Seen : Yui Kawaguchi and Aki Takase at E-Werk

Out of the darkness it begins to shine, groping, initially shy sounds. Bach's Chaconne still very close, the soft singing lines. The accompanying counterpoint tastes the free. Aki Takase, all in red opens the space. Kawaguchi in analogous pianissimo of movement answers opposite, in black. The common play begins. Here the strings vibrate in the body of the piano, there the dancer sounds in the room. The relationship overcomes the space effortlessly, as if there were two extremities of one body visible and audible. Oratorical concentration in the E-Werk. The music leads, visibly. Yui Kawaguchi is surrendered to the music. She succeeds in letting herself dance, in synaptic real time to Aki's playing she can dance individual fields of her body as if they were autonomous, from foot to knee to eye, into the electrified fingertips. Her dance sparkles brightly. Is she dancing the music, or is the music dancing the dancer? Quickly, the beauty of what emerges clarifies that the question need not be answered to let this intensity shine. Takase plays a wide-breathing tension that grows organically as if from within itself, gently tightening and maintaining the concentrated tone throughout the evening. This basic tension carries over the hottest clustercliffs and doesn't allow itself to be upset by external irritations, such as when Yui briefly puts on a playful noose, or teases from the invisible. With the emergence of shimmering, flowing light reflections from Kazue Taguchi's transparent sculptures, which lay a moving allover the space, a media triad is completed. Kawaguchi's dance conquers and reconfigures the space, cuts the levels, bundles the energy, there it is, the city in the piano. In the imaginary reenactment of the movement, the map emerges. After successfully making contact with the master of sounds, she begins to draw. A wide net emerges from thin bright thread lines, loosely spinning the stage space, a clear outline of a fantastic city. She takes its beginning tenderly from the open wing and expands the tension structure by a third swing. In explosive micro-figures the temperament of the players flashes, here in the fiery they meet. Takase's hot thunderstorms, erratic runs and Yui's frenzy are related in their precision. This allows the beauty of the jointly created third, always unique quality of improvisation to blossom. The heat discharged again with humor in a light-footed comic encore that grew silver blossoms from within the wings. Spellbound and enchanted by a brief dream of communication, the applause began to rise tentatively only.

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