Composer: Louis Andriessen
Director: Heiner Goebbels
Stage and Lighting Designer: Klaus Gruenberg
Costume Designer: Florence von Gerkan
Sound Designer: Norbert Ommer
Dramaturg: Matthias Mohr
International Contemporary Ensemble (ICE)
Conductor: Peter Rundel
ChorWerk Ruhr
There seems to be a growing interest among artists to merge science and art in performances. In De Materie we observe or have explained: chemistry (behavior of gases in dirigibles and smoke hazes), physics (three double pendulums swinging simultaneously), mathematical principles (ideas of perfection of lines and open shapes that extend into infinity), and biology (herding instincts of sheep). The history of two famous women are touched upon: Marie Curie, devoted to her husband and to their discoveries of radioactive particles, and Hadewijch, the 13th century mystic enraptured with God. A 17th century scientist explains why he believes in the existence of "atoms" - some smallest indivisible units of matter, the building blocks of the material world.
The set design took advantage of the mathematical principles of randomness. The audience could create innumerable connections between what was seen and heard, forming their own patterns and relationships of rhythm and cause-and-effect. Were those sheep also listening to the music, moving on the beat?
It was entertaining because we, the audience, like to be busy with our observing brains. A floating dirigible gives us something to experience, something to take our breath away. The sheep give us endless moments of anticipation. But overall, I wonder if either science or spirit or art are actually enhanced by placing them beside each other. For me, it still feels like a puzzle where the pieces have been pressed together but the picture remains disjointed. It was a beautiful entertainment, rich in tone and visually engaging. Perhaps I'm asking too much if it has not deepened my understanding of either science or spirit. -- dp
