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Sigune von Osten

Impressions on Silence

Miho Iwata, ButohTanz

Sigune von Osten?s most recent project ?Impressions on Silence? delves into the world of sound that exists all around us and from which we cannot escape.
What is silence? Where does it lurk? Is it a true necessity of life, or have we learned to fear it?







Sigune von Osten posed nine questions via microphone and email. The answers come partly as whispers in the foyer, while others follow as recordings in the theatre.
Sounds of nature, such as water or the secretive songs of whales in the ocean, are as much a part of the CompoVision as Haikus ? poetry of silence. Writing. Projected images and film loops are paired with a string quartet ? positioned around the public ? and spherical tones resound as the Chinese sheng and bawu play in the distance.

Sigune von Osten, Guzheng
Wu Wei, Bawu

Music evolves out of a cacophonous chaos into a voluminous crescendo, for without volume, one has no sense of silence. The easy and deliberate movements of Butoh dancer Miho Iwata ? a dream transformer ? and the members of the Tai Chi Academy of Kaiserslautern create peaks of silence.
Seven Impressions on Silence appear intermingled, momentarily as assertions, thoughts, challenges of thought in response to the question, ?What does stillness mean to ?you ??

From Die Rheinpfalz...
?Visitors to the Corso Filmtheatre enjoyed von Osten?s stiller-than-still, impressive study of human reactions to fine tones and sounds...... Sigune von Osten calls her works CompoVisions. Her Impressions on Silence have a musical structure. The work resembles a Chaconne with its concrete theme, which reappears throughout the work in various forms. Metamorphoses or transformations would be appropriate terms for the improvisations, whereby one feels as though he or she had experienced a fully cyclical journey and had arrived over and over at the beginning again. There is no goal, no plot, and no measurable time. Von Osten?s Impressions ? finely latticed musical pastels, filigree sketches of soft tones. ... Butoh dancer Miho Iwata plays an important role as a guide through the still time as she struts around in her white robe.
A string quartet from London plays flageolet tones intriguingly quietly whilst spread out throughout the theatre, slowly and quietly steadily their volume and clarity, gradually evolving from dissonance to harmony as interview excerpts are illuminated into the performance...
The most fascinating part of the production was the final Impression, featuring the dancers of the Kaiserslautern Tai Chi Academy, snowflakes on the backdrop, Sigune von Osten on the guzheng, and musician Wu Wei on a Chinese sheng and bamboo flute. The delicate tones accompanied Miho Iwata?s intensely slow dance across the stage during the evolution from cradle to grave. The music is timeless, knowing neither rhythm nor meter. The white-clad dancer slides slowly over a black wall and is gone. The life cycle is peacefully completed.?

Elysian Quartet: Jennymay Logan, Violine
Miho Iwata, Butoh-Tanz
Elysian Quartet: Laura Moody, Violoncello


Sigune von Osten Voice / Guzheng / Artistic Creator
ART POINT Ensemble:
Wu Wei, Sheng / Bawu / Xun u.a.
Elysian Quartet
Miho Iwata, Butoh-Dance
Krischan Kriesten, Light und Video Programming
Helge Petzold, Sound Direction

Tai-Chi Akademie Kaiserslautern
Sifu Adelino Rondalli, Direction

Production of ART POINT Trombacher Hof

Ca. 90 Minutes, without Pause

Miho Iwata, Butoh-Tanz Wu Wei, Sheng
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ART POINT