ZZ (2003)

2003. ZZ

“Structured in a geometric cycle of past / present / future with fifteen motifs” → Watch Photo Images

The piece is developed in silence, dealed with the silent, which transformed the barely audible into space, sound and body in an interplay, transmitting the sound of my breathing,
the smallest constant of silence. For me, this was a memorable turning point in establishing a new “self”.

→ Download review 1 . 2 . 3 . 4 . 5 . 6

→ ZZ Cut_on a ceiling


The performance

Part 1
“Exposition, Opposition, Transformation”, a composition by Akemi Takeya and her collaborator, communicates with her circling – audible in the beginning, then slowly dissolving in movement – touch of a glass of water. In this prologue to the piece, Akemi Takeya navigates in an inner world, is engulfed and submerges, and at the same time reflects the space surrounding her as well as the people in it. In a way, this is an “initiation” – a form of ritual striving for a special intimacy between Takeya, the performer and the audience.

Part 2
First, geometrical patterns appear on the stage floor: 7 lines and 7 dots draw the performance’s architectonic structure which the performer follows. “Jumping & Backward” is this section’s movement structure, accompanied by breathing sounds manipulated live.

Part 3
In deep concentration, on a line between the sky and the earth, Akemi Takeya’s body hangs, trying to keep its balance in incessant forward and backward motion, caught between light and shadow.

Part 4
Standing on the ceiling, dancing on it, keeping one’s body on it, keeping it from falling to the floor – a paradoxical image: the body’s gravity and its levity – “she’s just walking” …

Part 5
Akemi Takeya stands at the border of darkness, light and noise pour onto her like a roaring waterfall. Quietly, she talks about her aging “I”, until her voice is suffocated in noise and darkness.

In complete darkness, Akemi Takeya speaks a letter to her mother into a dictaphone. But no words come from her mouth, just stammering and stuttering, yelling and wailing break forth – an inner chaos. At last – having become quiet again –Akemi Takeya rewinds the tape, puts the dictaphone on the stage and plays back her “letter”: “Dear Mother!”

Part 6
Step for step, a journey into the past. In changing succession, the geometrical patterns (Part 2) are “drawn” onto the stage. After a brief pause, Akemi Takeya joins in and interacts with the “drawn” architectonic structure of light, lines and dots. From the tape, we hear her voice tell stories from her time in Tokyo: stories about being young, about growing up, and about the ever doubting, ever questioning “I”.

Part 7
Outbreak. The performance closes the circle in space and time. Akemi Takeya’s breath seeks its path in infinity while her body disappears in the darkness. The sound of stamping feed which interrupts the spreading out silence remains behind.


Artistic director, choreography, concept, dramaturgy, voice and body performance: Akemi Takeya
Artistic Supervisor in the framework of a carte blanche at Tanzquartier Wien: Ong Keng Sen
Musical concept: Akemi Takeya
Light design: Jan Wagner
Sound: Arnold Haberl
Sound projection: Bernhard Gál
Dramaturgy: Armin Anders
Costum: Anja Lerch & A. Takeya
Production manager: Bettina Kogler
Production: IMEKA 2003
Supported by: The City of Vienna, Cultural Bureau, Austrian Federal Ministry for Education, the Arts & Culture
Duration: 55 min
Premiere: Dec 2003, dietheater Wien, Impulstanz 2004, Odeon Vienna / Spain Tour, 2007 / Mexico Tour, 2008


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