bildbewegung

dance and photography: christina ciupke and gisela dilchert
 

the body in flow takes the path from the image / plane into the temporal body/space. two visual themes confront each other in the search for their common ground: the rhythmic space of the image and the intersection of body and image. by dissolving slides, projections are set into motion. besides showing landscapes of the body, they describe the pulse of a movement in images.the body's own rhythm rewrites itself as a moving image.
 
by means of picture and motion a short moment of dedication will be examined, through consciousness which slowly moves from the middle towards the edge. followed by the gravity of the body visibility will be hardly recognized temporarily. the recurrent change of physical tension, relaxation and intensive contraction includes indecision and inner contradiction to let go or to refuse. between dedication and control coping with gravity and dynamic, thermic energy arises, followed by sensation which affects the body's movement resulting in sensibility
 

credits:

concept: christina ciupke und gisela dilchert
choreography/ dance: christina ciupke
photography: gisela dilchert
dramaturgy: kerstin follenius
costume design: katharina montag
visual composition: kerstin follenius
artistic advise: monique rival
light: andreas harder
production management: holger hartung
constructions: stefan brunner
 
a production by christina ciupke, gisela dilchert, with the support of senatsverwaltung für wissenschaft, forschung und kultur berlin and theater am halleschen ufer
 
 
 

presse
 
bühne leipzig 14./15. december 2002
a dance-theatre rich in metaphors - "bildbewegung" at the lofft

a sense for the minimal
christina ciupke, the "reisende" 1999, is back for the third time with a new piece at the lofft and once again she is on an expedition through the space, in search of her own body. her "rissumriss" was the highlight of the spring dance platform: a clear-cut piece, sounding out the depths of the body in a crack of light. making a adjective persistantly comes to mind, which one should (almost) never use: perfect. the newest piece is called "bildbewegung". once again the dancer has oriented herself along the principle of maximum reduction: the stage remains dark and except for the sounds of movement, still. two spotlights to the right and left provide light. a screen stands in the back, split in the middle like a curtain. to the left on the ground, lies a dancer, naked except for a pair of black pants, the right arm extended in a way that the guests coming into the space almost touch the hand. ciupke's back resurfaces as a black-white projection on the screen: for a few long minutes the situation rests like the expression on the face of the dancer. just after it starts running the risk of becoming boring, she moves. slowly the body stretches, collapsing at the hips, the backside stretched high. the slide shifts out of focus. cross-fades move the image bit by bit. the photos are by gisela dilchert, who has worked with the dancer since 1992. the same occurs in ciupke's sequence - whose duality of tension and release reminds one of base principles, a heartbeat, polarity, yin-yang, digital-codes, abandon and resistance - variation slides in. the dancer rotates, opening up the space in circular motions, demonstrating a feel for conclusive sequences. after ca. forty minutes the slide fades out, the action becomes hectic, disharmonic. dark. "know yourself" stood over the oracle of delphi. this saying can be wonderfully applied to christina ciupke's work with space, time, images. although "bildbewegung" doesn't reach the quality of "rissumriss", it is still one of the strongest piece shown this year at the lofft.
hendrik pupat