In a derelict factory space, characters move to impulses, memory loops, fragments of feeling. Isolated in their own dense, stagnated realities, they communicate imperceptibly with each other in a ritual of anticipation and release, confined by the laws of the dynamic equilibrium called ‘steady state’.

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Inspired by the choreography of Urbe, but stripped of its socio-political and sensorial contexts, the performers interact with space and time without narrative substructure and interpersonal reference: bodies without foothold, held in suspension and alertness, magnetism and polarity, in a state of apparent stability.

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Through their bodies surge impulses, building to a crescendo; as the movements abate, the energy returns to a pool of an unchanging void, that of Fliessgleichgewicht.

“Andre Semenza and Fernanda Lippi’s Fliessgleichgewicht (2002) is radical for a dance film because it is about the space between. That which is normally a part of the rhythm of movement becomes dominant for long stretches of time almost as if the background and foreground had changed places. This is emphasized by the framing of each shot to include large chunks of empty space around the two dancers and is emphasized again by their isolation…”

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“They are in the same room but never communicate in any way with each other. In many shots a vertical pillar divides them. The cold monochromatic color adds to their isolation. Their movement when it occurs, appears to come from an inner pressure which, when acted upon, subsides back into stillness.”

“Fleissgleichgewicht is a scientific term from physics, which is translated, as ‘steady state’--a state that is in constant flux, but remains the same. It is like a lake, which constantly evaporates but has a constant influx of water from rivers, or like a flame, continually burning, which with an uninterrupted supply of gas remains the same.”

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“Cutting on stillness rather than on action reiterates the dominance of this steady state as does the frequent stopping of movement, sometimes leaving the dancer in what appears to be a very unlikely position. The frequent short breaks in the sound add to the tension of this shift in perception and emphasizes the solidity of the sound which, in its uniformity, relates back to the tangible emptiness that dominates this dance.”

© Charlotte Shoemaker
Dance Films as Related to Avant-Garde Films
Dance/Screen at San Francisco Performances

Cast & Crew

Choreography: Fernanda Lippi
Dancers: Tuca Pinheiro, Consuelo Rosa
Production Manager: Ed Andrade
Production Supervisor: Ligia Lippi
Editor: Simon Sykes
Director / Camera: Andre Semenza

10 mins UK/Brazil
© Maverick Motion Ltd 2002

About Zikzira

Zikzira creates performances and films from an instinctive core, embracing the visual and visceral in a synthesis of art forms. Through risk, desire and organization of chance, the company devises immersive work with layers of meaning. Somatic impulses gives rise to movement; soundscapes, dance and imagery conspiring to form a whole. Through a multi-disciplinary and site-specific approach, the company devises work with poetic resonance unconfined by genre.

“The art of theatre is specifically the art of dreams”
Jean-Louis Barrault

“My body is the intention, my body is the event, my body is the result.
Art is hope, prayer, and the possession of the individual”
Günter Brus

Contact Zikzira

Tel: +44 (0) 795017 4896

Rua Laplace, 18A - Santa Lúcia
CEP: 30.360-390 - Belo Horizonte - MG
Tel: +55 31 3047 6330