Performance, 2016, ca. 25 min.
performed February 5, 2016 at Visualität und Abstraktion Symposium, Hochschule für bildende Künste Hamburg
performed January 20, 2017 at super_filme Witten (picture by João Hermeto)
Through an exploration of movement and sound, rhythm and physicality in the material film, I examine the relation between sound and physicality and sound and the body of film. I analyse the technical procedure of movement of film and movement of the body, and the links between those sounds and movements.
in order to understand both the actual and active part of movement as a component of the film material as well as the consequences the material has for social and physical bodies.
A screenplay that wants to be something else. (part 1)
Fugue.
Screenplay by Kerstin Schroedinger
The reanimated screenplay reprinted here deviates from the actual screenplay.
I. A pretext (a situation which has yet to oc- cur)
1. Figure shot. The camera position does not change throughout the film. The camera remains immobile, as if it has not yet learned to change position.
Black. Then white lines or stripes moving ir- regularly across the frame. Noises occur, they seem to be related to the stripes.
2. A rhythm becomes recognisable, both in the visual and the audible.
3. Intertitle:[00:00:08-00:00:12]
test 1
Otkas: preparatory counter-movement
Meyerhold: “… describes the preparation an actor makes before any actual action… It’s a kind of gestural prologue, if you like.”
4. [00:00:30-00:00:39]
The past has become a habit that shapes ev- ery form of present and future new learning.
I perform the experiment myself in the setting of a motion study film. I restage the experi ments that were made in the 1920s, but in a frame of contemporary image production and body politics. The movements of the body
in the film become audible. They write the soundtrack, but don’t render the body visible. It is important to have this run through my own body, as a matter of self-observation.
I seek to act out self-determination and self-government, as contemporary means of capitalist oppression.
from the performance script, published as: Moving Image Body in Rab-Rab #3, ed. by Sezgin Boynik, Helsinki 2016
