Exploring Human and Machine Interactions at HAU

The performance begins on a stage almost completely occupied by a wooden turntable that stretches to a diameter of eleven and a half meters. As the performance begins, the turntable starts to rotate slowly. Five dancers are positioned on the edge of the disc, each one equidistant from the next. As the stage begins to move, they pass by the audience in a leisurely manner. The opening act of “Remachine” is characterized by haunting song vocals. The first lines of Anna von Hausswolff’s “Ugly and Vengefull” are sung by a woman. This solo act gradually evolves into a polyphonic choir song until a single voice takes over once again.

The Power of Song

For the performance of “Remachine”, David Kiers, the composer, reimagined three songs originally composed by the Swedish singer Anna von Hausswolff. Her music is known for its Dark Ambient and Post Gothic influences. The choreographer, Jefta van Dinther, has utilized the vocal prowess of the performers to a greater extent than in his last piece, “Unearth” that was presented in 2022. The performers underwent intensive vocal training which resulted in a melodic and impassioned singing performance. The cryptic and mournful lyrics of the songs serve to create a resonant atmosphere. However, as is characteristic of van Dinther’s work, “Remachine” maintains an abstract nature.

Van Dinther’s work often revolves around the concept of how the human body is influenced by the environment it operates in. Despite this, van Dinther is resolute in his belief that he is not a determinist. In the context of the performance, the rotating turntable is representative of both the realm of work and the theater apparatus. As the performance progresses, the rotating plate begins to spin with increasing speed. At first, it appears as though the dancers are manually operating the machine by pushing it with their hands. However, it soon becomes apparent that the dancers are at the mercy of the machine. They are subjected to strong physical forces, particularly the centrifugal force.

An Existential Metaphor

The dancers are first seen crawling across the plate on all fours or pushing themselves forward while lying on their backs or sides. Standing upright, they tread carefully as though they were walking on a slippery surface. Their movements are influenced by the direction of the rotation of the disc. Moving on the rotating disc proves to be a challenging task. It often seems like the dancers are unable to make any progress and are constantly being pushed back. Despite the effort they put in and the number of times they try, they end up going in circles. In this context, the rotating turntable serves as an existential metaphor. The mechanical and ominous sounds of the electronic music, composed by David Kiers to supplement Anna von Hausswolff’s songs, highlight the strenuous actions of the dancers.

In “Remachine”, Jefta van Dinther employs only a limited number of movements, resulting in a minimalist choreography. Certain sequences are repeated incessantly. However, through the rhythm and repetition, these sequences acquire a tremendous momentum. As the performance of “Remachine” draws to a close, it begins to resemble a stage ritual. The performers sit in a circle with their heads together and each pulls on a long rope. Eventually, they end up hanging on the rope and leaning forward. They also sing the song “The Truth, The Glow, The Fall”, the final lines of which, “Will we fall”, are repeated several times.

Inspiration for “Remachine” was drawn from the stage machines of director Ulrich Rasche, who uses turntables, treadmills, and rollers in his choral productions. However, the relentlessness that is characteristic of Rasche’s machine theater is absent from van Dinther’s choreography. “Remachine” is a piece that is both intensely physical and darkly poetic. The dancers are required to put in a significant amount of work. However, they are able to complete this feat without becoming hardened or weakened. They remain expressive and sensitive. Their singing serves to elevate them beyond the physical constraints of the performance, transporting them into a different sphere.