"God exists because mathematics are free of contradiction, and the devil exists, because we will never be able to prove it." Bertrand Russell
Right from the start my attention was drawn to the energy of different constellations within Preljocaj's choreography and II started to imagine that the dancer's bodies should play on a visual instrument that stretched out between their bodies. The floor of the stage should become the playground of an abstract, flexible space, on which the dancers initially often enough lost their necessary orientation.
By their presence and movements, the dancers on stage affect a virtual, projected world underneath their feet. They are dancing inside of a scenery that reacts on every move that they make. Dancers and stage thereby form an inseparable unity. The floor becomes movable and participates in the event; stage and dancers no longer appear earth-bound.
Technnically spoken, the dancers are captured by an infrared-sensitive camera above the stage and their movements are tracked by a computer. This information influences the mathematical parameters of several worlds reprojected on stage. Among the virtual worlds, some are based on physics, like a wind channel or some kind of a liquid, while others are completely artificial by nature.
The observer not let into the interactive nature of the scenery may be puzzled by the closeness of video and dance. In Stockhausen's Helikopter-Quartett, the human reacts on the machine, the sounds and vibrations of the rotors. Here, conversely, the machine reacts on the human, and this counter-movement hopefully forms a circle that Sockhausen began.