In Krinoline (Crinoline) we see someone in a hoop / crinoline stepping into a black space. They are not dance moves, but still they remember a strict motion path to a ballet -like performance. Sometimes the movements are grotesque, sometimes clumsy, sometimes tenderly soft. A voice of a man whispers, as if no one can hear his suffering love. A further experience is the processed sound of footsteps, the hoop, but also added sounds like the beat of a heart monitor, the ticking of a clock, the soft rustle of a tree or a stream. In a nonverbal way, here given ingredients to excite your associative ability.
It raises questions and emotions. This is about the inexorable transience, impermanence of love, the incessantly of the time passing? Is it a translation of Ophelia? But of loneliness and abandonment come into your mind. The title says it all ” Für Krinoline / for Krinoline ” It seems like an attempt at something, something tangible for us, a mystery and always will be. The intolerable nature of impermanence. A philosophical key question that mankind has always been kept busy and where there is no answer, only one approach or the despair and the romance and beauty of the impossible.
Finally it is to the spectator what he makes of it. That’s Sonja Wyss’s goals in her work that it gives you a personal experience.

Performer Andreas Scharfenberg