performance extinguishes itself and leaves nothing but a trace; (dance)
performance is an art form of the present.
theatre is theatre of the present. (The) present is necessarily erosion
and slipping away of presence.
dance should disrupt the time of the economy of the spectacular, break
down the violence of the law of debt, the circular coming back to the
house (of the Father)...
Press (1997 - 2000):
Ballett International/Tanz aktuell 5/97
EXEO:] ""The topic are spaces forming between the parts of the
body, the space contained by my body and the space I define with my body
when dancing. And again the space the audience occupies." - Sonnenschein
shows how these spaces are related to each other, and where an individual
is sheltered or endangered in them, when it feels free and when imprisoned:
"Is isolation a shelter that kills?" In the performance, the
dancer collides with her borders, and she tries to accept. A slow, reductive
process within a hermetic, hard soundscape defined by the ambient and
industrial music of Stefan Rossow."
festival's axis ["4+4 Days in Motion", Prague] were the solo
performances, and the climax thereof were the solos by Nigel Charnock,
Sabine Sonnenschein and the Portuguese performer Joao Fiadeiro. All of
them presented highly stylised, formally polished creations transcending
the frame of subjective confessions through their reflection of the emotional
state of contemporary society. Sonnenschein showed the fragility, the
vulnerability and the sad beauty of the naked body, imprisoned in a magical,
impenetrable square, isolated from its surroundings."
DNES, Prague, 11-23-1999
""Body" - and everything connected to it: Enjoyment of
corporeality, the search for and refusal of gender identity, beauty cult,
body ideal and "anorexia nervosa" are no longer explosive issues
only for today's women. Topics which affect you and get under your skin.
A very candid and clear piece by Sabine Sonnenschein."
of the most impressing performances was Sabine Sonnenschein's solo 'Exeo'.
She dances behind a transparent plastic wall to the hard noise music of
Stefan Rossow, and uses her body as a malleable, 'sexless' object in space.
The half-naked, androgynous dancer resembles a walking, finely chiselled
sculpture. Beginning like an abstract anatomical study, the dance develops
into an event of intense images and unsparing moments. Starting from simple
movements, Sabine Sonnenschein's dance intensifies bordering on the ecstatic;
still, she never loses control even when finally she throws herself against
the plastic wall."
the same evening, the Viennese Sabine Sonnenschein in 'Exeo' showed a
breathtaking excursion into a new body experience. As if the amniotic
sac in Stanley Kubrick's film 'Space Odyssey' had broken, disgorging this
strange being, Sonnenschein stretches her overly slender limbs and entwines
them to fascinating sculptures which one will not quickly forget."
Zeitung, 184, 1997
Sonnenschein, born in 1970, has been drawing attention for years. She
does not compromise. The dancer trained in Vienna and Amsterdam has followed
her career ambitiously. This year, Sabine Sonnenschein delights us with
'Transform', her tenth production by now, defined as body installation
and dance performance. Her partner in the duet is Loulou Omer."
Der Standard, 7-14-1998
with Loulou Omer, Sabine Sonnenschein in 'Transform' has created a dance
and body installation for two performers which convinces by its ingenious
lighting as well as the aesthetic co-operation of dance performance and
stage design. For some time now, Sabine Sonnenschein has been working
on a new, specific movement vocabulary. In 'Transform' she opposes two
nearly naked women who move strictly separated in their spaces
Communication between them only occurs outside the delimited zones."
Zeit, 13. 2. 2000