“Should I tell you that my room is walled up?…In what way might I leave it? Here is how: Goodwill knows no obstacle; nothing can stand before deep desire. I have only to imagine a door, a door old and good, like in the kitchen of my childhood, with an iron latch and bolt. There is no room so walled up that it will not open with such a trusty door, if you have but the strength to insinuate it.” ― Bruno Schulz
Solitude, we know this state only to well, and better with every day.
The soloist moves in his room, where he is both protected and defenseless. Basically, En Face solo part is about a special form of choreography. At the same time, inwardness. The soloist has no mallets (the usual “weapon” of a drummer), his hands become ears, he perceives everything very intensely and is vulnerable in his intimacy on stage. The virtuosity is thus of a different kind, it is more of an inner space and a virtuosity of sensibility. It becomes ambiguous whether he is in his room or his head.
Then he enters a narcotic and esoteric space. It becomes unclear if the memory represent real state, if emotions are true. How to get back to a safe zone? Or this is the one – a happy state of solitude…
But eventually the real and the virtual stand before us, so similar or competitive to each other. And we are lost in perceiving the milieu. We may prefer the other reality, the inner reality.
Or we can open any door we want.
This is a very intimate and emotional performance for me. It involves and absorbs me completely on a peronal level. It is the zone I enter to embody it, to transcend limits. ― AW
En Face: Solitude by Sarah Nemtsov
for solo percussionist
based on Bruno Schulz’ Solitude
Katana of Choice by Nicole Lizée
for solo drum kit and video
Jenny’s Soul. Or Dirk’s? by Piotr Peszat
for solo percussionist, audio playback and video
ALEKSANDER WNUK, solo percussion
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