Premier: 01.02.2013 Barnes Crossing

a movement and sound study,

the first part of the three part cycle "GE-FÜHL-LOS" ("UN-FEEL-ING"), Barbara Fuchs plumbs the depths of the relation between body, sound and affect in the context of intimacy and the public view. By referencing affect, an especially large number of emotional conditions are put on display. In "MOODSWING", the ensemble deals with the four basic emotions of joy, grief, anger, and fear. This results in a study in movement and sound, combined with EASY music that enhances the abstract nature and detachment of the feelings.

performance dates:
02.& 03.02.2013 Barnes Crossing
24.& 25.01.2014 Bühne in der Brotfabrik




Artistic direction: Barbara Fuchs // Performance: Barbara Fuchs, Odile Foehl, Marcus Bromski, Regina Rossi // Sound: Jörg Ritzenhoff // Stage design: Barbara Fuchs, Wolfgang Pütz // Lightdesign: Wolfgang Pütz, Barbara Fuchs //P+R/Management: mechtild tellmann kulturmanagement

A Production of tanzfuchs PRODUKTION

Supported by: Kulturamt der Stadt Köln, Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes Nordrhein-Westfalen

Coproduced by Barnes Crossing – Freiraum für TanzPerformanceKunst


Romy Weimann, akt., März 2013

Emotional body
“The stage at Barnes Crossing in Wachsfabrik becomes a laboratory: The composition "fadofade" by Jörg Ritzenhoff and the choreography "Moodswing" by Barbara Fuchs examine the sorrow. A mesmerizing installation.

Even the second part of the evening is about emotions. "Moodswing" is the first part of the three-part cycle "senseless!" by choreograph Barbara Fuchs. Four dancers, including Fuchs herself, pass through joy, sorrow, rage and fear with the aid of their bodies and voices in 55 minutes – sometimes aloof overdrawn mal, sometimes humorous and back then really authentically. Just as when Odile Foehl lies decentralized in that dimly lit stage-space she contorts herself but the gravity is too powerful and makes her slumping down. Finally she manages to put her pelvis up but the arms and the head do not want to break away from her body so they scramble through her legs, clutching her buttocks. In the end a nerdy, helpless creature, keyed into herself, stands in front of us and grieves about her natural physically given restrictions of her body; a human being that is so desperate about its own limits. You could almost collapse in the chair like her if there was not this ever-ticking metronome, the sound of a long-term experiment. Every dancer carries it with him, turns it on when going into action. Occasionally the stroke of the four breaks up and a confused clattering arouses - people follow distinct rhythms, each works differently. Instead of telling stories Fuchs reasons facial expressions on the basis of stylized pictures: Marcus Bomski cowered on all four legs, animally grunts and gasps the rage out of his body. Regina Rossi entertains herself in humorous swing and dance moves. Sometimes the four dancers jump, wriggle and turn from the left to the right edge of the stage, sometimes they stand in front of the audience snarling and panting and almost can not stop themselves from laughing. No problem: the stage is exactly declared as this – microphones reinforce the public disposition of this experimental emotion-laboratory. It is rarely moving. But it is very much fun.”

Melanie Suchy, Kölner Stadtanzeiger, February 2013
How emotions are made
„The music makes Tschicky-tschicky and the four dancers kink a knee in strict time. The bodies are thrown out of kilter by this but then come to full circle. It appears in a good mood but is actually a little saucy. Like clockworks the shoulders are turning and the underarms are swinging. When the dancers pull up little metronomes in unison, they collapse above the briskly ticking gadgets and when they bury their heads in their hands you begin to guess that it is actually about mechanics. The Cologne choreographer Barbara Fuchs addresses herself to emotions in this piece.
For “Moodswing” she collaborated with the composer Jörg Ritzenhoff. This mood-seesaw is based on ancient and baroque notions how emotions are made or influenced – especially by music – the human being is provider or bunker of morales. The body. This one Barbara Fuchs multiplies on the bare stage at Barnes Crossing and by that stresses the impersonality of the idea.
[…]Shimmering sounds beset and persist, whimpering clinking encourages to joyfully hopping. Even out of the human beings noises arise by time. They are breathing slowly, then faster; it sounds like fear without keeping a straight face. Marcus Bomski sighs „güdigüdigüdi“, then he hisses like a monstrous tiger amplified by Ritzenhoffs electronics. Tempting, menacing. Tempting, menacing.
There is something disturbing in the immediacy, in this apparently arbitrary shifting and interconnecting of trigger and emotion: Subjection. Who nudges the mood-seesaw? The invisible father in the back, the musician, the music? An internalized clock generator? When do the one legs do the momentum?[…]“

Thomas Linden, Kölner Rundschau, February 2013
The alphabet of emotions
Apparently, Barbara Fuchs does not want to affect in her new dance-production “Moodswing”, which filled the second half of the evening. Her project is the first episode of the cycle “Ge-Fühl-Los” which is structured in three stations. The choreography that directs itself as a performance for voices across long distances, dissects emotions like dust particles. In a distorted acoustic, joy, sorrow, rage and fear are represented in front of the ramp by screams, grunts or gasps. It looks like a spelling out of human sentiments. It is a little scary, a little funny but it can not become dramatically because in the laboratory no stories emerge.
This factual experiment that is supposed to stage unbridled reactions in the form of dance and voice is obviously great fun for the four protagonists (Odile Foehl, Barbara Fuchs, Marcus Bomksi und Regina Rossi). A little wink is allowed in these stylistic finger exercises. It will be interesting how Barbara Fuchs is going to expand and intensify her alphabet of emotions in the second part of the cycle.”