Three apparently motionless bodies are lying on blue ground. In (b)reaching stillness standstill is regarded as a continuous change and investigated on its physical potential. The starting point are Baroque still life paintings – not only due to their obvious element of immobilisation but mainly due to their ability of ‘vitalization’ of dead or inanimate motifs. Glamorous climaxes emerge out of a monochrome surface before collapsing once again. Throughout the piece a cyclical dynamic is developed, which cannot be affected by any arising moment of drama or opulence. Constant decay and reshaping, imperturbable chance, blossoming, sinking down and rising up again.
On stage dynamic standstill and different forms of resurrection appear together. On an acoustic level Gustav Mahler’s Resurrection Symphony (1894), seems to be an opposition; in its dramatic and lush form it elude any kind of immobilization. However, for (b)reaching stillness the motif of resurrection – freed from its religious attributions – becomes a vital principle within ordinary getting up, synchronous revue or simple repetition.