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For Lillian Gish. As far as expression goes, the silent film was still under the influence of theatre although technical inadequacies prevented it from assuming the language of theatre. The dramatic effect therefore had to come exclusively from the mimes and gestures of actors. Concise connecting texts were needed to keep the viewer informed of the story line. Ballet, in its conventional form and auditorium performance also knows no language although there is music which completes the mimes and gestures of the dancers. What we see in 'Teile dich, Nacht' includes the sea at ebb and flow, a chair as a beacon in the middle of fleeting reminiscences. Music is dominantly present and yet this video brings memories of the silent film. Using the anatomy of film (total, close-up) on the one hand, but showing within it the dramatic expression of body and face as if it were a theatrical performance, produces reminiscences of the silent film. An original view resulting in a poetic interpretation that is well worth following up.
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Henny Kamphuizen
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Poems: Nelly Sachs,
Camera assistant: Jennifer Baum,
Light: José Arman Pita,
Music: Isang Yun,
Choreography: Hyonok Kim,
Sets: Uri Galkin,
Costumes: Laurette Caron, Hyonok Kim,
Production assistant: Catherine Wint,
Dedicated to: Isang Yun,
With: Hyonok Kim
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