Haderlap and Lavant

Theater full of magic, expressiveness and poetry

Bleiburg: "I am immoderate in everything"(Bild: Irina Lino)

"Ich bin maßlos in allem" (I am boundless in everything) is an intense choreographic theater piece by Zdravko Haderlap about poetry giant Christine Lavant at the Kulturni dom in Bleiburg.

Her language is elemental, her images are all-encompassing. The woman who listens to them is Christine Lavant-poet genius and demon bearer-loving, suffering, fighting-meaningless in everything! The Choreography Center Bleiburg (CCB) has dared to take on the fire woman who burns so hot in her writing - and in Zdravko Haderlap has found a director who embraces Lavant with his choreographic theater full of magic, expressiveness, sensuality and poetry.

Earth-heavy choreography
The seven-member dance ensemble is magnificent in its acrobatic physicality and haunting presence after Haderlap's powerful, sky-high and earth-heavy choreography, which tells of stumbling and falling, flying, feeling and dreaming in the fine-tuning of Christina Comtesse and Martina Seidl. Important stages of life, emotional ruptures and existential language images - not yet perfect at Wednesday's dress rehearsal, but so intense in the Kulturni dom that you are right in the middle of this exceptional existence characterized by illness, being an outsider and love for Werner Berg, which has so uncompromisingly chafed at the inner core of being.

Final chord with a peacock cry for Christine Lavant.(Bild: Irina Lino)

Expressiveness and sensuality.(Bild: Irina Lino)

Simply magnificent.(Bild: Irina Lino)

Intense and narrative: dance art from the insane asylum.(Bild: Irina Lino)

Set designer Majda Krivograd expressively and symbolically elevates strong linguistic images to a visual level. Actress Anne Bennent playfully drives Lavant's word of fire as a narrating alter ego from noise to song and conjures up the village, lunatic asylum, witchcraft, faith and love with her choice of text in order to surrender to the great secret that is hidden in the fool's weed.

Tonč Feinig's own compositional lavant play between melodic melancholy and synthesizer rhythms, which fade away in a plaintive peacock cry, is magnificent.