body part becomes highlighted which one can see from the outside like little illuminating stars.
Slow motion provides me with a particular state of mind, a state of full alertness, but at the same time a state of letting go. I let my body be driven by the power of God. It is almost as if I can let go of my ego completely.

‘erasing oneself to reveal something other than the personality.’ Eiko

My body is moving within a higher force and I only have to follow.
My whole body is smooth but in control.
I’m able to go through the most difficult balances, because my body is ready and aware of every little step, every movement and the muscles which support the body. Slow motion also creates a strong mind and a strong and decisive will. I’m able to do what I want as long as I stay in full concentration and especially when I follow the flow of the movement energy.

‘To allow interaction between audience and performers, the piece has to be slow based and slim. We want to just be there, doing something simple, instead of confronting the audience with many elements.’ Eiko

Perception of time (in relation to my piece: You see what you see!)

‘What is time and perception ?

How we see things, how different they can be according to our own experiences, memories and actual state of seeing, physically and psychologically.
How time can influence the perception. For example I create a field in which time can simply exist, like in a prayer or meditation, time to feel, perceive, think, reflect, forget and remember. Time to simply be.
The time, in which the audience connects with the performer.

I see and let myself be driven through all my senses.
Why and what do certain moments, pictures and actions do with me.
I recognize myself.
I recognize what I like, what I don’t like, which colours I like, which I don’t like, what pleases me, what bores me and what touches me.
I recognize the deepest desire of myself to be recognized, to meet, to meet myself, my desire and my perception for beauty.’

notes: Yasna Schindler

Gefäßkörper und Foto: Bert Walter