Zavod Sploh
Re-scoring Oral StagesPhotography

Re-scoring Oral Stages

photo: Marcandrea
photo: Marcandrea
photo: Marcandrea
photo: Marcandrea
Re-scoring oral stages is a meeting of SoundDance Artists Irena Tomazin and Jule Flierl. The research in 2020 prepares a performance work that will premiere in 2021. They will relate their own practices and methods of vocalizing Dance to the impactful body of work by Katalin Ladik. The latter is established as an important step in the genealogy of the underacknowledged history of SoundDance.

So then, what is SoundDance?

What kind of movement is it?
Is it about movement?
Is it a movement?

The method of working will be guided by the ambiguous relation between Notation and live performance. As M. van Imschoot points out in her essay „ What's the score?“, the definition of performance as disappearance (P. Phelan) overlooks the traces and imprints of live performance. Arguing with R. Schneider, she defines performance as memory, imprinted in the body, through the different processes of transmission. She develops the metaphor of the score as the bones and the live performance as the flesh of the performance.
In studying and reinterpreting the notations of Ladik, the bones of her work, Tomazin and Flierl will slip their own flesh over the skeleton of her written work, creating a physical melange of cyborg anatomy.
Ladik's Notations will be ingested, digested, vomited out and melted on the performers' tongue, hosting and transforming words, thoughts and intentions of a third person, of another time and another context.

SoundDance happens on the
Oral Stage, a real Tongue-Twister
and Hyperventilator.
SoundDance reproduces
the chaos of the world
on the threshold of ingestion,
a gesture of digestion that suggests:
Dance! Otherwise we're mute!

The result of the research will be a practical and theoretical exploration of the mediation of voice through different histories of governance and performance making.
There will be performance material, writing in the forms of theory and manifestos, as well as notations, that are visual objects and scores that are activated by performance.


Jule Flierl has been engaged in writing the history of sound-dance for 5 years, through original choroegraphic works, intensive research into the lives and works of sound dance pioneers, and through the curation of the series From Breath to Matter in Berlin. This history is not yet written – and it is one that must be told.

Katalin Ladik started to work in the 1960's in a highly ideological time when language was shaping reality. All of her poetic practice, however, is about looking behind the language and incorporating utterances beyond language, bringing that into explicitly feminist and political discourse with the world around her. Where the primacy of language took precedent, she went deeper into physicality, embodiment, risking incoherence while also strategically eliding censorship. Flierl and Tomazin's own works have been following in this legacy, searching within the tonalities, textures and expansive qualities of the human voice beyond speech, or deep within it. Thus the connection has to be made, for the deepening of their artistic practices toward new work in 2021, but also for the sake of writing this legacy. This twofold urgency is why their work is as much archival and research oriented as it is practice based, with 2020 focusing on research, interview, writing, recording, and movement research, and 2021 on the production of an original collaborative work.

Tomazin and Flierl wish to initiate the final phase of their research at Pact Zollverein.
They will alternate between reading scores, interpreting scores, mutating scores, writing their own scores and performing them for each other in the studio. They plan (sound+visual) recordings of their interpretations in various spaces with differing resonances in the post-industrial architectures at Zollverein. How does the same score unfold in a different setting?


Follow us
and stay informed