Sergiu Matis, Fernanda Silva: Reality… utopia… maybe just the urge to be!

Advaita Vedanta – the philosophical tradition of non-dualism or monism part of Hindu philosophy – lays emphasis on the concept of ‘Aham Brahmasmi’. Translated literally: the individual soul (Aham) is the universal consciousness (Brahman) itself. The individual self (the loosely translated ‘I’) and the divine consciousness are not different entities, but one and the same, therefore there can be no ego or sense of separation. I am (Me) the Universe, “Aham Brahmasmi”. The universe is within me.

Sergiu Matis’ Warp Renderings unfolded a universe.  

As the evening opened, Matis was seen gliding on stage in near darkness, with faint light just enough to light him. His movements were minimal. The neon paint underneath his shoes became visible as he continued sliding. 

Gradually, his movements began expanding vigorously in space, smoothly turning, twisting, warping (as he likes to call it) perhaps hinting at some sort of distortion. Matis’ performance investigates the natural environment and the relationship of human society with nature. Going by the understanding that humans are an element of the natural environment, this investigation imposes a critical probe on our inner headspace. the unrest within the human species. The unrest within the human species Is reflected in the slow ongoing destruction of our natural surroundings, the outcome of human intelligence and ideologies that often confront the nature of nature itself.

The philosophical concept of “I am the Universe” echoed in my mind while watching the performer personify the environment through his movements – postures and gestures – thus creating a canvas and merging into it. The multiple objects lying around on stage, that seemingly represent embodied natural elements such as trees, water, clouds, rains, storms, were being manhandled by him in a way to shake up the entire universe. What is this hysteria? If this divide between nature and human is dissolved and we as individuals attempted to reach the state of oneness with the outer sphere, even in a more generic sense than implied in Hindu philosophy, would a certain degree of tolerance be within grasp? 

A podium with a laptop and a TV screen was an important part of the stage design. Matis operated the laptop at intervals, swiping through a slide of images that were displayed on the TV screen and also projected on the other side of the stage on a multi-layered makeshift screen. The images included old European landscape paintings, photographs and satellite images – ranging from classical paintings to pictures of wars and devastation. However, very interestingly, a particular painting that continued reappearing was the famous Wanderer above the Sea of Fog by Casper David Friedrich.  Towards the end of the performance, the dancer recited a poem and talked about art, trying his hand at decoding aesthetics while commenting on some of the paintings. Though this selection did not include Friedrich’s canvas, it seemed like a poignant choice. Generally interpreted as a man contemplating nature and its vastness, or finding himself in a moment of self-realization, the painting placed in this composition resonated the dancer’s innate desire to feel connected. Matis shared that landscape paintings and art history was the seed that instigated this performance. Undoubtedly, art history does urge us to revisit what was, re-think what is and reconsider what could be. Isn’t it?  

Assuming the answer to this pseudo question is a ‘yes’, I indulge in the delicious rendition of Fernanda Silva’s Ein Tanz für Valeska Gert. For a dance/theatre historian or for a native German, the name Valeska Gert may sound familiar. But perhaps for non-Germans or performers from another part of the world, the name may even be unheard of. That was the case with Fernanda Silva, she confessed while speaking after the show.  

Not being acquainted with Valeska Gert, one may first resort to internet searches, before running to a library or a cinematheque to collect material. The first information that pops up online is that she was an avant-gardist, grotesque dancer/actress, cabaret and pantomime artist. She attempted unconventional themes for her performances. Entering on stage in between the reels of cinema and simply standing there, motionless, seemingly inactive, silent, she performed her provocative work Pause. 

In the 1920s, at a time when prim and proper, dressed in tutus danced ballet, Gert chose to look different, look unconventional. In her expressionist manner, she made grimaces evoking lust, disgust, pain, something unusual for a dancer. Another such artist with a very distinct trajectory – Josephine Baker – came to my mind. Both, turning their shortcomings into their strength. And importantly, both engaging in the most outrageous genre, cabaret.  

Analysing or giving a lecture on Valeska Gert is neither my area of expertise nor my prerogative. Nonetheless, the superlative adjectives attached to her name were certainly on my mind, while going to watch a performance about her. At least that’s what I thought, a performance about Valeska Gert. Throughout the performance, I was but left wondering where Valeska Gert was? No exaggeration, no provocation, no satire, no bodily distortion. Not an overt discourse on female resistance as the artist herself is a trans person. How could this be about Valeska Gert?  

I was compelled, at this point, to return my focus to the title Ein Tanz für Valeska Gert that translated to “A dance for Valeska Gert”, not “of” Valeska or “about” Valeska. This presentation by Silva was an offering to Valeska, who defined the performance space as freedom. Being free of prejudices, societal norms and being free in one’s own body.  

Silva entered Studio 4 at Uferstudios where the audience members were seated on the floor in random scatterings. She was dressed in a newspaper dress, resembling something like an 18^th century gown for women. She also wore fleece gloves, which did not match the dress. Her face and head were covered with a cloth that created the effect of a mask. The face drawn on the mask had an intriguing smiling expression with small painted eyes and red lips. The special attire was completed with black platform ankle boots. Tiptoeing softly, swiftly, keeping with the music beats, she moved in the space, passing in between the seated audience. Rocking the soul gently, it was a sheer treat for the eyes and the ears. In seeing her move to a corner and stay put there, still for a couple of minutes without any movements – I recognised an ode to Valeska Gert. Immobility on stage, that was then provocative, even revolutionary, is now commonplace in art. The likes of Gert, dared and pioneered. 

She then meticulously took off her boots one by one. Began tearing the dress apart. The minimal movements started looking like a dance as she continued freeing her body from that paper dress. The dance became a trance by the time she was out of that dress. 

She danced, she jumped,  
She rejoiced. 
She smiled, she laughed,  
She cared, she was careless  
She was who she was,  
She was what she was.