emily on the rocks - take two

a panorama with texts by emily dickinson
by penelope wehrli

installation and performance

with rickie eden, sophia new, paula e. paul, julie randall
music: hans peter kuhn
costume: ellen hofmann

fri. 03. march to sat. 11. march
6:00 -- 11:00 pm
[closed on sunday and monday]

fri. 03./ sat. 04./ fri. 10./ sat. 11. march -- 8:30 pm

emily on the rocks -- take two is an approach to the language of the american poet emily dickinson who lived as a recluse in her parent's house in the 19th century. her surreal and atonal language patterns elude quick understanding, her style is characterised by an extreme economy and vexing omissions.

'for what is each instant but a gun, harmless because 'unloaded', but that touched 'goes' off?' [e.d.]

'emily dickinson is a virtuoso of a sado-masochistic surrealism -- satyric -- anti civil like baudelaire -- the first modern master of syncopation and atonalism -- she is a 'cousin' of the celibat fantasist lewis carol -- and the forerunner of gertrude stein. in order to keep up with dickinson, like alice with the black queen, the reader has to know where the bodies are buried.' [camille paglia]

'my tools took human - faces [e.d.]

penelope wehrli installs an intimate space in the kubus. emily dickinson's language, hans peter kuhn's sounds, projections of construction sites and four emilys surround the audience. each track follows it's own time structure. the result is a polyphonic, multilayered ephemeral score of transitory complexity. in this condensed atmosphere of simultaneity, the spectator is able to immerse himself in the enigmatic cosmos of dickinson's verse.

'i heard, as if i had no ear' [e.d.]

on four evenings the installation turns into a performance. the performers speak dickinson's texts and translate them into the movement-writing from jo fabian's alphasystem. barely visible behind a gauze screen, the performers are barely distinguishable from their projections

'and now removed from air -- i simulate the breath' [e.d.]

emily on the rocks is sponsored by hauptstadtkulturfonds

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