Dead Time Blue
In conversation with the architecture and acoustic characteristics of the Lichthof at Martin Gropius Bau, Dead Time Blue created a vast sonic environment in which divisions between audience and performer were blurred. Melancholia is a pensive sadness without obvious cause. Dead Time Blue sharpened the perception of this sensation from multiple angles. Over the course of the performance, the atrium transformed into an opening and compressing lung. In this mesmeric landscape filled with disembodied and live operatic voices, audience members were encouraged by the movement of the performers to explore the Lichthof or place themselves wherever they felt comfortable, creating physical communication that oscillated between friction and tenderness. When experienced at a distance or from the hall’s elevated viewpoint, the same events began to form a cohesive plot, while the eye was drawn to individuals, allowing one to witness their own solitude reflected in that of the performers. After the cast had exited, leaving discarded clothes on the floor, Dead Time Blue remained a shelter in which the audience listened with their whole bodies.
在一场与Martin Gropius Bau的建筑和声响特质对话中，Dead Time Blue营造了一个观众和表演者的界限被模糊了的巨大的声音环境。忧郁是没有明确来由的哀思。Dead Time Blue从不同的角度锐化了这种感情的感知。在表演过程中，中庭转化成一个开放并压缩的肺。在这个充满了无形又鲜活的歌剧声音的迷幻景观中，观众被表演者的动作所鼓动，舒适地对空间进行探索，并创造了一个摆动在摩擦和触痛之间的肢体交流。当从远处或从大厅高处体验作品时，同样的事件开始形成一个连贯的情节。当目光被个体吸引时，观众可以在表演者身上看到自身孤独的反射。在演员们在地板上留下被脱下的服饰并离开后，Dead Time Blue继续充当一个观众用身体聆听的庇护所。