How can music be made to be visible? In the performance “MIDNIGHT”, using a combination of sound art, dance theater and experimental musical theater Lynsey Peisinger and Tilman Hecker visualize four pieces by W.A. Mozart on stage. Mozart’s music will not be heard, but rather seen: musical elements will be replaced by the movements of the performers, as well as, the use of video and lights, meanwhile a complete soundscape will accompany the course of the performance and will reflect the structural pre-
cepts of the musical score.
Midnight is a performance based on Mozart‘s last piano concerto KV 595, two concert arias KV 538, KV 505, a song KV 596, a piano sonata KV 457, a piano fantasy KV 475, as well the ten piano concerto fragments. A full run of the performance seen from above will be projected in reverse on a cycle at the upstage part of the stage. In a blue screen system all stage actions can be transferred into any possible setting. A third performer C performs independently from the musical time structure. A complex cosmos of sound, video, light, and movement is created. Each stage element appears individually, but only layered through Mozart’s exceptional use of the orchestral elements. The structure of Mozart’s music thus creates a structure model of the world in it‘s external energetic (societal vs. natural) conditions.
Tilman Hecker was born in Karlsburg, Germany in 1980. He studied architecture and scénographie in Berlin and Paris. During his studies he started working with Robert Wilson and Achim Freyer as assistant director and collaborator. Hecker made his directorial debut with the Mozart opera Mandina amabile at Berlin’s Radial System V in July 2009. Other directing credits include Jay Schwartz’s Narcissus and Echo for the Salzburg State Theatre and the Musicadhoy Festival Madrid (2011), La Finta Giardiniera by Mozart for the Wuppertal Opera (2012), Thomas Arne’s The Masque of Alfred for the Pocket Opera Company Nuremberg (2012), John Cage’s Songbooks for the Werkstatt for Staatsoper Berlin (2012), Domenico Cimarosa’sThe Secret Marriage at the Nordhausen Opera (2013). In 2014 he will create an opera on Jean Genet’s Querelletogether with the composer Birke Bertelsmeier for the Tischlerei / Deutsche Oper Berlin.
Lynsey Peisinger is a Paris-based choreographer and performer. She has cast and trained performers for Marina Abramovic in Moscow, Los Angeles and Basel and with Ms Abramovic, she facilitates The Abramovic Method and the MAI Prototype. She is assistant director on Zinnias: The Life of Clementine Hunter and The Old Woman, both directed by Robert Wilson. She presented performance works at Robert Wilson’s 2nd Annual Berlin Benefit 2011, Hyeres Fashion and Photography Festival 2012, and Kunstfest Weimar 2012. She received her MFA in choreography from the Dance Conservatory at Purchase College.
This event is presented by Digital in Berlin. Check out our Facebook page to win tickets.
Sunday, 6th March 2016 | 17:00 – 20:00 CET + Monday, 7th March 2016 | 20:00 CET
Radialsystem V | Holzmarktstr. 33 | 10243 Berlin/Friedrichshain