MAZY - notes on MAZY

[Part 1 of the MAZY project, the three pieces can be presented either collectively as MAZY project, or as seperate films.]

What is the human body able to sustain when subjected to devices that record sounds and images? And what can be done with the human body when it tends to evade the representational codes of these devices? MAZY (meaning “labyrinthine”), based on the choreography by Willi Dorner, offers three answers formulated with the dispositives of video, film and computer: videographic marionette, expressive filmic being and computerized trace of movement.

In notes on MAZY Norbert Pfaffenbichler constructs a baffling set of rules which make use of complementary and oppositional elements: colour vs. black and white, front vs. rear view, rectangle vs. square, the body as a whole vs. head/face. Nothing is left of the space in which dancer Helga Guszner moves: On the surface forms a web of kinetic fragments and interference which infects the chronological temporality and fuses the corporeal and mechanical movements – in a fragile manner and textual form simultaneously.