A Satie-evening with Salon

“[…] In Goldin’s latest work for the main theatre, he allows his ten-man/woman ensemble to engage in all manner of nonsense. Naturally, it is somehow also always fraught with meaning – after all, we know  about the wars, economic crises and the end of many a Bohèmien existence. The title also contains “Schluss” (end), “Schuss” (shot), and “Tschüss” (‘bye). But “Lust” (desire) and “süss” (sweet) as well? Play and earnest become indistinguishable, boundaries are crossed with zeal. […] Moods turn into their opposite without warning, and the orchestra under the direction of Rainer Mühlbach is allowed to play its heart out. […] Listening to Kathrin Mander is a particular delight, whether she lets us hear her crystal-clear soprano, puts on a show of coquettish chansons, or belts out the music as a lascivious jazz singer. [ …] Goldin precisely distils the emotions in the music. In parts, the performance has the character of revue theatre. In-step dance movements by the whole ensemble on a broad staircase play an important role. But the happy harmony is repeatedly broken by surrealistic scenes. A pram with the limbs of shopwindow dummies is tipped down the stairs. Torn-off legs and arms are incorporated into the dance – sometimes to amusing effect, sometimes erotic, sometimes blood-curdling. […] It is entertaining to watch the dancers re-enacting the atmosphere in the Paris of the Twenties, with allusions to Schwitters, Picasso and Cocteau. […] Goldin has seldom been as colourful and entertaining as he is here.”

Ursula Pfennig, Westfälischer Anzeiger, 5 May 2007

“All is illusion. The sets and costumes are opulent. The stage is filled by an enormous show staircase. Bur behind them, the bare firewall and the machinery of the main stage of Münster City Theatre remain clearly visible. [...] Oliver Iserloh’ s new 15-minute “surrealistic” video in black & white about a homeless ensemble […] is initially projected onto a curtain. […] In Iserloh’s film, montaged with Man Ray photos, eyes become clockworks, eyes look out of mouths, dancers are swallowed – and money is counted outside of Münster’s City Theatre. Meanwhile, the Goldin ensemble are chased away, wherever they go. By Münster town hall bigwigs, clerics, street sweepers, sailors firing guns. Is it all just illusion? The title “(t)SchLU(ü)S(?)S!?!” is more than just a borrowing from Dada. The montage of “tschüss”  (bye) and “Schluss” (end) also reflects the uncertain future of the dance theatre. […] And overlaying all this is Satie’s irony. His often static, repetitive music is turned by Goldin – whose own style develops further but always remains recognisably his own – into swaying hips, tremblingly or rhythmically downcast and even grotesque bodies between melancholy and undefeated irony. In his day, Erik Satie’ works were fabricated scandals. Today - an undertaking of that kind can naturally be no more than an illusion – The first performance of Daniel Goldin’s new work earned applause on more than one occasion while still in progress.”

Marcus Termeer, TAZ, 4 May2007

“On Saturday evening, the main stage of Münster’s City Theatre was completely transformed. Everything provincial was swept away, to be replaced by the pulse of big city life. This is the kind of event that can usually only be experienced at the very best of theatres. And even then, only if you’re very lucky. Grotesque, political theatre - moving, dumbfounding, amusing: ”(t)SchLU(ü)S(ß)S!?!.”

Sabine Müller, Münstersche Zeitung, 30 April 2007

“[…] The revue-like collage is both a hommage to the eccentric composer Erik Satie and a profound and grandiose dance of death in the face of the threat to the future existence of the whole sphere of dance at Germany’s theatres […] For the finale, the whole ensemble presents a brightly bizarre potpourri of German dance theatre at its very best, full of quotes from other works, and not just of Goldin’s. Münster’s Dance Theatre has not been so sparkling with imagination and esprit since Goldin’s Felix Nussbaum piece “In Öl und Nebel” and the reveries of the Paris Bohemiens in “Hinter der Nacht”.”

Marieluise Jeitschko, Tanzjournal, May 2007

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