NOTES ON MAZY
[Part 1 of the MAZY project. The three parts can be shown either collectively as the MAZY project, or as separate films.]
What is the human body able to sustain when subjected to devices that record sounds and images? And what can be done with the human body when it tends to evade the representational codes of these devices? MAZY (meaning "labyrinthine"), based on the choreography by Willi Dorner, offers three answers formulated with the specific media conditions of video, film and computer: videographic marionette, expressive filmic being and computerized trace of movement.
In notes on MAZY Norbert Pfaffenbichler constructs a baffling set of rules which make use of complementary and oppositional elements: color vs. black and white, front vs. rear view, rectangle vs. square, the body as a whole vs. head/face. Nothing is left of the space in which dancer Helga Guszner moves: On the surface a web of kinetic fragments and interference forms, infecting the chronological temporality and fusing the corporeal and mechanical movements in a fragile manner and textual form simultaneously.