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Program Info: Silent film concert with music by Jonas Engel and Marlies Debacker
Jonas Engels older work "What the Wildfl Owers Witnessed" awakens memories of the song "Moaner" by Underworld from the 1997 Batman Soundtrack and drives the listeners in front of them. Similarly, the trio, which is specially put together for this occasion, uses the juxtaposition of instruments and voice - but more equally. Musical rooms range from very intimate to dramatic. It enables a lot of space for interpretations - to match Urban Gads "Abyss". The silent film from 1910 also compares large, free rooms of small, very regulated. The protagonist, a house teacher, is made by a pastor son in the Denmark of the time of the film when the film was created when a summer visit is the circus in the city in the holiday home of the parents. The action opens up abysses between freedom, dependency, locking up and feeling. Whether these will ultimately be overcome remains in the eye of the viewers. Engel's compositions use abysses and give listeners the opportunity to find a support or to lose themselves even more.
And "Ballet Mécanique"? The 15-year-old French Stummfi LM is the first Dada film! Post-Cubist and dispensing with any action, we see all sorts of everyday objects such as pots or dishes, but so abstracted that they no longer seem to trust us, but rather act as their shape. A rhythmic game of the objects, to which Marlie's debacker will create a non-striking background, overlap and invite composed, random and improvised sound campaigns to discover their own connections in a varied tissue of sound image and sound sound relationships. A work somewhere between Musique Concrète, Musique Concrète Instrumental, Drones and pulsating textures.
Extreme contrasts, sharp shadows - designing with light was the visual language of the silent film. A language that had to get along without sound and colour, and which, or because of that, managed to visualise the stories and give them an emotional intensity and depth. To this day, this aesthetics shape and influence many films, in particular the German expressionist silent film of the 1920s played a central role in the dramatic use of light and shadow. By skilfully setting light and leading shadows, the reality can be distorted and the audience leads to a psychologically intensive world that make the fears or inner conflicts of the figures visible. Shadows can even take on their own narrative function and give insights into the interior of the characters and pull the audience into the plot. In the audience, shadows that grow to the oversized increases the emotional unrest. Light becomes an invisible narrator who penetrates deeper into the psyche and pulls the audience into the often dark abysses of an action.
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