Narziss Echo consists of movement and voice. Inspired by Caravaggio’s Narcissus (1597–1599) and its tension between attraction and levitation the dance is centered on the look: looking on oneself, looking outside (horizontal), looking upside (vertical), looking at others; at the same time looking and being looked at, (not) getting in (eye) contact. Looking is a way of relating to oneself and to others and this relation is choreographed and exposed in the movement. It is so not only on the side of the dancer and his looking/being looked at but also on the that of the audience who is looking at the performer but also looking at itself: The elliptic space and the distance between the chairs expose the audience members and make them visible for each other.
The corresponding element in the monologue is the pause. The rhythm of speaking is organized on the pause as space and not as a break-up and interruption. The monologue pauses in moments when the text opens up in all directions – nothing and/or anything could come now, the pause gives space. Thus the monologue relates to others: it is not addressing the audience, it is not directly speaking to it but it is giving space to it.
Both, the solo and the monologue, are traditional ways of aesthetic self-relation. In Narziss Echo they are exposed in their respective qualities of being relations to others. They do not enter into a dialogue between each other but rather create different spaces of contact with and resonance of/for the audience.
In the beginning and in the middle the performance is transformed. The solo becomes an image, two videos frame the choreography; they show the dancer moving in two different spaces. As part of the piece the video image is not an image of space, it is an image in space: it opens up another space, an outer space right here in the installation to which it belongs.