In the piece by choreographer Naïma Mazic with compositions by pianist Elias Stemeseder, polyrhythms shared by dancers and musicians open up new perspectives.

Dance and music have a pre-encumbered relationship. For a long time, the dancing body had to subordinate itself to the music. The musical work had to be translated into movement by the ballet. Choreographer Naïma Mazicsearches for a contemporary way out of this one-way relationship - and finds it in rhythm for her piece "PoLy mirrors". 

Living things are good at recognizing repetition: the sequence of the seasons, the pulse of the streetcars, the ticking of the clock, our own heartbeat. Our lives are interspersed with various rhythms. Be they visible, audible or perceptible. It is precisely this complexity of rhythms that Naïma Mazic uses as a starting point for her translations of life, perspective, music and movement. 

For several years, Naïma Mazic has been exploring "rhythmic forms of communication between dancers and musicians in order to establish, among other things, a contemporary relationship between dance and jazz. For "PoLy mirrors" she starts from different polymetric rhythms that can be lengthened and shortened. Both the dancers and the musicians can work with these rhythms. According to the choreographer, she is interested in "new, weird, queer perspectives." "PoLy mirrors" is meant to enable the perception of a "diagonal feminine being." Specifically, this means that music and dance provide a translation of the female cycle, in the form of 28 beats, the ratios of 7 days and 4 weeks. In addition, the choreography deals on various levels with the idea of mirroring, which - like the rhythm - can be seen and heard.

The musicians Evi Filippou and Georg Vogel meet the dancers Lucie Piot and Sami Similä in a stage design by Lola Drubigny. Much is double here: 2 musicians, 2 dancers, an audience sitting opposite each other and the central element of the stage design is the mirror, which reflects - and doubles. The audience is invited to question their own perception. Where the mirror apparently only makes visible what falls into it, the audience's gaze opens up various invisible dimensions. 

The music of Elias Stemeseder is colorful and equally complex. With synthesizers, a harpsichord and various keyboard instruments, as well as vibraphone, percussion, drums and the mirrors hanging in the room, the musicians create an interesting web of sounds. In addition, the actors find a dialogical principle in various forms of improvisation. 

An evening that will expand and challenge your own perception. In the best case, you will hear movements anew and see the next concert with different eyes.