Nournimity – Project Arts Centre – Review
Nournimity by Lucia Kilger | Project Arts Centre, 13th Dec

At the start of the production, the theatre is almost in complete darkness. As the lights slowly rise, you can see a figure already on stage, lying in a contorted shape on the ground. As the soundtrack builds, the figure starts to move and rise off the ground. And so begins this unconventional performance.

The production is billed as a “multidisciplinary experience, intersecting contemporary music, movement and theatre”. This piece exhibits the talents of German performance artist Ria Rehfuß. Ria initially studied accounting and business administration, before changing direction completely and studying contemporary dance in Finland at North Karelian College. Ria’s repertoire includes “poi, fire balance, contact stick, double rod, Dragonstaff, fire swallowing, body fire and fire spitting”, although as it was an indoor performance her skills with fire were not on display!

The other element of the production is the musical strand, with an ‘immersive composition by composer/ sound designer Lucia Kilger”.  Ria is joined on stage during the performance by flautist Lina Andonovska. Lina has worked with the BBC Symphony Orchestra, Ulster Orchestra and has recently been appointed as flautist of the four-time Grammy Award-winning ensemble Eighth Blackbird. At the start of the production, she plays a massive flute which is taller than she is (possibly a Double contrabass flute or similar).

The performance features several different segments, with Ria disappearing backstage only to return with another unusual item or costume. These items are often fluorescent in nature, which look dramatic on the darkened stage. At times Ria spins furiously, hurling a flourescet rope through the air and the effect is dazzling. In other sequences, she moves slowly and deliberately. In one section, she drags a feather over her body, as if it is a small living creature. In the final section, she balances a peacock feather on different parts of her body as she stands up and moves.

The soundtrack is varied and follows the movement on stage, featuring drones, percussion and flute sounds. There are slow murky sounds and in other moments, the sounds are wild and expressive. The flute sound is often low and guttural, at times we hear only the sounds of Lina’s fingers tapping the keys.

The piece is difficult to define, as it doesn’t fall into any of the traditional forms. The musical soundtrack and live flute sounds add texture to the movement. If you’re looking for the avant-grade, look no further.

Cube, Project Arts Centre, Dublin – 13th December at 7pm