Erlaube, Fremdling, dass ich dich berühre (Allow me, stranger, to touch you) (2003)
A musical-theatrical ACTION in 4 parts by Iris ter Schiphorst
for 1 mime, 2 instrumental ensembles, video projections and Cd-playback
(freely adapted from the anagram of the same name by Unica Zürn from 1963)
Duration: 55 min.
Christian Kesten-voice, Gordon MacKay - violin, Anton Lukoszevieze-cello, Christoph Grund - prep. piano/sampler, Ensemble 01' (Andreas Winkler, Ruth Petrovitsch-violins; Ulla Bruder-viola, Enrico Schüler-cello), electric guitar: Daniel Göritz
Video: Susu Grunenberg, Choreography: Christina Comtesse, Costume: Nora Mack
Performance material available from the composer
Photos: Susu Grunenberg
Brief description of the project
I would like to use auditory and visual means to bring the 'blank spots' on the digital 'map' of the global network into play; i.e. to thematise the existence of the 'stranger' who has no access to the 'new' information society, who does not 'belong' to it. I want this 'stranger' not to disappear in the new technical possibilities; I want this 'stranger' to be perceived as a 'white spot' in this system.I would like his absence to 'emerge', to become mentally 'possible'; he whom I do not know. But who exists as a 'possibility'. Who is excluded from the system and yet 'belongs' to it. He who falls through the net, who cannot participate in this newly emerging 'symbolic order'. Who is 'outside', somewhere; not imaginable by us, not 'actual'. And yet present; as a possibility.
Reviews
Sächsische Zeitung, 17.05.2004
Works of art that take a critical look at everyday culture have become rare, because only a few producing artists are aware that they have a social responsibility as well as an aesthetic one. Iris ter Schiphorst, born in 1956 into a German-Dutch family in Hamburg and a long-time resident of Dresden, is one of the exceptions and is not afraid to take a stand. The clearest manifestation of this could be seen at the European Centre for the Arts in Hellerau. The world premiere of 'Erlaube, Fremdling, dass ich dich berühre...' took place there. In this 'musical-theatrical action in 5 parts' on the subject of 'man and virtuality', the composer deals with the informational imbalance: only 10 per cent of the world's population have access to the Internet. This is another lead that the remaining ninety per cent will not catch up on at all, or only in decades. Not equality, but the dominance of a new elite. Ter Schiphorst explores the relationship between the 'networked' person and the 'outsider', who is cut off from virtual communication, and finds gripping images...This is accompanied by multi-layered music that is incredibly gestural and performed by a trio (cello, violin, prepared piano), string quartet and band. The means range from lost single notes to compact sound masses and noises...Impressive.
Dresdener Neue Nachrichten, 17 May 2004
... a strong component: the music...a strange listening result of anxiety and disturbance, the skilful sound arrangement of a stylistic musical 'being lost'. ...