Flüsterbogen 2 — follow your heart

* 1—4 form the script and panels | 5—8 handmade performance gloves and image material, photos © Christian Glaus and © Urs Schmid | 9 + 10 St. Niklauskapelle with Niklausstiege in Baden, images from the internet 

process of the performance sound intervention

The musicians position themselves on the Niklausstiege on the castle hill in Baden in such a way that their physical and tonal presence conveys an installative character. Independently of each other and out of the moment, they pick up sounds of the surroundings, which they pass on to each other as a modulated acoustic signal. I function as a mobile and visual locating signal that moves across the Niklausstiege and the castle hill.

On the banister, on its lowest metal strut, I slowly push my feet and thus my body upwards. At the end of the railing, I change 'the track' and balance on the curb of the staircase, with arms outstretched as if on a high wire. Over my hands are self-sewn white paper gloves, which prevent me from holding on to the railing, as they would otherwise be torn. With these fragile hand magnifications or signals I point to points and objects: to houses near and far away, to plants, the stairs, the sky and more. Again and again passers-by and spectators cross my path and those of the musicians. I whisper in their direction "FOLLOW YOUR HEART", "FOLLOW THE HEART, ...FOLLOW THE HEART" and make eye contact. Then I balance the stairs back up to the chapel, with a branch as an extended arm, which I found in the thorn bushes next to the stairs.

The interior of the chapel is the crossing point for the musicians and me. I have placed anatomical drawings of hearts and vocal organs as well as stones and plants on the seats of the chairs. Torn out white paper hearts hang on the walls. Once I have taken off the paper gloves, I shake my hands until the whole body shakes, wobbles and dances. This gestural bodily action is combined with the sounds of the musicians, who pretty quickly start to rock each other and blow up the chapel. I shake the big white paper rolls in fine doses. The rustling of the paper interlocks with the sounds of the instruments of the Holz Trio, which are becoming quieter again. An anatomical drawing provides the template according to which I tear a heart shape into a separated sheet of paper. I push my head through this opening, the wide white paper sheet covers my body. It is a protective cloak. Dressed like this and with a large roll of paper in each hand I slowly walk up the stairs to the platform. The musicians follow me and spread out in three different directions. Now I hold up the paper flags, they sail abruptly back and forth like kites in the wind. Then I lay their long courses first on gravel, grass and then over the rock. I write on the tracks "SILENCE", "SILZENZIO", «REST» and «SILENCE».

In the last phase of the performance, after two hours, I move on the platform. It gives a bird's eye view of the city. Here I push myself on the wall enclosure and adapt myself to it in different fits. I absorb the built form of this place high above the city into my body.

The visual and acoustic locating signs of the musicians and the performer are finally replaced by the long paths that now hang clearly visible over the wall, rock, bushes and on trees.

scenario for the musicians   ...   performance script