Trisolde - 30.11.2018 Göteborg

We are introduced in the foyer by Renee about the Celtic drama 'Tristan and Isolde' in Wagner's version of it, but here interpreted by contemporary modern dance and instant components that affects the performance. Renee asks for four volunteers to be the participatory participants that will literary influence the music in the piece. We will be connected to some electronic equipment.

The technology consists of the same technic used in lying detectors. They indicate the person's temperature, which indicates how the person reacts to what it is exposed to the spectator's senses and emotions of what´s happening on the stage. The detectors are connected to a computer where electronic sound is intertwined with Wagner's original music. Every performance is unique in more than one sense.


I am one of those who have detectors on my fingers, so I get a clear introduction to the technical solution and what is activated through my participation.



I'm struck by the first scene. The stage, which is a deep black box, constitutes a sense of irreversible destiny. My eyes follow a line of light. It is a light-projection that divides the scene in two dark parts with one dancer on each side in front of each other. It creates a gap between the two performers. The dancers reach out towards each other, cross over the light gap. This first scene gives me enough time to recapture the original plot.


The light-projections become the narrator, a storyteller, through the piece. It disrupts, change shape and dissolve into fractals similar to fragmented shapes of a broken mirror, spirals and patterns of earthquakes etc. Another intriguing detail is that the shattered light follows the dancers through the performance. It appears like fictive (or real) partner, enemy, memory, emotion or anything I want it to be. My imagination is invited.


Later I'm told that the light projections also are part of the instant composing during the performance.


Although I know that the drama has a tragic outcome, I want to be led through this fictive drama.


The nearness to the dancers on the stage makes the experience real even though its medieval origin. Tiina's sharp facial and physical appearance brings my associations to the Greek drama, and it points out the tragedy's place in western theatre and philosophical history. Something we share as a reference within the common understanding of symbols and gestures.


The performance with its two highly technical skilled dancers, each one representing branches of modern contemporary dance, are given space as soloists with their respective characters. The differences of dance background gives me a reason to think of their relationship (in the drama) in another context.


Loneliness and emptiness are illustrated by the disparate and very sparse light and sound landscape. The costume is a mixture of classic cut, gym pants and everyday jeans wear, which gives us indications that the plot is not time-bound.


The strongest impression and impact is above all, the sequences where the two dancers meet physically in duets. The intense and sometimes brutal sequences take a grip on my attention and wish to see more. Their presence, brilliance and awareness of the momentum playing with risk and responsibility.

Another very clear moment is in the end of performance is when the projections began to flow and creates a vortex where the plot is swept through time and space. Wagner's tones finds it way through the noise / soundscape, the audience is taken back to the context, its origin.


Everything is clearly addressed to me as an audience and it is a crucial factor for the seduction. And yes, I'm seduced by this.


Benedikte Esperi

Swedish Contemporary Performance Artist, Choreographer and Artistic director