In Heinrich Kleist’s essay, “On the Marionettentheater”, a discussion takes place between a layman and the principal dancer of the city opera. The layman, impressed by the presentation, wants to know what kind of technical mechanism has made it possible for the puppets to dance so convincingly that it seems as though dance itself has been shown in its most perfect form. The dance professional considers this for a moment, then gives an answer: When we see a “perfect” dance presentation and ask how it was done, then we’re already missing the point. It does not depend on the mechanics, nor on the perfected techniques with which the individual limbs of the puppets are handled with the most precision.

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If one wants to understand why a dance appears “perfect”, it is much more effective not to focus so much on the technical perfection, but rather on the mechanisms of the representation of the dance. If these mechanisms are perfect, then the viewer who sees a movement corresponding to the represented one has to call this movement “dance”. more »

She produces films every year. She stands before the camera. She directs—in recent years, together with Chris Haring. It was a blessing that she met Chris Haring, explains Mara Mattuschka. He is generous. He has an open system of working that integrates people and their respective points of view.

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Haring stages his productions in bare spaces, from which Mattuschka makes films which correspond to cinematic rules of setting and dramaturgy. She extends her perspective as a painter into her cinematic approach. Up-close views of the body, from below, from above. Views which distort perspective. With digital retouching, she designs places, architectures, and spatialities. The films resulting from their collaboration are called: “Legal Errorist”, “Part Time Heroes”, and “Running Sushi”. more »