Frankfurter Allgemeine Zeitung

As soon as the music rumbles in the loudspeakers, as if under water, one has the feeling of entering a completely different world and stays in this world until the end of the performance.

The spectators of Prue Lang’s innovative dance installation “Infinite Temporal Series II” in Frankfurt’s Mousonturm are not only viewer of the events, but also part of the staging – the staging of a special vision. On four sides separated from each other, they sit around a black box, looking through four large openings.

From far, each of the four rooms of viewers look like cinemas, at close range it recalls being in the middle of an aquarium in which three other sides are strung with twilight faces. One may also get up and move, the view is simultaneously the same, but not the sound. Through ones own motion, a feeling for the whole space is perceived, for the backs open up from real theatrical spaces to actual walls of the previous box. The small, warmly illuminated space has a magical effect largely due to the movement of his inhabitants.

In only a few square meters four beings float up and down, very slowly, briefly a head twitches aside or a body focal point drops. The eyes of the four dancers in blouses and trousers seem to see into another world. The Australian dancer and choreographer Prue Lang, who danced and choreographed for years with William Forsythe, created “Infinite Temporal Series I” for nine members of the Frankfurt Ballet in 2003 -an enchanting arrangement of small rooms with views throughout. In the Mousonturm now for the first time the successive piece is presented, more limited, however equally fascinating, also by its ambiguity.

Different movement speeds are scenically strung together, there is never a standstill, everything is in flux, and at the end the images and the states mix together. First, each entity is on its own, then they notice each other, seize themselves at the shoulders, finally stretch two fingers like a pistol and an opposite falls down in slow motion down and stands up again. How are these strange concretizations derived from the “dive” in the aquarium? Finally, they create stage, cinema and the poetic fantasy of other worlds, but also the crime. Or are the played murders to make the spectator attentive to their own gaze? Does a kind geologic history of aqueous birth up to the chaos perhaps even pass by? At the end the dancers and spectators disappear and the rounded chair backs look like waves. Perhaps again a new life will develop. (Melanie Suchy)