Pressespiegel 2009
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DOCK 11 <strong>Pressespiegel</strong> <strong>2009</strong><br />
Dock 11, Berlin, August <strong>2009</strong><br />
Performers try to engage the audience actively but they seldom dare more than<br />
sporadic and symbolic actions. Ambitious companies, including one which has a<br />
budget of several millions and regards itself as a leader in modern dance, so far<br />
failed in such attempts.<br />
Tomi Paasonen found a recipe that works: Remove distance by placing<br />
performers and audience into the same space, start slowly, get people used to<br />
interacting, intensify it gradually and see how far you can go. WOW YES is a<br />
proof of the concept.<br />
The stage in Dock11 was filled with 50 randomly scattered chairs while the area where the<br />
audience normally sits was empty. Tomi Paasonen was already sitting in a chair close to a wall<br />
while people oozed in. Eventually the room was full but nothing happened. Five minutes, ten<br />
minutes... The audience started chatting.<br />
waiting<br />
Suddenly the lights went off, loud music blasted the room and spotlights started flashing random<br />
spots. After fifteen seconds the sound vanished (no music any more for the whole evening) and<br />
the ceiling lights were on again. Now the room was quiet (the purpose of the intermezzo) and we<br />
heard loud breathing coming from the back of the stage. Two performers disguised as members of<br />
the audience were groaning, coughing and gasping for air in their chairs as if they were struggling<br />
to breath in a pungent atmosphere.<br />
The breathing got louder. Simo Kellokumpu and Justin Kennedy stood up and walked among the<br />
audience, prompting people to exchange their chairs. They used gestures and words "yes" and<br />
"wow". "Yes?" accompanied requests, "wow" expressed satisfaction and gratitude. Gradually the<br />
interaction grew more physical and intimate. The performers pushed chairs with people sitting in<br />
them and even carried them around. They touched legs and shoulders of the people, threw<br />
themselves into laps, asked women for their jewelry, and made people help them take off their<br />
shirts. One of the highlights was when Justin Kennedy laid down on the lap of a young Asian lady<br />
and prompted her to slap his buttock. She did not want to. He used body language to persuade<br />
her, slapping his buttock repeatedly with his own hand while still lying on her lap. Eventually she<br />
did, and was awarded by an applause.<br />
interaction with audience<br />
In the middle of the piece the performers removed some chairs to form a narrow corridor in the<br />
middle of the stage and presented a series of duos on fighting: a cockfight, duel of knights with<br />
swards, fighting with revolvers, machine guns, hand grenades... The term pantomime is rarely used<br />
in contemporary performance, probably because it is associated with white makeup and loose<br />
trousers. The emphasis on facial expression in modern performance gave birth to a different<br />
pantomime, which is intense and physical, goes without makeup and is not completely barred of<br />
speech. Yet it is still mime art or pantomime. Simo Kellokumpu and Justin Kennedy are not just<br />
excellent performers and dancers, they are also superb mimes. Their vivid performance lasted for