cieLaroque/helene weinzierl
PLAYTIME

 

Choreography, directed by: Helene Weinzierl
In cooperation with: Yuri Korec, Luan de Lima da Silva, Mami Izumi, Viviana Escalé; 2nd Cast: Kanako Minami
Lightdesign & Video: Peter Thalhamer
Music Composition: Oliver Stotz
Contact cielaroque@subnet.at

You, as a spectator, take the time to watch our piece. Is this a lot of time for you or is it just fine? Do you seriously believe that you’d have time? Are you stressed by anything that concerns time because you just don’t have time? Are you chronically suffering from shortage of time? Are you suffering from “time scurvy”? Are you, maybe, in therapy, or are you about to be?
We have to admit that we can easily imagine this situation. One proposal: We sell 60 minutes of our time to you and you buy it. But be careful, it’s a commercial trade and we know what we’re doing. We don’t hesitate to rip you off. At the same time, we offer you an extra lifeline that might help you, if time gets short on stage.

After the opening night had shown very different performances, I did not know what
to expect at PLAYTIME on October 7 in the ARGEkultur. To purchase 60 minutes time,
we had to give away our watches and mobile phones at the beginning of the show. It
was followed by a very enjoyable and entertaining hour with great dance on the
restlessness of our times. The social criticism is served with so much humor that it is
turned into pure pleasure. cieLaroque/helene weinzierl master not only the connection
with dance, text and drama, they always manage to involve the audience skillfully.

Dorfzeitung, 09.10.2014 Elisabeth Pichler

http://dorfzeitung.com/archives/29129

... the audience that was involved in Helene Weinzierl’s "Playtime" first could lean back in their chair on the stage. In the play that is built-up as a computer game, at first only the four dancers are competing and performing. It is all about waiting, a forced break, an even enjoyable free hour that the piece offers to the viewer. At first every item connected to time has to be stored in plastic bags at the edge of the stage. After that, short scenes, choreographies and text are following in an entertaining, yet in an intended arbitrariness. They suggest the different levels of a computer game. The time melts away between the fingertips, and one is forced to wait and prevented from doing nothing. In the little breaks between the levels, the phone rings and calls on the audience to take one of the places on the stage. Only the active participation drives the performance and ends with a showdown between the four participating spectators who struggle with water pistol and musical chairs for the first place in the game.

Tanznetz.de, 17.10.2014, von Miriam Althammer
http://www.tanznetz.de/blog/26660/die-freuden-des-nichts