Zwei Akte (1988)
(for two performers, saxophone and harp)

1. concert version

In preparation for the composition, I asked myself - as well as strangers and acquaintances - the question: Which instruments epitomize the feminine and the masculine?

This is how I came up with this unusual instrumentation, for which I wanted to write a piece (similar to the relationship between two people) in which many different situations take place. The combination of these instruments showed me, however, that stereotypes are more suitable for surprising transformations than one might expect. For example, the harp and saxophone change their assigned role and often take on the expression and character of their partner. Almost imperceptible transitions are created, acoustic knots which, as in reality, can be interpreted differently by the listener than by me.

2. staged version

This requires a pair of silent actors or dancers (on the other hand, the participation of pantomimes in the classical sense should be avoided).

The subtitle of the piece should then read:

For two performers,
saxophone and harp

The action takes place in the wardrobe of a theater. Clothes racks with costumes, baskets and drawers with overflowing material as well as two spatially separated screens complete the stage set.

At the beginning, both performers are completely naked, only to gradually get dressed as the action progresses: A streap-tease is created in reverse order. This is done with the usual slowness, through constant delay and accompanied by the rituals of the genre, less to show off a supposed eroticism than to emphasize the art of theatrical transformation. The performers disappear behind the screens just as often as they get dressed on the open stage. The disguise does not proceed in a logical and straightforward manner, but rather erratically, as if dictated by the playfulness of the changes (for example: first a glove, then a headscarf or hat, change glove, a stocking, glasses, scarf, second stocking, etc.), pauses between each transformation are essential.

In contrast to the usual presentation, where the audience plays the role of – passive – voyeurs, here the respective partner on stage is encouraged to engage in a dialog of action through the transformational skills of the other.

Neither instrumentalist takes part in the scenic realization. They are either outside the playing area, perhaps invisible behind screens or in the orchestra pit. However, it is not desirable for the music to be played back from tape.

M.K.
(Translation by Edition Peters)