Chances of a synthetic ice floor in contemporary dance

Research on Synthetic ICE | interdisciplinary | 2021

Photos: ©Adam Markowski; ©Elisa & Barbara Siegmund

“Replacing ice with plastic” opens up entirely new somatic levels of research and artistic creative possibilities. New contexts develop from a lack of cold, the plastic’s own inherent sounds, and its altered gliding ability. Flexible uses of the plastic ice offer new spaces for performance, interaction, and interdisciplinary encounters.
With this research, numerous starting points for dialogues and future projects of gliding art with other arts were laid in a wide-ranging cross-genre exchange with painting, visual arts, video, audio, voice performance, music and theater direction, among others.





In what ways do different camera perspectives absorb or amplify sliding on ice?


In a multi-layered interaction between gliding movement and experimental video art we concretize the meaning of plastic ice for each other.


In this research part we filter the gliding as well as the acceleration of the dancing body in its special environment through different lenses and changing perspectives in static as well as moving camera work to investigate the changed optical perception.


One result of the joint approach to the synthetic ice floor is the dance film
Moving 2 Silence.



Video: Lorenzo Francesconi
Dance on Ice: Elisa Siegmund





The material: synthetic ice

Section 2 | material research


Dance on synthetic ice is paradoxical - opportunity and challenge at the same time.


The nature of the material plastic and not least its controversial meaning reveal limits but also new possibilities for the artistic work with this special medium.


For my work, I have discovered the, ecologically sustainably produced, resource-saving and health harmless synthetic LIKE-ICE!


This research section focuses on the functional, sustainable, ecological, economic and health components of this synthetic ice floor.


More about my material research...


The implementation of this research was supported by the Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and Media within the program NEUSTART KULTUR.



Partial processing of the resulting documentation material is being carried out with the support of the GVL scholarship program, also funded by the Federal Government Commissioner for Culture and Media within the program NEUSTART KULTUR.



My sincere thanks.